CSM 11: Kain
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Item type: Item , Access status: Open Access , Donald Hollier From the Twelve Preludes for Guitar (1979) - #11 - B Major(Canberra School of Music, Australian National University, 1979) Composer: Donald Hollier; Cobbin, Peter"This set of pieces arose from discussions in 1978 with Ian Davies, a composition student at the Canberra School of Music, about the difficulty of writing idiomatic music for the guitar and the scarcity of really good guitar music by mainstream composers. Part of my objection to the guitar repertoire was that so much of it sounded as if it were written in E minor - because of the natural tuning of the strings to that key. Consequently, as a joke, I began a s,eries of preludes in every key to prove that it simply was not possible to write for any other key than the principal relative keys of E. Eventually Davies edited my preludes· and gave them their first performance. It had proved (just) possible to write in keys other than E, although admittedly with a degree of difficulty. The preludes were adopted by the resident guitarist at the Canberra School of Music, Timothy Kain, who has played them on many occasions. He has since commissioned another set." -- Donald HollierItem type: Item , Access status: Open Access , Donald Hollier From the Twelve Preludes for Guitar (1979) - #10 - F# Major(Canberra School of Music, Australian National University, 1979) Composer: Donald Hollier; Cobbin, Peter"This set of pieces arose from discussions in 1978 with Ian Davies, a composition student at the Canberra School of Music, about the difficulty of writing idiomatic music for the guitar and the scarcity of really good guitar music by mainstream composers. Part of my objection to the guitar repertoire was that so much of it sounded as if it were written in E minor - because of the natural tuning of the strings to that key. Consequently, as a joke, I began a s,eries of preludes in every key to prove that it simply was not possible to write for any other key than the principal relative keys of E. Eventually Davies edited my preludes· and gave them their first performance. It had proved (just) possible to write in keys other than E, although admittedly with a degree of difficulty. The preludes were adopted by the resident guitarist at the Canberra School of Music, Timothy Kain, who has played them on many occasions. He has since commissioned another set." -- Donald HollierItem type: Item , Access status: Open Access , Donald Hollier From the Twelve Preludes for Guitar (1979) - #1 - A Major(Canberra School of Music, Australian National University, 1979) Composer: Donald Hollier; Cobbin, Peter"This set of pieces arose from discussions in 1978 with Ian Davies, a composition student at the Canberra School of Music, about the difficulty of writing idiomatic music for the guitar and the scarcity of really good guitar music by mainstream composers. Part of my objection to the guitar repertoire was that so much of it sounded as if it were written in E minor - because of the natural tuning of the strings to that key. Consequently, as a joke, I began a s,eries of preludes in every key to prove that it simply was not possible to write for any other key than the principal relative keys of E. Eventually Davies edited my preludes· and gave them their first performance. It had proved (just) possible to write in keys other than E, although admittedly with a degree of difficulty. The preludes were adopted by the resident guitarist at the Canberra School of Music, Timothy Kain, who has played them on many occasions. He has since commissioned another set." -- Donald HollierItem type: Item , Access status: Open Access , Donald Hollier From the Twelve Preludes for Guitar (1979) - #4 - C Major(Canberra School of Music, Australian National University, 1979) Composer: Donald Hollier; Cobbin, Peter"This set of pieces arose from discussions in 1978 with Ian Davies, a composition student at the Canberra School of Music, about the difficulty of writing idiomatic music for the guitar and the scarcity of really good guitar music by mainstream composers. Part of my objection to the guitar repertoire was that so much of it sounded as if it were written in E minor - because of the natural tuning of the strings to that key. Consequently, as a joke, I began a s,eries of preludes in every key to prove that it simply was not possible to write for any other key than the principal relative keys of E. Eventually Davies edited my preludes· and gave them their first performance. It had proved (just) possible to write in keys other than E, although admittedly with a degree of difficulty. The preludes were adopted by the resident guitarist at the Canberra School of Music, Timothy Kain, who has played them on many occasions. He has since commissioned another set." -- Donald HollierItem type: Item , Access status: Open Access , Donald Hollier From the Twelve Preludes for Guitar (1979) - #5 - F Major(Canberra School of Music, Australian