Timeless (Chiva Sanz, Daniel)

Composition Year	2017
Genre Categories	Pieces; For violin, double bass; Scores featuring the violin; [2 more...]Scores featuring the double bass; For 2 players

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Performances

Complete Recording
*#542470 - 8.87MB - 4:51 - 8/10 2 4 6 8 10 (2) - !N/!N/!N - 1009×⇩ - MP3 - Daniel Chiva Sanz

Publisher Info.	Daniel Chiva Sanz, 2018.
Performers	Xavi García Morató (violin), Daniel Chiva Sanz (double bass)
Copyright	Creative Commons Zero 1.0 [tag/del]
Misc. Notes	Live performance in El Tormo (Spain).
Purchase	Javascript is required for this feature.

Complete Score
*#542351 - 0.93MB, 7 pp. - 0/10 2 4 6 8 10 (0) - !N/!N/!N - 2015×⇩ - Daniel Chiva Sanz

PDF typeset by composer
Daniel Chiva Sanz (2018/9/21)

Publisher. Info.	Daniel Chiva Sanz, 2017.
Copyright	Creative Commons Zero 1.0 [tag/del]
Misc. Notes	Solo tuning (scordatura) part inside.
Purchase	Javascript is required for this feature.

Work Title	Timeless
Alternative. Title
Composer	Chiva Sanz, Daniel
Internal Reference NumberInternal Ref. No.	IDC 2
Year/Date of CompositionY/D of Comp.	2017
First Performance.	2018
First Publication.	2018
Average DurationAvg. Duration	4-5 minutes
Composer Time PeriodComp. Period	Modern
Piece Style	Modern
Instrumentation	violin, double bass

Timeless was originally a duo for two double basses but soon it became a violin and double bass duo. This piece is a meditation of how link a sound to each other. In this piece you can found music inspired by baroque music, jazz melodies, pop music, etc. All mixed to make your brain think that the music will continue in the way you expect but suddenly it changes to another style. In this piece there are some tricky sections for the violin and also for the double bass. It is really important to be ready to change your mind from one style to another because it happens very fast. The violin melody in bar 21 has to be direct and forte with a little bit of swing. The sixteenth notes in bar 22 can be played as a glissando. Between bars 25 to 29 you can add a little chop in the rests. The rift on the double bass part on bar 30 is provably one of the trickiest sections but it will be fine if you drop your bow near the bridge (In the solo tuning version is different). After the forte section that is inspired on Beethoven’s Egmont overture, there is a really expressive section. Feel free to sing but always with sobriety and without abandoning a dynamic near from piano. After this long section, end the piece with energy but starting with a crescendo to as forte as you can. If you are a violinist, find a friend who plays double bass or vice versa to have a good time playing this duo. Because all Daniel’s music is composed to be performed with friends.