Luciano Berio dedicated his “Sequenza VII”, which was composed in , to the oboist Heinz Holliger. The version of this piece published here was arranged. Berio Sequenza VIIb (soprano). How hard is this supposed to be? I’m working on it right now and trying to get it exactly as written on the page.

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Luciano Berio: Sequenza VII (arranged by: Claude Delangle)

Also, I was thinking more about double tonguing the large intervals. In his instructions on the score, Berio writes. Often, very short periods of time! The sequenza calls for extended technique. From Wikipedia, the free encyclopedia. Several instances occur fiib Line 2, m.

If it helps, I used the Delangle recording for reference. I also have a good one of Delangle playing it live with orchestra though it is not Chemins.

At that point in time, I could do the technical stuff, I could play super high etc, but had no musical understanding.

Luciano Berio: Sequenza VIIb

And I indeed was -that- guy I referenced. Views Read Edit View history. If only Selmer had made a Larry Teal for soprano You may have a tendancy to scoop high notes at first with the second, soft-pallette syllable. As in IXb, the virtuosity nerio certain pitch collections “paint” a certain sound onto the canvas during a very specified duration of time.

By the way, how do you like your new mouthpiece? If there was something in the middle of the S90 If only Selmer had made a Larry Teal for soprano For these passages, keep your syllables as light as possible, “Doo-Goo”, so that you are imperceptibly altering the airstream.


Double tonguing over an octave can be a bit difficult! Herein lies the challenge.

Sequenza VII – Wikipedia

I have good recordings of Delangle, David, and McAllister to which to refer, but would like more different ones. Also, I replied to your pm Angel. I need as many as can be found. I didn’t get very far though because I was diagnosed with jaw tendonitis and I had to quit. Once this is established, speed will come in sequena. The sound-source should preferably not be visible. Jacqueline Leclair breaks down the piece into three sections. If I remember, you play a SC Soprano right?

Welcome to the forum! Berio’s Chemins series took several sequenzas and placed them in orchestral settings in order to give “a commentary organically tied to it and generated by it. Regarding the fingerings, I felt the need to change a few of them to suit my style of playing and instrument.

Thread Tools Show Printable Version. This page was last edited on 7 Juneat The that I play gives me easy dynamic flexibility and a dead even scale up to altissimo D, but low note articulation is a bit iffy unless I’m voicing like a kung fu voicing master and the reed has been worked on a bit. The intensity should be berlo to a minimum with quite small variations. I made it work, but was never happy with it.

I used a rear projection screen that shot a reversed image of the score on the screen from behind similar to the way a television screen works. The piece is built around a drone played on a B natural[1] which typically comes from an offstage source.

The B natural should give the impression of lending a slight resonance to the oboe.

Berio Sequenza VIIb (soprano)

International Double Reed Society. Originally Posted by Angel. I’ve been able to achieve this tone color flexibility on alto with a refaced Selmer LT, just haven’t breio come across the setup that will help me execute these contrasts on soprano.


As for killer young players, yes, there are a lot of technically sound young players. It can be found here: This allows a nice single-tongued accent at the end of these phrases, rather than having to end on a “goo. And since I just sold my soprano to fund a new EX, it’ll probably be a while till I start in on it. I think I’ve found the right stock pieces, and we’ll see if refacing puts them over the top.

I’ll have to try one next time I’m at work.

Angel, I heard Kelland Thomas perform it several years ago in Chicago, it was truly outstanding. A Garland for Dr. Compositionally speaking, Berio is interested in sound fields of both a horizontal and vertical nature. I learned it one line per week, nerio it took a while, but when I was done, it was highly polished. I realize that may not be the case all the time, but I cant help but think about it when I hear some 17 year-old blaze through Ibert, and all I hear is notes, and no musical substance.

Have you tried breath attacks? I’m just substituting different fingerings that achieve similar color. The orchestra is playing the drone. Observer, thank you for taking the time for the detailed response.