Refractions (Armstrong, Peter McKenzie)

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 Movement I
#236510 - 0.01MB - 70 seconds -  0.0/10 2 4 6 8 10 (0) - - !N/!N/!N - 44x

MID file (audio/video)
Peter M. Armstrong (Unknown)

 Movement II
#236511 - 0.00MB - 20 seconds -  0.0/10 2 4 6 8 10 (0) - - !N/!N/!N - 28x

MID file (audio/video)
Peter M. Armstrong (Unknown)

TN-refractions-multi.jpg
Performer Pages:

Peter McKenzie Armstrong (composer)

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Creative Commons Attribution Non-commercial No Derivatives 3.0 [tag/del]

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Sheet Music

Scores

 SIngle-staff listening "macro-score"
#236508 - 0.62MB, 7 pp. -  0.0/10 2 4 6 8 10 (0) - !N/!N/!N - 134x

PDF typeset by Unknown
Peter M. Armstrong (2012/6/19)

 Multi-staff study "micro-score"
#236509 - 1.02MB, 11 pp. -  0.0/10 2 4 6 8 10 (0) - !N/!N/!N - 119x

PDF typeset by Unknown
Peter M. Armstrong (2012/6/19)

TN-refractions-multi.jpg
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Composer

Copyright:

Creative Commons Attribution Non-commercial No Derivatives 3.0 [tag/del]

Misc. Notes:

Engraved with LilyPond 2.13.32

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General Information

Work Title Refractions
Alternative Title 12-Tone Chords on an All-Interval Row
Composer Armstrong, Peter McKenzie
Movements/Sections 2
Year/Date of Composition 2012
Dedication in memoriam Phil Winsor
Average Duration 90 seconds
Piece Style Modern
Instrumentation auto-sequencer


Misc. Comments

Composition Notes

In the mid-80s I wrote the first of several programs collectively named "IntLens", which, given
any pitch class series (probably a 12-tone row), complemented or compounded its intervals
in all combinations of selection by class, outputting each result as a graphed chord with asso-
ciated statistical goodies.

Now for a sounding realization true to that idea, I have chosen input 0 1 4 2 9 5 11 3 8 10 7 6,
Mallalieu's all-interval row (most perfectly self-similar, with second half reversing/inverting the
first), to ensure that chord-to-chord contrast stem maximally from registral differences, mini-
mally from input-specific quirks.

Viewing the total process as one of expansion, I have assigned importance to the density of
pitches at extreme range, by making such density determine for each chord both duration
and volume level.

There are two movements, based on alternate strategies for primary vs secondary ordering.
Movement I sequences chords outerly by range, innerly by density; Movement II swaps the
sort criteria.

Two scorings are offered: "macro", a single staff with alto clef, serves in listening to track the
overall chord shapes, but obscures note detail; "micro" in four-staff piano style serves in
reading to provide full note detail, by breaks up the chord shapes.  This latter score notates
each chord as two columns: one for black keys, with a collective sharp-sign; one for whites,
with a collective natural-sign.  Each column pair is read as sounding at once.

Not detailed in score, but explicit throughout the audio files, is consistent chord arpeggiation.
This is applied: in Movement I as "rolls" in pitch-class series order (rather than up or down);
in Movement II as "unrolls" -- similarly ordered note releases after block-chord attacks.

Refractions is dedicated to the memory of composer Phil Winsor, who mentored IntLens's
inception during my season at UNT and once corralled me as keyboardist in a crazy chord
piece of his own.  He dared anything graced with self-discipline.  I already miss him.

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