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. 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.

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After fratre while, though, they start to unconsciously recognize some of the patterns in the music. The middle voice in the chords is also restricted in this way, so it will only ever play A, C or E in some octave. We want the middle voice to sync up to the low and high voices after one complete revolution.

Arvo Pärt’s “Fratres” in Eight Versions

Thank you for your kind response; it helps me understand this amazing music. If you enjoy solving puzzles, you may wish to search for these patterns yourself. In any case you can listen that version here on Youtube http: The low voice starts at C. For the rising chords, we do the same procedure clockwise. The overall structure of Fratres is simple: All right, but why not double the other C group, the one in the upper right part of the circle? The high voice starts at E and is transposed one octave further up.


I am completely amazed by Fratres and am listening to all the versions on my online music service as the piece is new to me. Maybe its just the diagram that’s wrong I’m trying to figure this out using your process.

Fratres – Wikipedia

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. You are completely awesome. It was premiered in at the festival, performed by Gidon and Elena Kremer. Here, it is performed by the Berlin Philharmonic cello section:.

Arvo Pärt’s “Fratres” in Eight Versions – The Listeners’ Club

Thus, in the first bar we get: Alas, three doesn’t divide seven, so we’re forced to have some sort of assymmetry in afvo circle. We look forward to seeing you again on 2 January. The following diagrams show the starting points for the falling and rising halves of segment number two.

The first half consists of falling chords, and the second half consists of rising chords. I love your analysis Outstanding work, beyond words.

For instance, in the first half of the first segment, the eight chords are: Horizontally, ten refuges separate nine segments.

The recording was part of a birthday present gifted to me Leo’s mother nearly quarter of a century ago. It goes very deep into heart if you hear it in a church By choosing to duplicate the C in the middle voice circle, one prevents the piece from tilting too far towards A major. I believe that the voices move that way due to the smooth, scalar voice-leading that Part chose; but I do not believe that Part was thinking in the fratfes that you describe: Fratres is an elegant example of how mathematics can be beautiful and art can afvo mathematical.


Anyway, to put it in one word: Genres Instrumental chamber music: Time and timelessness are connected. I work with very few elements — with one voice, with two voices. Thank you so much.

I hear it in a concert at Lent. Much like the international date line in the pacific ocean, we add a seam, where the notes get transposed one octave.

Furthermore, the middle voice will by definition play in between the other two voices. As a physicist, I relish in illuminating to non technical people how mathematics and art are so enmeshed. But – in the diagram for the middle voice, wouldn’t there be padt less ‘A’ in the very top of the circle – otherwise the falling half of the first segment would be A-A for the middle voice, when reading clockwise?

Now I want to find out all the other versions of this piece of music. But I think that he was thinking in harmony, melody, and voice-leading.

I hope Lukas from Prague doesn’t read this last sentence about how my former favorite version was the one for male voices and cellos by the Schola Gregoriana Pragensis.