National University, 1979) Composer: Donald Hollier; Cobbin, Peter"This set of pieces arose from discussions in 1978 with Ian Davies, a composition student at the Canberra School of Music, about the difficulty of writing idiomatic music for the guitar and the scarcity of really good guitar music by mainstream composers. Part of my objection to the guitar repertoire was that so much of it sounded as if it were written in E minor - because of the natural tuning of the strings to that key. Consequently, as a joke, I began a s,eries of preludes in every key to prove that it simply was not possible to write for any other key than the principal relative keys of E. Eventually Davies edited my preludes· and gave them their first performance. It had proved (just) possible to write in keys other than E, although admittedly with a degree of difficulty. The preludes were adopted by the resident guitarist at the Canberra School of Music, Timothy Kain, who has played them on many occasions. He has since commissioned another set." -- Donald HollierItem type: Item , Access status: Open Access , Donald Hollier From the Twelve Preludes for Guitar (1979) - #2 - D Major(Canberra School of Music, Australian National University, 1979) Composer: Donald Hollier; Cobbin, Peter"This set of pieces arose from discussions in 1978 with Ian Davies, a composition student at the Canberra School of Music, about the difficulty of writing idiomatic music for the guitar and the scarcity of really good guitar music by mainstream composers. Part of my objection to the guitar repertoire was that so much of it sounded as if it were written in E minor - because of the natural tuning of the strings to that key. Consequently, as a joke, I began a s,eries of preludes in every key to prove that it simply was not possible to write for any other key than the principal relative keys of E. Eventually Davies edited my preludes· and gave them their first performance. It had proved (just) possible to write in keys other than E, although admittedly with a degree of difficulty. The preludes were adopted by the resident guitarist at the Canberra School of Music, Timothy Kain, who has played them on many occasions. He has since commissioned another set." -- Donald HollierItem type: Item , Access status: Open Access , Donald Hollier From the Twelve Preludes for Guitar (1979) - # 12 - E Major(Canberra School of Music, Australian National University, 1979) Composer: Donald Hollier; Cobbin, Peter"This set of pieces arose from discussions in 1978 with Ian Davies, a composition student at the Canberra School of Music, about the difficulty of writing idiomatic music for the guitar and the scarcity of really good guitar music by mainstream composers. Part of my objection to the guitar repertoire was that so much of it sounded as if it were written in E minor - because of the natural tuning of the strings to that key. Consequently, as a joke, I began a s,eries of preludes in every key to prove that it simply was not possible to write for any other key than the principal relative keys of E. Eventually Davies edited my preludes· and gave them their first performance. It had proved (just) possible to write in keys other than E, although admittedly with a degree of difficulty. The preludes were adopted by the resident guitarist at the Canberra School of Music, Timothy Kain, who has played them on many occasions. He has since commissioned another set." -- Donald HollierItem type: Item , Access status: Open Access , Richard Charlton: Threnody For Chernobyl (1986) - Allegro Molto; Adagio(Canberra School of Music, Australian National University, 1986) Composer: Richard Charlton; Davies, John"Richard Charlton's title makes an allusion to Penderecki's Threnody to the Victims of Hiroshima (1961). Charlton clearly intends an ironic comparison between the events which occurred at Hiroshima and at Chernobyl. The Penderecki work is an enormously disquieting lamentation for the victims of an intentional holocaust. Whereas Penderecki presents us with a handbook of unconventional sounds and techniques, Charlton retreats behind the academic arras of a serial theme, generally employed with striking simplicity. The twelve note theme employs the following row: E, G, F,A, A sharp,F sharp,C, D, B, G sharp, C sharp, D sharp. After stating the row a number of times at the outset, backwards as well as forwards, he embarks on a free use of the material. While Penderecki's Threnody and Stravinsky's Threni lead us to expect grieving on a massive scale and barely suppressed hysteria, Charlton's guitar variation is sad, reflective (almost wistful) and generally domestic in tone. The composer employs effects such as hannonics, drumming on the strings and playing on the bridge and behind the nut. But these sounds in no way dominate the music. This very restraint is the work's most moving aspect. If composers in the 1960s thought they could affect the world's politics with musical temper tantrums, the reaction of composers in the 1980s to