Symphonic, Piano, and Vocal Works for Performance on Carillon
Arranging Symphonic, Piano, and Vocal Works for Performance on Carillon
By Frances Newell
possible by The Guild of Carillonneurs in North America, Barnes Scholarship
Made possible by The Guild of Carillonneurs in North America, Barnes Scholarship
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Arranging Symphonic, Vocal, and Piano Works for performance on Carillon
by Frances Newell
Arranging 3 Gnossiennes, by Eric Satie
Satie Audio Clips __Hear MP3s _1ere Gnossienne __2eme Gnossienne __3eme Gnossienne
Satie, "Gnossiennes". I said, "Do a piece that you know", but Carlo suggested these. I'd heard them, but knew almost nothing about Eric Satie! You may be asked to arrange work that you do NOT know, by a composer with whom you are unfamiliar. So:
Research the composer, his history, his bio. Listen to some of his other music. Find out what's behind his music.
"Gnossienne" is word that Satie made up, because he was digging deeply into the Gnostic philosophy, as found throughout the New Testament and other major religions and philosophies. For 25-year-old Satie, that meant tuning out the many clashing messages from a noisy, turbulent world and turning inward for answers. This translated to a contemplative musical style. Satie spoke against Beethoven's way of creating a theme and developing it in many ways. (Beethoven's coming next in this report, so you'll see plenty of theme development next!) Satie just created a theme, played with it briefly, then just went on to the next theme. He found barlines constricting, so did not use them. In arranging these I USED barlines until the last minute! I entered it as if it were in 4/4, since the bass line is all whole notes. After all revisions were done, I HID the time signature and barlines, but they were still there to keep the music spacing clean.
Satie has very low bass lines. I transposed whole bass line up one octave, then adjusted individual notes to keep it all within range and in a good line. I transposed accompaniment up 2 octaves and deleted notes as needed to keep it within intervals of 2nd or 3rds. I left the melody in the middle. I also kept in the written comments by Satie, as he himself insisted, such as, "Postulez en vous même", "ask yourself".
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