Study No. 23

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This lesson will explore its fine control, thumb dampening, and intervals. As a result, and due to an injury in , Coste also had a day job as a civil servant. Still, he continued to teach, compose, and publish guitar works. In this case, Etude No. What is unusual is the continuous ostinato bass line, which is to be finely controlled—independently stroke and stop bass strings at will, while playing melody and accompaniment. This dampening is achieved through stopping the bass after a stroke or stopping the string with the side of the thumb, while stroking the next note.

Both of these methods require some practice before becoming natural enough to execute alongside all those 16th notes. The first bar of Micro Study 1 is a simple exercise, the main aim of which is to practice thumb control: The piano up-pedal symbol, an asterisk, has been utilized to show the dampening. The goal is to damp consistently after every note, on the rest, and in time.

These are some of the best-known and celebrated compositions by Nancarrow, even though they are generally not considered a set of compositions, but rather individual compositions that were given the same title and status. The dates of composition are unknown, but approximate ranges have been given according to best evidence. Nancarrow's Studies for Player Piano were started when Nancarrow himself was first experimenting with the possibilities of the player piano.

Most of these studies were never given a formal premiere and, given that Nancarrow lived his life in relative isolation, his studies became better known after the 80s. Furthermore, most of his studies were arranged for many different ensembles and instruments, including two pianos, small orchestra, string quartet, xylophone, vibraphone and celesta, synthesizers and computers.

It is suspected that the Study No. This study was later compiled from the three initial parts into a five movement suite entitled Boogie-Woogie Suite in Its fourth movement included fragments of the second movement of Nancarrow's Suite for Orchestra , composed in It was arranged for piano, piano four-hands, chamber orchestra and small orchestra. Of the two available versions of the third study, the Boogie-Woogie Suite remains the better known and more recorded one.

A photocopy of the first version of the study is available at the Lincoln Center Library.

Method: Learn the Right-Hand and Thumb Techniques for Napoléon Coste’s ‘Etude No. 23’

The suite consists of five movements featuring different music styles. The first movement features a hasty boogie-woogie in which up to seven layers of melodic and rhythmic structures are superimposed. The second movement features a blues , with a twelve-bar ostinato in the bass line which is repeated ten times. The third movement also has a blues character with canonic passages. The fourth movement features a jazz style, whereas the fifth movement comes back to an even more rushed boogie-woogie.

The first study came right after, entitled Rhythm Study No. The study has more than two hundred tempo changes. It was premiered together with Studies Nos. It is a slow blues with two melodic bass parts in tempo ratio of 3: However, Nancarrow also composed three additional version of the same study, entitled by himself Didactical Study No. These versions are also known as 2b, 2c and 2d, respectively, 2a being the main study. This way, 2x 2b has a tempo ratio of 5: Some publishers and record companies use the title Study No.

This extended version arranged for player piano was also composed in and was later included in the set decades later as an afterthought.

25 Etudes, Op.47 (Heller, Stephen)

Between and , Nancarrow wrote the studies nos. Some of these compositions have been dated according to evidence, but Nancarrow never left a date in any of his originals. In these studies, Nancarrow explored the possibilities of polyrhythm , prolation canons and the usage of irrational numbers , such as the square root of two.

However, he still used different musical styles, including jazz or blues. However, it is not a strict canon, as the rhythmic patterns are not followed. It was arranged for the ballet Crises , by Merce Cunningham and John Cage , and again for piano four-hands. It is a study of repeated and rapid runs and chordal motifs, superimposed over two ostinato rhythmic and melodic lines in the bass at tempos 5: It starts with only two voices but ends up with thirteen.

It was also arranged for Crises and, later on, for chamber orchestra. It was first performed in Kassel , in Summer , and has since been arranged for a Marantz computer-piano, chamber orchestra, piano four-hands, two pianos and small orchestra. Of all of Nancarrow's early compositions for player piano, Study No. It takes 6 minutes to perform. According to American music scholar Kyle Gann , it is one of the few studies approaching the sonata form. One of the most complex early compositions, the study features striking rhythmic pattern together with melodic lines.

The eight-part composition ends with racing arpeggios.

It was originally presented with a longer beginning and a shorter ending. It was first performed together with the first three studies in Mexico City , on 30 July and has been arranged for a Marantz computer-piano, chamber orchestra, piano four-hands, two pianos and two disc-pianos. These techniques were further developed along his musical career.

The study is in three parts and is considered the first acceleration study. It was also the first time Nancarrow used bar lines and conventional notation. The first performance of the work was the one in in Mexico City. The following studies would continue to explore varied meters and tempos. Among them, the Study No. As his previous studies, the bass line is in ostinato and the ratios used in the study are 3: It was also premiered in the performance of the studies 7 and 8, in Mexico City and was arranged for chamber orchestra, piano four-hands and two pianos.

The last study to feature jazz characteristics is Study No. It has a blues melody and complex rhythmic patterns, given the continually changing time signature. The first version of this study was in ABA form. However, in Nancarrow's circa revision of the study, the first section was dropped. This later revision is now considered authoritative. It uses conventional notation and features a sequence of repeating chords. There are up to thirty tempo changes in the first page alone. The study imitates the guitar arpeggios used in flamenco music.

This study was arranged for chamber orchestra in These three studies were first performed at the Mexico City event in which most of his other studies to date were performed.

Studies for Player Piano (Nancarrow) - Wikipedia

All of these canons have at least one characteristic in common: Nancarrow became displeased with the result and decided to withdraw it and to never publish it. However, he made it available as a recording. The rest of the canons were published, starting with Study No. It is largely seen as a precursor of Study No. Finally, the Study No. Chronologically, the next composition to be finished was the Study No.

It is an acceleration study where one voice progressively slows down while the other speeds up. The study starts with a bass line playing a tone row at about 4 notes per second, immediately followed by the other voice, playing thirty-nine notes per second. Then the bass line starts to speed up and the treble line slows down progressively, reaching the same tempo halfway through the piece. The piece ends up with one of the lines playing notes per second. It was presumably written in and was first performed in the Mexico City performance in The X alludes to the tempo acceleration and deceleration of both parts in the canon.

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It was also arranged for synthesizer, Marantz computer-piano, two disc-pianos and two voices. The three voices accelerate until the middle of the piece, where they decelerate at the same rate and get to the end of the piece at the same initial speeds. This canon was first performed in Kassel, Germany , in Summer As in Study No.

Study op. 31, No 23 E-Major by Fernando Sor

The treble accelerated part is considered to be "unplayable". The study was also first performed in Kassel in It features rapid repetitions, chains of trills and glissandi. It has been called a "masterpiece" by American scholar Kyle Gann. It was first performed on 30 May , in Ojai, California.