unsavoury world events is more likely to be a communal shrug of the shoulders before retiring to their studios to write a set of variations for solo guitar. However, if Richard Charlton's Threnody for Chernobyl is not exactly bristling with moral indignation it does, at least, take a realistic stance on the question of the artist's ability to change anything. The benedictory natural harmonics at the work's conclusion ('Like Church Bells' writes the composer in the score) are eloquent in their sad implacability and remind us of Wilfred Owen's statement that 'All a poet can do today is warn'." -- Andrew FordItem type: Item , Access status: Open Access , Richard Charlton: Threnody For Chernobyl (1986) - Andante Sostenuto; Animato(Canberra School of Music, Australian National University, 1986) Composer: Richard Charlton; Davies, John"Richard Charlton's title makes an allusion to Penderecki's Threnody to the Victims of Hiroshima (1961). Charlton clearly intends an ironic comparison between the events which occurred at Hiroshima and at Chernobyl. The Penderecki work is an enormously disquieting lamentation for the victims of an intentional holocaust. Whereas Penderecki presents us with a handbook of unconventional sounds and techniques, Charlton retreats behind the academic arras of a serial theme, generally employed with striking simplicity. The twelve note theme employs the following row: E, G, F,A, A sharp,F sharp,C, D, B, G sharp, C sharp, D sharp. After stating the row a number of times at the outset, backwards as well as forwards, he embarks on a free use of the material. While Penderecki's Threnody and Stravinsky's Threni lead us to expect grieving on a massive scale and barely suppressed hysteria, Charlton's guitar variation is sad, reflective (almost wistful) and generally domestic in tone. The composer employs effects such as hannonics, drumming on the strings and playing on the bridge and behind the nut. But these sounds in no way dominate the music. This very restraint is the work's most moving aspect. If composers in the 1960s thought they could affect the world's politics with musical temper tantrums, the reaction of composers in the 1980s to unsavoury world events is more likely to be a communal shrug of the shoulders before retiring to their studios to write a set of variations for solo guitar. However, if Richard Charlton's Threnody for Chernobyl is not exactly bristling with moral indignation it does, at least, take a realistic stance on the question of the artist's ability to change anything. The benedictory natural harmonics at the work's conclusion ('Like Church Bells' writes the composer in the score) are eloquent in their sad implacability and remind us of Wilfred Owen's statement that 'All a poet can do today is warn'." -- Andrew FordItem type: Item , Access status: Open Access , Donald Hollier From the Twelve Preludes for Guitar (1979) - #3 - G Major(Canberra School of Music, Australian National University, 1979) Composer: Donald Hollier; Cobbin, Peter"This set of pieces arose from discussions in 1978 with Ian Davies, a composition student at the Canberra School of Music, about the difficulty of writing idiomatic music for the guitar and the scarcity of really good guitar music by mainstream composers. Part of my objection to the guitar repertoire was that so much of it sounded as if it were written in E minor - because of the natural tuning of the strings to that key. Consequently, as a joke, I began a s,eries of preludes in every key to prove that it simply was not possible to write for any other key than the principal relative keys of E. Eventually Davies edited my preludes· and gave them their first performance. It had proved (just) possible to write in keys other than E, although admittedly with a degree of difficulty. The preludes were adopted by the resident guitarist at the Canberra School of Music, Timothy Kain, who has played them on many occasions. He has since commissioned another set." -- Donald HollierItem type: Item , Access status: Open Access , Larry Sitsky: Sonata For Solo Guitar: The Five Elements (1974): 3. Earth(Canberra School of Music, Australian National University, 1974) Composer: Larry Sitsky; Davies, John"The Five Elements exploits a wide range of the instrument's capabilities as well as making great demands upon the player's technique. Dedicated to the young Australian virtuoso, Tim Kain, the sonata is divided into five sections-one for each element. However, the sections are interconnected and (as in so many of Sitsky's compositions) the work is best viewed as a complete unit in five subdivisions rather than as a sonata in five separate movements. The score gives careful details concerning the execution of numerous colourful techniques and the performer is given a wide scope for improvisation and interpretative freedom. This sonata is one of many works by Sitsky with mystical connotations. To the usual four basic elements of air, water, earth and fire a fifth is added, that of spirit. In the work it