Product Description
When using the intervals of a 4th and a tritone as material for a non-jazz piece, one has to be careful not to make the music sound like jazz, as this particular interval set comprises the essential dominant chord voicing for most jazz pianists. G-C#-F#, for instance, as a representation of A13 or A7.
So, this piece uses complete symmetry, mirroring and topographically equivalent fingerings throughout, so as to avoid this problem. Admittedly, the spellings are not easy to decipher. They often use the flatted form of a note in one clef, and the sharped form of that same musical alphabet letter in the other. This is to avoid endless naturals, as the half-step motion, so typical of movement between 4ths and tritones, necessitates. Arpeggiated figures, block chords, and even some delicious chimes at the close make this piece more than a mere display of intervallic and pianistic options. It has a feeling all its own, as the sequential chromatic meandering up from the lower end of the keyboard to the upper shows each color in turn, all the while keeping to the strict rules that these etudes were constructed under.This is the last of the groups of two interval pieces. Running time is just under 3 mins. MBB
This product was created by a member of ArrangeMe, Hal Leonard's global self-publishing community of independent composers, arrangers, and songwriters. ArrangeMe allows for the publication of unique arrangements of both popular titles and original compositions from a wide variety of voices and backgrounds.