Lytteøvelser 2

In Buenes work “Three Studies for Microtonal Piano (2019)”, there are some subtle quotes from Schuberts sonata D.960 2.mov., and I wanted to show a comparison of the two in order to see how Buenes microtones contribute concerning timbre.

Schubert D.960 (2.mov.) vs Buene (3.mov.)

• Several perfect intervals (5ths and octaves) , yet minor, and in the lower range and soft dynamics, this results in a “round” timbre.

  • D.960
  • bar 1
  • mov.2

• Perfect intervals (octaves), but the lowest C# creates an unstable/shaky fundamental due to it’s string course micro-cluster (-55cent, +55cent, 0 cent).

  • III
  • bar 1-3

Buene Three Studies

• A sharp sound, due to both the accent and the dissonant quartertone interval. The wavy beatings gradually dissappear while the resonance of the highest pitch becomes inaudible.

  • I
  • bar 5

• Harmonic struggle, due to the quartertone low 5th in the first chord, and like insects beatings in the 2nd chord (due to the little “swarm” of different C#5’s.

  • I
  • bar 14

• “Hidden”
  If a quartertone is not one of the lower harmonics of a harmonic spectrum, it often stands out, almost aggressively, especially if it is the top note of the chord. However, when this pitch (such as this 5th 16th-note of the bar) has the melodic pitch, but the attack was hidden in a prevoius chord, then it blends more.

  • I
  • bar 15

• The microtones were more obvious than the “hidden” one (I-bar 15).

  • I
  • bar 45

• Several layers of beatings, especially due to both the quartertone narrow 5th and octave.

  • I
  • bar 37

• The quarter-tone high D changes the colour when the bass (and pedal) changes from C# to E.

  • I
  • bar 49

• The active releasing of keys (when the durations are rather short) creates an illusion of the piano that can sustain its sound, like an organ.

  • I
  • bar 68

• Sharper, colder than the former one (bar 68). I hear the pitches in the sustained (first) chord moving rapidly up and down (as a scale )

  • I
  • bar 71