assumes the greatest importance of all, and the Spirit section acts as both a summation and the apotheosis of the sonata. A linear row of fifteen notes and a chordal row containing eleven chords form the basic material for this sonata as shown in Figures 54 and 55. The first element, Air, has an ethereal texture which Sitsky achieves by including, approximately half way through the section, twelve bars devoted entirely to harmonics. The opening is played with the guitar laid flat across the knees. It is slow and improvisatory. The material presented is the linear row (01). Glissandi that become gradually faster are executed from the top of the sound note down to the beginning of the fretboard, after which the guitar is returned to its normal position. The linear row now appears in retrograde form (R3, a diminished 3rd higher than the original) before the first presentation of the chordal row (01). This row merges into the twelve bars of harmonics after which a tremolo passage illustrates the chordal row in its R 1 form. The slow, improvised mood of the opening returns, featuring downward nail-pluckings of fragments of the linear row at different pitches. Sitsky uses the chordal row (02) played with continuous tremolo to open the second section, Water. After this initial stirring, there is a gentle ebb and flow movement and the texture becomes melody with arpeggiated accompaniment changing soon after to a tremolo accompaniment. These movements, below the surface as it were, become gentle cascades marked quasi arpa (see Figure 56) which gradually assume a more flowing character until a descending-ascending pattern is used beneath a melody marked Rubato, marcato. The two part effect eventually gives way to an Allegro passage comprising wide leaps which dart back and forth and continuing with some interspersed chords to the end. Although complete linear and chordal rows are employed in this second section, much use is made of fragments of the basic materials. The third section, Earth, is exciting and exhilarating, full of solid rhythmic drive and displaying many special effects. Since rhythm is of paramount importance here, only fragments of the basic thematic material are used. The composer has commented in the score that most guitarists would prefer to use a practice instrument within easy reach for this percussive movement. Careful directions have been given for special effects, and before commencing, the player must stop strings 1, 2 and 3, cross 4 and 5, and leave 6 open. All manner of slaps, scrapes, bangs and tremoli are executed on what seem to be all parts of the guitar. As well as the hands, fingers and nails, the player makes use of a metal object and a pencil (see Figure 57). Fire, which fomrs the forth section of The Five Elements, commences Violente, quasi cadenza with strong plucked notes or irregular durations each followed immediately by a downward glissando. Fragments of the linear row in retrograde inversion and retrograde are used for these 'sparks' which are then followed by a pomon of the chordal row (07). A complete version of the linear row (R 4) is then presented, and the composer has indicated here that the player should sweep from note to note without lingering on any single one, perhaps thus representing the flickering of the flame. Again, fragments of the linear row appear (in various levels of inversion) after which free glissando descents, which commence from the top E string, move progressively along the lower strings·. The flame rises once more and the Bartok pizzicato (bouncing the string against the fretboard) is used very effectively at this point. The remainder of this fourth section uses complete versions of the linear row in all four forms in contrast to the previous fragmentary use of the row, thus perhaps portraying the evenly burning flame. The slow scraping, using a metal object, from the lowest string up to the fifth fret brings the movement to a close. In the final section, Spirit, material from the previous four sections is quoted directly, thereby unifying all five elements. An added feature of the Spirit section is that the guitar is played with a double bass bow for new material." -- Wendy PennyItem type: Item , Access status: Open Access , Larry Sitsky: Sonata For Solo Guitar: The Five Elements (1974): 4. Fire(Canberra School of Music, Australian National University, 1974) Composer: Larry Sitsky; Davies, John"The Five Elements exploits a wide range of the instrument's capabilities as well as making great demands upon the player's technique. Dedicated to the young Australian virtuoso, Tim Kain, the sonata is divided into five sections-one for each element. However, the sections are interconnected and (as in so many of Sitsky's compositions) the work is best viewed as a complete unit in five subdivisions rather than as a sonata in five separate movements. The score gives careful details concerning the execution of numerous colourful techniques and the performer is given a wide scope for improvisation and