SKU: A0.1156082

A fuller title may have been Moving Between Extremes since it deals with the contrast between monody and harmony. Transforming one texture into the other is done in a number of ways. There are not only areas where transformation is occurring, but also others where a texture remains the same for some time.

SKU: S9.Q771471

My 3rd String Quartet is in six contrasted movements. Certain musical figures recur across the work, but there are few themes as such. The main emphasis is on contrast of mood, texture, harmony, pacing and timing. Unlike many of my works this quartet had no extra-musical inspiration, and in principle should have no subtitle. Certain features already present in my music became more prominent in this new work: modes (limited collections of pitches) have always helped me to focus musical character, but here a sense of key note for each mode became much more pronounced, as did the difference between modes for each section of the work. A sort of hybrid key-system emerged (even with equivalents of major and minor) which is not normal tonality, nor does it aim to imitate it. Unlike tonality this key-system includes noises, extended performance techniques and intervals outside Western tuning as available resources. What I hope it does is to focus the listening experience onto different musical areas, to encourage a sense of both modulation from one area to another and to give the music a sense of goal. No conscious knowledge of this is needed when listening: the music should communicate directly on its own.Here, then, is this collection of six musical colours, related and unrelated, different yet belonging together, variable yet in a set order. Hence the subtitle, chosen both for both its sound and its sense: ‘hana no hanataba’ meaning, in Japanese, ‘bouquet of flowers’.A brief description:1)Moderately fast. Short droplets of sounds gather increasing momentum. 2)Very fast. Canons and bells at different speeds.3)Very slow – fast – very slow – very fast – very slow. The main slow movement and its main scherzo. An emphasis on non-tempered tunings and on inhaling and exhaling waves of sound. The slow sections feature florid melodic writing. In the exuberant scherzo competing duos and trios create imaginary folk music.4)Extremely fast/extremely slow. Open strings and harmonics fuse into a single string instrument – like a sort of large resonating Medieval tromba marina.5)Very fast. A variation on movement 2). Variation, Schoenberg told Cage, is just a sort of repetition ‘with some things changed and others not.’6)Slow - Very Fast - Fast – Slow. The opening calm harmonies and florid melodies evoke movement 3) in different music. The fast part features one overt theme: a fanfare-like call to attention which is subject to extensive development. There is much use of non-Western tuning. At its climax the music freezes into a frieze – a wall of sound standing in front of the audience with increasing obstinacy and certainty as the work grinds towards its cadence.

SKU: A0.1188940

SKU: S9.Q6234

In this work, the quartet becomes a single composite instrument. This instrument cannot play individual sounds but rather composite gestures, of which the initial impulse linked to the production of a sound is an integral element. In a journey to Thailand, I visited Wat Arun, “the Temple of Dawn.� First from a distance, it appeared as a majestic looming tower possessing a monolithic form. It was then of extreme surprise to proceed closer only to discover that the tower was actually comprised from thousands of small shards of ceramic plates. From the closer perspectival proximity, these small shards created intricate filigreed patterns. The play between the presence of the temple’s totality and its fractured parts helped to provide both the material and formal conceptions for this quartet. The piece is built from three movements with two “sonic windows� between them. In the first movement, the composite sounds are introduced and form phrases interjections, and a part of a song; the second movement is similar to an improvisation using these composite sounds; the last movement is a speech composed of the fragments from the first two movements. The piece is dedicated to the Arditti String Quartet. – Chaya Czernowin & Steven Kazuo Takasugi.

SKU: A0.1171870

This adaptation was intended for a small group of string quartet, where the original essence of the piece was kept, however, with a reduction in the duration, where only the main themes of the opening were extracted. As it is simplified, it is intended for beginner students of instrumental music who want to enter orchestral music, even in a simplified and reduced form, and can be used by music teachers with their students in ensemble practice in situations such as academic recitals, didactic concerts, or assessment tests.

The Symphony No. 5 in C minor, Op. 67, known as the Symphony of Destiny, by Ludwig van Beethoven, written between 1804 and 1808, is one of the most popular and best known compositions in the entire repertoire of European music. The four movements are characterized by orchestral homogeneity, being, at the same time, an example of alternation: the first movement, revealing great tension, denounced by the strings and raised to an extreme drama; the second movement reveals solemnity, in a funeral march that rises by its emotion and beauty; the third movement, a crispness; the fourth movement expresses triumph and magnificence.

SKU: A0.567747

Here comes a ballad full of love and passion featuring solo Bugle. No extreme ranges. Vocal part is available on request for free. Check out other compositions and arrangements! Listen to the recording! Here are the words: Give me back my love again, give me back these lonely nights, when my heart went out to talk to you about my love. And give me back these tender words I have sent to you in secret letters, which never found the only way to your heart but now my love has gone and disappeared there is nothing more I feel for you although there's something deep inside my heart (ohohohoh oh) that says to me each lonely night today all day and all forever will something always taste of you in my heart.

SKU: A0.1007333

A highly reduced version of a organ heavy composition based on cloudy days that never seemed to end. Inspiration and name credit to Daniel Folwick, a friend and one of the best clarinetists of his age in the whole northwest united states. This piece requires extreme delicacy and tenderness.

SKU: A0.739310

This wonderful song is now available for string quartet.