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Browse scores with the # of Performers: 3
* note: This page only shows scores that have "3" explicitly listed as a keyword.
To find scores or pages that have more-than-one keyword, or to browse scores whose titles or pages also contain "3",
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| a dry windy day in the desert
| (MARTIN BACK)
| a graphic score for 3 guitars, whose tuning system was derived from weather data for Feb. 17, 2009
| | Danaë
| (Martin Iddon)
| String trio for players with a bow in each hand
| | drei, 1-10 (2007)
| (stefan thut)
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| | drei, 1-21 (2009)
| (stefan thut)
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| | Interspersions for Dancer Video Double Bass
| (Daniel Barbiero)
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| | It Is Too Late Now Your Life Is No Longer Beautiful
| (Richard Kamerman)
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| | J.S. Bach Transcription
| (ADACHI Tomomi)
| Text score
| | Lives (2)
| (Nick Hennies)
| Various percussion instruments play single pitches, durations determined by decay
| | Pan Piece for John Burtle
| (adam overton)
| a piece for John Burtle on his 25th birthday...
| | Pantomime Grasshopper
| (Cristyn Magnus)
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| | Quite Playin wit Cho Balls
| (Robbie Hansen)
| A video of indicative objects seemingly functioning as one mind
| | slice (Richard Serra)
| (Catherine Lamb)
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| | strings
| (emmanuel witzthum)
| String trio was composed as a set of variations to the song “Mama Yo No Tengo Visto” which is a 16th century Jewish ladino melody. In Hebrew the song is called “calmness”. In writing the work I deconstructed the song by separating the tones of the melody and what the melody was “meant” to convey metaphorically. With the tones I created a series of horizontal and vertical alternate melodies and sets which relate to one another in fields, with the “metaphorical” meaning I attempted to express a process of calming down. The work itself is devoid of rhythm, as such it focuses not on the act of “performing” the tone but on the space between the tones, in the silence that is borne out of the tones intent or potential. In addition the tones do not have articulation or dynamic markings so as to allow the performers as much flexibility for creativity and expression as possible. Without rhythm the piece does not have a fixed duration (as demonstrated by the durations of the two performances on the release), nor do the performers have to adhere to a fixed metronome. They instead should lead and follow, they should be capable to return to an essence of chamber music which I feel is lost in our times, of creating together, of a whole created by it parts, each time different, each time unique, each time without original. Without articulation or dynamics, the tones are equal, the performers decide how to play their tones while the score offers them only a framework within which their interpretations can be expressed. It is my hope with the release that musicians will take the score which is added to the LP and create their own renditions and interpretations of the piece be they acoustic or electronic. The release is a blueprint, an invitation to share and communicate - so too is the score. Emmanuel Witzthum 6.3.2011, Jerusalem
| | the pile
| (Arianne Hoffmann)
| one of the scores from the Bricklayers With A Sense Of Humor project
| | trio
| (Jonathan Jackson)
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| | You are already dancing, Blake Beckham
| (adam overton)
| four movements (solo, duet, solo / duo / or trio, ...) for...
| | ...à son dernier soupir
| (Martin Iddon)
| Relatively normal actions on three stringed instruments are radically and exaggeratedly slowed down. The normal wavering in an ordinary bow stroke is magnified at this glacial tempo, and we are able to perceive characteristics and capabilities of the instruments ordinarily unheard.
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