interpretative freedom. This sonata is one of many works by Sitsky with mystical connotations. To the usual four basic elements of air, water, earth and fire a fifth is added, that of spirit. In the work it assumes the greatest importance of all, and the Spirit section acts as both a summation and the apotheosis of the sonata. A linear row of fifteen notes and a chordal row containing eleven chords form the basic material for this sonata as shown in Figures 54 and 55. The first element, Air, has an ethereal texture which Sitsky achieves by including, approximately half way through the section, twelve bars devoted entirely to harmonics. The opening is played with the guitar laid flat across the knees. It is slow and improvisatory. The material presented is the linear row (01). Glissandi that become gradually faster are executed from the top of the sound note down to the beginning of the fretboard, after which the guitar is returned to its normal position. The linear row now appears in retrograde form (R3, a diminished 3rd higher than the original) before the first presentation of the chordal row (01). This row merges into the twelve bars of harmonics after which a tremolo passage illustrates the chordal row in its R 1 form. The slow, improvised mood of the opening returns, featuring downward nail-pluckings of fragments of the linear row at different pitches. Sitsky uses the chordal row (02) played with continuous tremolo to open the second section, Water. After this initial stirring, there is a gentle ebb and flow movement and the texture becomes melody with arpeggiated accompaniment changing soon after to a tremolo accompaniment. These movements, below the surface as it were, become gentle cascades marked quasi arpa (see Figure 56) which gradually assume a more flowing character until a descending-ascending pattern is used beneath a melody marked Rubato, marcato. The two part effect eventually gives way to an Allegro passage comprising wide leaps which dart back and forth and continuing with some interspersed chords to the end. Although complete linear and chordal rows are employed in this second section, much use is made of fragments of the basic materials. The third section, Earth, is exciting and exhilarating, full of solid rhythmic drive and displaying many special effects. Since rhythm is of paramount importance here, only fragments of the basic thematic material are used. The composer has commented in the score that most guitarists would prefer to use a practice instrument within easy reach for this percussive movement. Careful directions have been given for special effects, and before commencing, the player must stop strings 1, 2 and 3, cross 4 and 5, and leave 6 open. All manner of slaps, scrapes, bangs and tremoli are executed on what seem to be all parts of the guitar. As well as the hands, fingers and nails, the player makes use of a metal object and a pencil (see Figure 57). Fire, which fomrs the forth section of The Five Elements, commences Violente, quasi cadenza with strong plucked notes or irregular durations each followed immediately by a downward glissando. Fragments of the linear row in retrograde inversion and retrograde are used for these 'sparks' which are then followed by a pomon of the chordal row (07). A complete version of the linear row (R 4) is then presented, and the composer has indicated here that the player should sweep from note to note without lingering on any single one, perhaps thus representing the flickering of the flame. Again, fragments of the linear row appear (in various levels of inversion) after which free glissando descents, which commence from the top E string, move progressively along the lower strings·. The flame rises once more and the Bartok pizzicato (bouncing the string against the fretboard) is used very effectively at this point. The remainder of this fourth section uses complete versions of the linear row in all four forms in contrast to the previous fragmentary use of the row, thus perhaps portraying the evenly burning flame. The slow scraping, using a metal object, from the lowest string up to the fifth fret brings the movement to a close. In the final section, Spirit, material from the previous four sections is quoted directly, thereby unifying all five elements. An added feature of the Spirit section is that the guitar is played with a double bass bow for new material." -- Wendy PennyItem type: Item , Access status: Open Access , Larry Sitsky: Sonata For Solo Guitar: The Five Elements (1974): 5. Spirit(Canberra School of Music, Australian National University, 1974) Composer: Larry Sitsky; Davies, John"The Five Elements exploits a wide range of the instrument's capabilities as well as making great demands upon the player's technique. Dedicated to the young Australian virtuoso, Tim Kain, the sonata is divided into five sections-one for each element. However, the sections are interconnected and (as in so many of Sitsky's compositions) the work is best viewed as a complete unit in five subdivisions