The sequenza calls for extended technique. At that time, Berio tended to reject traditional musical notation in a manner similar to Earle Brown or Christian Wolff. The piece is built around a drone played on a B natural ,  which typically comes from an offstage source. In his instructions on the score, Berio writes,. The sound-source should preferably not be visible.
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Despite the problems caused by the Corona-virus our Webshop and the contact forms on our website are fully available. You may also address your inquiries to customer-relations universaledition. Thank you for your understanding if our answer takes longer as usual because of the current restrictions. Your Universal Edition Team. My "Sequenzas" for monodic instruments flute, trombone, oboe, clarinet, trumpet, bassoon call for a polyphonic listening, partly based on a fast transition between different characters and on their simultaneous interaction.
In "Sequenza VII" for oboe I carry on the research of a latent polyphony putting into perspective the complex sound structures of the instrument with an ever-present "tonic": a B natural that can be played pianissimo by any other instrument, behind the stage or in the audience. It is a harmonic perspective that contributes to a subtler analytic insight of the various stages of transformation of the solo part.
Universal Edition We shape the future of music. Search Shopping cart Your shopping cart is empty. More info Add to shopping cart. Prices incl. VAT plus shipping costs. Product available. Add to shopping cart. Description My "Sequenzas" for monodic instruments flute, trombone, oboe, clarinet, trumpet, bassoon call for a polyphonic listening, partly based on a fast transition between different characters and on their simultaneous interaction.
Sample Pages. Contents Sequenza VII per oboe. Previously Viewed Works.
Luciano Berio: Sequenza VII