Cage, John. (1912–1992). "Solo with obbligato accompaniment of two voices in canon, and six short inventions on the subjects of the solo" - Holograph Printed Score. Edition Peters by Henmar Press. 1963 [ca.1977]. Score reproduced from the holograph. "For any three or more instruments encompassing the range: G below middle C to G one and one half octaves above middle C." 16 pp. 34 cm. On the title page of the score is written: "Carmel, March 7, 1934"; At the end: "April 5, 1934". Ownership stamp on front wrapper, fine throughout.
In these pieces, each voice is limited to a specific two-octave range. Like in similar pieces of this period Cage tries to keep repetitions of these tones as far apart aas possible. Once all twenty-five notes have appeared, another presentation begins, and so on, throughout the piece. An interesting work from the composer who experimented with the nature of sound and devised new systems of musical notation. His innovative ideas on composition and performance influenced musicians, painters, and choreographers.
In these pieces, each voice is limited to a specific two-octave range. Like in similar pieces of this period Cage tries to keep repetitions of these tones as far apart aas possible. Once all twenty-five notes have appeared, another presentation begins, and so on, throughout the piece. An interesting work from the composer who experimented with the nature of sound and devised new systems of musical notation. His innovative ideas on composition and performance influenced musicians, painters, and choreographers.
Cage, John. (1912–1992). "Solo with obbligato accompaniment of two voices in canon, and six short inventions on the subjects of the solo" - Holograph Printed Score. Edition Peters by Henmar Press. 1963 [ca.1977]. Score reproduced from the holograph. "For any three or more instruments encompassing the range: G below middle C to G one and one half octaves above middle C." 16 pp. 34 cm. On the title page of the score is written: "Carmel, March 7, 1934"; At the end: "April 5, 1934". Ownership stamp on front wrapper, fine throughout.
In these pieces, each voice is limited to a specific two-octave range. Like in similar pieces of this period Cage tries to keep repetitions of these tones as far apart aas possible. Once all twenty-five notes have appeared, another presentation begins, and so on, throughout the piece. An interesting work from the composer who experimented with the nature of sound and devised new systems of musical notation. His innovative ideas on composition and performance influenced musicians, painters, and choreographers.
In these pieces, each voice is limited to a specific two-octave range. Like in similar pieces of this period Cage tries to keep repetitions of these tones as far apart aas possible. Once all twenty-five notes have appeared, another presentation begins, and so on, throughout the piece. An interesting work from the composer who experimented with the nature of sound and devised new systems of musical notation. His innovative ideas on composition and performance influenced musicians, painters, and choreographers.