rather than as a sonata in five separate movements. The score gives careful details concerning the execution of numerous colourful techniques and the performer is given a wide scope for improvisation and interpretative freedom. This sonata is one of many works by Sitsky with mystical connotations. To the usual four basic elements of air, water, earth and fire a fifth is added, that of spirit. In the work it assumes the greatest importance of all, and the Spirit section acts as both a summation and the apotheosis of the sonata. A linear row of fifteen notes and a chordal row containing eleven chords form the basic material for this sonata as shown in Figures 54 and 55. The first element, Air, has an ethereal texture which Sitsky achieves by including, approximately half way through the section, twelve bars devoted entirely to harmonics. The opening is played with the guitar laid flat across the knees. It is slow and improvisatory. The material presented is the linear row (01). Glissandi that become gradually faster are executed from the top of the sound note down to the beginning of the fretboard, after which the guitar is returned to its normal position. The linear row now appears in retrograde form (R3, a diminished 3rd higher than the original) before the first presentation of the chordal row (01). This row merges into the twelve bars of harmonics after which a tremolo passage illustrates the chordal row in its R 1 form. The slow, improvised mood of the opening returns, featuring downward nail-pluckings of fragments of the linear row at different pitches. Sitsky uses the chordal row (02) played with continuous tremolo to open the second section, Water. After this initial stirring, there is a gentle ebb and flow movement and the texture becomes melody with arpeggiated accompaniment changing soon after to a tremolo accompaniment. These movements, below the surface as it were, become gentle cascades marked quasi arpa (see Figure 56) which gradually assume a more flowing character until a descending-ascending pattern is used beneath a melody marked Rubato, marcato. The two part effect eventually gives way to an Allegro passage comprising wide leaps which dart back and forth and continuing with some interspersed chords to the end. Although complete linear and chordal rows are employed in this second section, much use is made of fragments of the basic materials. The third section, Earth, is exciting and exhilarating, full of solid rhythmic drive and displaying many special effects. Since rhythm is of paramount importance here, only fragments of the basic thematic material are used. The composer has commented in the score that most guitarists would prefer to use a practice instrument within easy reach for this percussive movement. Careful directions have been given for special effects, and before commencing, the player must stop strings 1, 2 and 3, cross 4 and 5, and leave 6 open. All manner of slaps, scrapes, bangs and tremoli are executed on what seem to be all parts of the guitar. As well as the hands, fingers and nails, the player makes use of a metal object and a pencil (see Figure 57). Fire, which fomrs the forth section of The Five Elements, commences Violente, quasi cadenza with strong plucked notes or irregular durations each followed immediately by a downward glissando. Fragments of the linear row in retrograde inversion and retrograde are used for these 'sparks' which are then followed by a pomon of the chordal row (07). A complete version of the linear row (R 4) is then presented, and the composer has indicated here that the player should sweep from note to note without lingering on any single one, perhaps thus representing the flickering of the flame. Again, fragments of the linear row appear (in various levels of inversion) after which free glissando descents, which commence from the top E string, move progressively along the lower strings·. The flame rises once more and the Bartok pizzicato (bouncing the string against the fretboard) is used very effectively at this point. The remainder of this fourth section uses complete versions of the linear row in all four forms in contrast to the previous fragmentary use of the row, thus perhaps portraying the evenly burning flame. The slow scraping, using a metal object, from the lowest string up to the fifth fret brings the movement to a close. In the final section, Spirit, material from the previous four sections is quoted directly, thereby unifying all five elements. An added feature of the Spirit section is that the guitar is played with a double bass bow for new material." -- Wendy PennyItem type: Item , Access status: Open Access , Larry Sitsky: Sonata For Solo Guitar: The Five Elements (1974): 2. Water(Canberra School of Music, Australian National University, 1974) Composer: Larry Sitsky; Davies, John"The Five Elements exploits a wide range of the instrument's capabilities as well as making great demands upon the player's technique. Dedicated to the young Australian virtuoso, Tim Kain, the