Originally composed for four wind instruments, Pari intervallo was later arranged by the composer for organ (and later for recorder quartet), making it one of only a handful of works for organ within the composer's oeuvre. It was written in memory of a recently deceased friend and was one of seven works premiered in 1976 under the title Tintinnabuli. These pieces effectively and eponymously marked the beginning of a compositional style with connections to minimalism, but with a distinctive sonority entirely 's. The title of Pari intervallo quite accurately describes the compositional process functioning in this and other 'tintinnabular' works. It is characterized by a homophonic combination of two kinds of voices (to use 's helpful terminology): M- (melodic) lines and T- (tintinnabular) lines. M-lines usually move diatonically in a scalar or stepwise fashion, while T-lines emphasize a triadic sonority by leaping between chord tones. This effect is full of harmonic variety, but remains harmonically stable.

• Annum Per Annum Arvo Part Pdf Creator 2017

Annum Per Annum Arvo Part Pdf Creator 2017

In essence, 's system insists on tonality, but divorces it from the idea of harmonic 'function.' The harmony isn't supposed to take the listener somewhere and then lead him/her back home; rather, it stays put while the listener explores it. Pari intervallo is comprised of two such pairs.

Two M-voices are given in the outer voices, while the two inner voices undertake tintinnabular functions. Six phrases make up the work, each containing 12 measures. The melodic material in each phrase begins on a different note of the triad. The outer voices move in parallel motion, always separated by two octaves plus a third, except at the beginnings and endings of phrases, where they expand from and collapse to a double octave. The divergence and convergence of the M- and T- lines creates an interesting musical symbol, much of which himself suggests. According to the composer, the polarity of melodic and tintinnabular lines corresponds with spiritual dualities.

Simply and reductively put, the M-line can be thought of as representing flesh, the Earth, and mortality, while the T-line suggests heaven, eternity, and spirit. As the two lines function independently but in rhythmic consonance, they effectively occupy the same space, like the body and spirit of a living being; as 's wife suggested, '1+1=1.'

This idea is particularly poignant in considering the circumstances of mourning surrounding this piece - the transformation of a mortal soul into an immortal spirit.

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