This brisk setting shows Part's prototypical tintinnabuli technique--two linear voices alternately rise from or fall to a central pitch in syllabic, stepwise motion.
1992) for three choruses, prepared piano, strings, and tape shows a concern for internal musical drama through an extended tintinnabuli technique.
In a passage unique in Part's tintinnabuli output, the density of so und here threatens the reserve of the surrounding music--appropriate to the overwhelming textual message.
All voices are centered upon the pitches of the E-minor triad; one voice acts as the melodic line by inflecting multisyllabic words with stepwise or chromatic motion, while the other voices fill Out the E-minor triad through a tintinnabuli displacement scheme.
The triadic tintinnabuli pitches come on the last syllables of words and create their own rhythm of affective swells.
Part's orchestral writing is at its most extensive here: diatonic clusters familiar to an earlier avant-garde are assimilated into the tintinnabuli process, while lilting modal rhythms in various instrumental groups move through each hour and accelerate into moments of dramatic climax.
The rhythmic approach here moves away from both the syllabic and modal techniques of earlier tintinnabuli works and shows a freedom in applying one-, two-, and three-beat durations to highlight textual meaning and constructive symmetries.
Part continues developing a rhythmic approach that is freer than earlier tintinnabuli music, and aligns each of the texts of the narrator, the disciples, and Jesus with a unique tintinnabuli scheme.
Part divides his forces into canonic and tintinnabuli lines; some--violins 1 and 3--start out one way and then develop a hybrid role reinforcing both elements (an ad lib harp part additionally colours notes from the double bass and cello lines at predetermined moments).
The complete absence of accidentals and the employment of A minor triads by the tintinnabuli voice suggests A Aeolian as the governing mode.
Greater interest for the listener is also ensured in Festina lente by Part's quite significant departure from the austerity of raw scale-forms found in certain other tintinnabuli pieces.
Rightly so: for this work epitomizes his tintinnabuli aesthetic, perfectly harmonizing compositional means and expressive ends.
The lowest chanting voice (cello 3) doubles this line a tenth lower throughout, remaining within the mode, while the middle voice (cello 2) has the tintinnabuli part, drawn exclusively from triads of G minor.
Fratres is perhaps more gratifying than some of Part's other tintinnabuli works because embodied in its materials and processes is a significant element of tension.
In fact, for all its rejection of modernism's more aggressive engagement with conventions of meaning, Part's tintinnabuli style does set its tonal elements in a context that imbues them with a kind of strangeness.