sonata is divided into five sections-one for each element. However, the sections are interconnected and (as in so many of Sitsky's compositions) the work is best viewed as a complete unit in five subdivisions rather than as a sonata in five separate movements. The score gives careful details concerning the execution of numerous colourful techniques and the performer is given a wide scope for improvisation and interpretative freedom. This sonata is one of many works by Sitsky with mystical connotations. To the usual four basic elements of air, water, earth and fire a fifth is added, that of spirit. In the work it assumes the greatest importance of all, and the Spirit section acts as both a summation and the apotheosis of the sonata. A linear row of fifteen notes and a chordal row containing eleven chords form the basic material for this sonata as shown in Figures 54 and 55. The first element, Air, has an ethereal texture which Sitsky achieves by including, approximately half way through the section, twelve bars devoted entirely to harmonics. The opening is played with the guitar laid flat across the knees. It is slow and improvisatory. The material presented is the linear row (01). Glissandi that become gradually faster are executed from the top of the sound note down to the beginning of the fretboard, after which the guitar is returned to its normal position. The linear row now appears in retrograde form (R3, a diminished 3rd higher than the original) before the first presentation of the chordal row (01). This row merges into the twelve bars of harmonics after which a tremolo passage illustrates the chordal row in its R 1 form. The slow, improvised mood of the opening returns, featuring downward nail-pluckings of fragments of the linear row at different pitches. Sitsky uses the chordal row (02) played with continuous tremolo to open the second section, Water. After this initial stirring, there is a gentle ebb and flow movement and the texture becomes melody with arpeggiated accompaniment changing soon after to a tremolo accompaniment. These movements, below the surface as it were, become gentle cascades marked quasi arpa (see Figure 56) which gradually assume a more flowing character until a descending-ascending pattern is used beneath a melody marked Rubato, marcato. The two part effect eventually gives way to an Allegro passage comprising wide leaps which dart back and forth and continuing with some interspersed chords to the end. Although complete linear and chordal rows are employed in this second section, much use is made of fragments of the basic materials. The third section, Earth, is exciting and exhilarating, full of solid rhythmic drive and displaying many special effects. Since rhythm is of paramount importance here, only fragments of the basic thematic material are used. The composer has commented in the score that most guitarists would prefer to use a practice instrument within easy reach for this percussive movement. Careful directions have been given for special effects, and before commencing, the player must stop strings 1, 2 and 3, cross 4 and 5, and leave 6 open. All manner of slaps, scrapes, bangs and tremoli are executed on what seem to be all parts of the guitar. As well as the hands, fingers and nails, the player makes use of a metal object and a pencil (see Figure 57). Fire, which fomrs the forth section of The Five Elements, commences Violente, quasi cadenza with strong plucked notes or irregular durations each followed immediately by a downward glissando. Fragments of the linear row in retrograde inversion and retrograde are used for these 'sparks' which are then followed by a pomon of the chordal row (07). A complete version of the linear row (R 4) is then presented, and the composer has indicated here that the player should sweep from note to note without lingering on any single one, perhaps thus representing the flickering of the flame. Again, fragments of the linear row appear (in various levels of inversion) after which free glissando descents, which commence from the top E string, move progressively along the lower strings·. The flame rises once more and the Bartok pizzicato (bouncing the string against the fretboard) is used very effectively at this point. The remainder of this fourth section uses complete versions of the linear row in all four forms in contrast to the previous fragmentary use of the row, thus perhaps portraying the evenly burning flame. The slow scraping, using a metal object, from the lowest string up to the fifth fret brings the movement to a close. In the final section, Spirit, material from the previous four sections is quoted directly, thereby unifying all five elements. An added feature of the Spirit section is that the guitar is played with a double bass bow for new material." -- Wendy PennyItem type: Item , Access status: Open Access , Larry Sitsky: Sonata For Solo Guitar: The Five Elements (1974): 1. Air(Canberra School of Music, Australian National University, 1974) Composer: Larry