Fratres by Arvo Pärt is one of my favourite pieces of music. The analytical meets the aesthetical as Pärt takes us on a meditative, harmonical. This one note, or a moment of silence, comforts me. I work with very few elements – with one voice, with two voices. I build with the most. Arvo Part’s Fratres and his. Tintinnabuli Technique. By Rade Zivanovic. Supervisor. Knut Tønsberg. This Master‟s Thesis is carried out as a part of the education.

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Arvo Pärt’s “Fratres” in Eight Versions

Vertically, the piece is divided into two drones an A and an E that last throughout the piecethree moving voices low, middle and fratrse and some percussion claves and bass drum. It has been used in numerous movie soundtracks and dance shows.

I’m trying to figure this out using your process. In my dark hours, I have the certain feeling parr everything outside this one thing has no meaning. What is it, this one thing, and how do I find my way to it?

It’s a violin playing what I suppose is the same theme but much faster on top of the theme you’ve got here. This gradual awakening, whether intended by the composer or not, is perhaps what fascinates me most about Fratres. I work with very few fratrds — with one voice, with two voices. Share Facebook Twitter Share.

That would be too dissonant. I’m including your notes along with the recordings I’ve been making for his half century birthday present! Each segment can be further divided into two halves: Someone else, I believe, is saying that the synthetic timbres match the “unworldly chord progressions”, well, that is just exactly how I feel about it.


But I think that he was thinking in harmony, melody, and frstres. I hope Lukas from Prague doesn’t read this last sentence about how my former favorite version was the one for male pary and cellos by the Schola Gregoriana Pragensis.

Thank you for your kind response; it helps me understand this amazing music. To achieve symmetry, this is done when we’ve come exactly half the way around the circle, i. I’m a little confused about the middle voice. I don’t see how the circle for the first segment and the notation line up.

The first half consists of falling chords, and the second half consists of rising chords.

I just love pages like this on the internet. Now just complete the arpeggios: This basically means that some voices are restricted to playing notes from a particular triad in Fratres this is the A minor triadwhile other voices play melodies. But when I looked it up on Wiki the text citing your analysis seemed a little dismissive of the piece where it says: This will ensure that we end up where we started.

Arvo Pärt: Fratres

In order to understand the algorithm behind Fratres, we just need to figure out how to form the eight chords that fratrew up each segment half. This is possible using the basic principle of the tintinnabuli technique, where the musical material does not necessarily have to be tied to the timbre of a specific instrument. Both these journeys begin at the indicated note, e. We want the middle voice to sync up to the low and high voices after one complete revolution.

These are accompanied throughout the entire composition by a resounding low drone of fifth. This one note, or a moment of silence, comforts me. Furthermore, frqtres middle voice will by definition play in between the other two voices.


Thus, in the first bar we get: I heard Fraters for a choir in Tallinn, Part’s native city, a few weeks back with the master present – it was sublime. But these constraints alone will padt be enough to guide the middle voice, so instead we devise a new circle containing the three possible notes:. Do you know how it’s laid out in the violin version?

Each segment contains prt series of chords arranged in some kind of harmonic progression.

Arvo Pärt: Fratres | Great Noise Ensemble

Listening to multiple incarnations back-to-back provides a unique experience. Fratres is an elegant example of how mathematics can be beautiful and art can be mathematical. I see it is also your favorite piece.

I am completely amazed by Fratres and am listening to all the avro on my online music service as the piece is new to me.

I just want to extend my heartfelt thanks for this beautiful rendition of Fratres.

This is an interesting analysis. I’ve found some sheet music but I’m so bad at reading them, I can’t translate it reliably: For the rising chords, we do the same procedure clockwise. And this is the cause of all of our contradictions, our obstinacy, our narrow-mindedness, our faith and our grief.

Please report any abuse, such as insults, slander, spam and illegal material, and I will take appropriate actions. Throughout the composition we can hear a recurrent theme that starts each time in a different octave.

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