Tonoi (Visser, Dick)

Movements/SectionsMov'ts/Sec's	4 movements
Composition Year	2007-11
Genre Categories	Pieces; For guitar; Scores featuring the guitar; For 1 player

1 Performances
- 1.1 Recordings
2 Sheet Music
- 2.1 Scores
3 General Information
4 Navigation etc.

Performances

Recordings

III. Vivace
*#488284 - 3.65MB - 3:11 - 0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 65×⇩ - MP3 - Wim Hoogewerf

MP3 file (audio)
Wim Hoogewerf (2017/8/14)

IV. Allegro moderato
*#488285 - 0.71MB - 0:31 - 0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 48×⇩ - MP3 - Wim Hoogewerf

MP3 file (audio)
Wim Hoogewerf (2017/8/14)

Publisher Info.	Dick Visser Estate, 2017.
Performers	Wim Hoogewerf
Copyright	Creative Commons Attribution-NonCommercial-ShareAlike 4.0 [tag/del]
Misc. Notes	Home recordings
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Sheet Music

Scores

Complete Score
*#488281 - 0.28MB, 16 pp. - 0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 141×⇩ - Wim Hoogewerf

PDF typeset by editor
Wim Hoogewerf (2017/8/14)

Editor	Wim Hoogewerf (b. 1956)
Publisher. Info.	Dick Visser Estate, 2017.
Copyright	Creative Commons Attribution-NonCommercial-ShareAlike 4.0 [tag/del]
Misc. Notes	Engraved by Wim Hoogewerf
Purchase	Javascript is required for this feature.

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General Information

Work Title	Tonoi
Alternative. Title
Composer	Visser, Dick
I-Catalogue NumberI-Cat. No.	IDV 35
Movements/SectionsMov'ts/Sec's	4 movements: I. Andante con moto ( = 96) II. Larghetto ( = 63) III. Vivace ( = 126) IV. Allegro moderato ( = 112)
Year/Date of CompositionY/D of Comp.	2007-11
Dedication	Wim Hoogewerf
Average DurationAvg. Duration	7 minutes
Composer Time PeriodComp. Period	Modern
Piece Style	Modern
Instrumentation	guitar
Extra Information	quarter tone music

Navigation etc.

Written after the inspiring UK Microfest 2 2-4 March 2007. The ancient Greek tonal system provided an important fundament to e.g. the development of the european art music. Within the so-called « harmonia », the middle octave e - e', variably diatonic, chromatic, but also « enharmonic » (quarter tone) intervals were used.The thus available modi, extended with a lower and upper octave, practically signified a « stock » of different tones that was comparable to the range of the classical kithara and our own contemporary concert guitar. The microtonal scordatura of string ➄, ➂ and ➀ in this piece - by tuning these three strings a quarter tone lower - gives all possibilities which one found in that time with the so-called transposed scales or tonoi. And which from now on are available in new microtonal compositions. [Dick Visser]