Sitsky; Davies, John"The Five Elements exploits a wide range of the instrument's capabilities as well as making great demands upon the player's technique. Dedicated to the young Australian virtuoso, Tim Kain, the sonata is divided into five sections-one for each element. However, the sections are interconnected and (as in so many of Sitsky's compositions) the work is best viewed as a complete unit in five subdivisions rather than as a sonata in five separate movements. The score gives careful details concerning the execution of numerous colourful techniques and the performer is given a wide scope for improvisation and interpretative freedom. This sonata is one of many works by Sitsky with mystical connotations. To the usual four basic elements of air, water, earth and fire a fifth is added, that of spirit. In the work it assumes the greatest importance of all, and the Spirit section acts as both a summation and the apotheosis of the sonata. A linear row of fifteen notes and a chordal row containing eleven chords form the basic material for this sonata as shown in Figures 54 and 55. The first element, Air, has an ethereal texture which Sitsky achieves by including, approximately half way through the section, twelve bars devoted entirely to harmonics. The opening is played with the guitar laid flat across the knees. It is slow and improvisatory. The material presented is the linear row (01). Glissandi that become gradually faster are executed from the top of the sound note down to the beginning of the fretboard, after which the guitar is returned to its normal position. The linear row now appears in retrograde form (R3, a diminished 3rd higher than the original) before the first presentation of the chordal row (01). This row merges into the twelve bars of harmonics after which a tremolo passage illustrates the chordal row in its R 1 form. The slow, improvised mood of the opening returns, featuring downward nail-pluckings of fragments of the linear row at different pitches. Sitsky uses the chordal row (02) played with continuous tremolo to open the second section, Water. After this initial stirring, there is a gentle ebb and flow movement and the texture becomes melody with arpeggiated accompaniment changing soon after to a tremolo accompaniment. These movements, below the surface as it were, become gentle cascades marked quasi arpa (see Figure 56) which gradually assume a more flowing character until a descending-ascending pattern is used beneath a melody marked Rubato, marcato. The two part effect eventually gives way to an Allegro passage comprising wide leaps which dart back and forth and continuing with some interspersed chords to the end. Although complete linear and chordal rows are employed in this second section, much use is made of fragments of the basic materials. The third section, Earth, is exciting and exhilarating, full of solid rhythmic drive and displaying many special effects. Since rhythm is of paramount importance here, only fragments of the basic thematic material are used. The composer has commented in the score that most guitarists would prefer to use a practice instrument within easy reach for this percussive movement. Careful directions have been given for special effects, and before commencing, the player must stop strings 1, 2 and 3, cross 4 and 5, and leave 6 open. All manner of slaps, scrapes, bangs and tremoli are executed on what seem to be all parts of the guitar. As well as the hands, fingers and nails, the player makes use of a metal object and a pencil (see Figure 57). Fire, which fomrs the forth section of The Five Elements, commences Violente, quasi cadenza with strong plucked notes or irregular durations each followed immediately by a downward glissando. Fragments of the linear row in retrograde inversion and retrograde are used for these 'sparks' which are then followed by a pomon of the chordal row (07). A complete version of the linear row (R 4) is then presented, and the composer has indicated here that the player should sweep from note to note without lingering on any single one, perhaps thus representing the flickering of the flame. Again, fragments of the linear row appear (in various levels of inversion) after which free glissando descents, which commence from the top E string, move progressively along the lower strings·. The flame rises once more and the Bartok pizzicato (bouncing the string against the fretboard) is used very effectively at this point. The remainder of this fourth section uses complete versions of the linear row in all four forms in contrast to the previous fragmentary use of the row, thus perhaps portraying the evenly burning flame. The slow scraping, using a metal object, from the lowest string up to the fifth fret brings the movement to a close. In the final section, Spirit, material from the previous four sections is quoted directly, thereby unifying all five elements. An added feature of the Spirit section is that the guitar is played with a double bass bow for new material." -- Wendy Penny