Crosstalk for Improvising Electric Guitarist and String Quartet

Research output: Other contribution

Abstract

Crosstalk is based conceptually on the idea of the guitarist as ‘outsider’ who eavesdrops on the conversations of the string quartet, often entering the conversation uneasily in the form of dialogue with one of the other instruments which then builds into more engaged interaction with other quartet members, sometimes heated and sometimes calm. The piece is structured as follows: after a brief introduction there are four contrasting sections, each opening with a short duo, followed by a solo guitar cadenza and ending with a coda. Each section investigates properties of a particular set of interval classes; some sections are strictly metered and others unmetered and improvisatory. The piece was written using technical approaches which explore the qualities of this particular group of musicians: in Simon Jermyn’s case to give free reign to his creativity and in particular his ability to improvise using interval class sets rather than the scale/chord relationships normally adopted by jazz guitarists; in the case of the Smith Quartet to highlight their incredible virtuosity, rhythmic vitality and sensitivity.
LanguageEnglish
TypeOriginal Composition
Publication statusPublished - 17 Apr 2010

Fingerprint

Quartet
Guitarist
String Quartet
Jazz
Coda
Creativity
Solo
Duo
Virtuosity
Vitality
Cadenza
Interaction
Guitar
Reign
Outsider
Musicians
Chord

Cite this

@misc{ba2ce0fb59fd48ab9b52bff0ffe389fe,
title = "Crosstalk for Improvising Electric Guitarist and String Quartet",
abstract = "Crosstalk is based conceptually on the idea of the guitarist as ‘outsider’ who eavesdrops on the conversations of the string quartet, often entering the conversation uneasily in the form of dialogue with one of the other instruments which then builds into more engaged interaction with other quartet members, sometimes heated and sometimes calm. The piece is structured as follows: after a brief introduction there are four contrasting sections, each opening with a short duo, followed by a solo guitar cadenza and ending with a coda. Each section investigates properties of a particular set of interval classes; some sections are strictly metered and others unmetered and improvisatory. The piece was written using technical approaches which explore the qualities of this particular group of musicians: in Simon Jermyn’s case to give free reign to his creativity and in particular his ability to improvise using interval class sets rather than the scale/chord relationships normally adopted by jazz guitarists; in the case of the Smith Quartet to highlight their incredible virtuosity, rhythmic vitality and sensitivity.",
author = "Frank Lyons",
year = "2010",
month = "4",
day = "17",
language = "English",
type = "Other",

}

Crosstalk for Improvising Electric Guitarist and String Quartet. / Lyons, Frank.

2010, Original Composition.

Research output: Other contribution

TY - GEN

T1 - Crosstalk for Improvising Electric Guitarist and String Quartet

AU - Lyons, Frank

PY - 2010/4/17

Y1 - 2010/4/17

N2 - Crosstalk is based conceptually on the idea of the guitarist as ‘outsider’ who eavesdrops on the conversations of the string quartet, often entering the conversation uneasily in the form of dialogue with one of the other instruments which then builds into more engaged interaction with other quartet members, sometimes heated and sometimes calm. The piece is structured as follows: after a brief introduction there are four contrasting sections, each opening with a short duo, followed by a solo guitar cadenza and ending with a coda. Each section investigates properties of a particular set of interval classes; some sections are strictly metered and others unmetered and improvisatory. The piece was written using technical approaches which explore the qualities of this particular group of musicians: in Simon Jermyn’s case to give free reign to his creativity and in particular his ability to improvise using interval class sets rather than the scale/chord relationships normally adopted by jazz guitarists; in the case of the Smith Quartet to highlight their incredible virtuosity, rhythmic vitality and sensitivity.

AB - Crosstalk is based conceptually on the idea of the guitarist as ‘outsider’ who eavesdrops on the conversations of the string quartet, often entering the conversation uneasily in the form of dialogue with one of the other instruments which then builds into more engaged interaction with other quartet members, sometimes heated and sometimes calm. The piece is structured as follows: after a brief introduction there are four contrasting sections, each opening with a short duo, followed by a solo guitar cadenza and ending with a coda. Each section investigates properties of a particular set of interval classes; some sections are strictly metered and others unmetered and improvisatory. The piece was written using technical approaches which explore the qualities of this particular group of musicians: in Simon Jermyn’s case to give free reign to his creativity and in particular his ability to improvise using interval class sets rather than the scale/chord relationships normally adopted by jazz guitarists; in the case of the Smith Quartet to highlight their incredible virtuosity, rhythmic vitality and sensitivity.

M3 - Other contribution

ER -