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1. Orate Fratres

I am completely amazed by Fratres and am listening to all the versions on my online music service as the piece is new to me. I see it is also your favorite piece.

But when I looked it up on Wiki the text citing your analysis seemed a little dismissive of the piece where it says: 'The chord sequences themselves follow a clear pattern, and while the progressing chords explore a rich harmonic space, they nevertheless appear to have been generated by means of a simple mathematical formula.' Were you saying that the piece is somehow simple or mechanically created? Just wondering, your thoughts appreciated. I am completely amazed by Fratres and am listening to all the versions on my online music service as the piece is new to me. I see it is also your favorite piece. But when I looked it up on Wiki the text citing your analysis seemed a little dismissive of the piece where it says: 'The chord sequences themselves follow a clear pattern, and while the progressing chords explore a rich harmonic space, they nevertheless appear to have been generated by means of a simple mathematical formula.' Were you saying that the piece is somehow simple or mechanically created?

Just wondering, your thoughts appreciated. Anonymous The word 'simple' has many connotations. By no means do I consider Fratres trivial or hollow.

Nevertheless, the sequence of notes can be described by a comparatively simple formula, as I've described in the analysis. This makes Fratres amazing, for the same reasons that a mathematician may consider a brief, elegant formula much more beautiful than a complex formula. Simple, in the case of Fratres, means pure, elegant, perfect. I am completely amazed by Fratres and am listening to all the versions on my online music service as the piece is new to me. I see it is also your favorite piece.

But when I looked it up on Wiki the text citing your analysis seemed a little dismissive of the piece where it says: 'The chord sequences themselves follow a clear pattern, and while the progressing chords explore a rich harmonic space, they nevertheless appear to have been generated by means of a simple mathematical formula.' Were you saying that the piece is somehow simple or mechanically created?

Orate Fratres

Just wondering, your thoughts appreciated. Anonymous The word 'simple' has many connotations. By no means do I consider Fratres trivial or hollow. Nevertheless, the sequence of notes can be described by a comparatively simple formula, as I've described in the analysis. This makes Fratres amazing, for the same reasons that a mathematician may consider a brief, elegant formula much more beautiful than a complex formula.

Simple, in the case of Fratres, means pure, elegant, perfect. Does anyone happen to know the origin of the piece, and/or why it has the name Fratres?

I've never come across this in my readings about Part and I am very curious, it being one of my favorite pieces to listen to (and play). Best to all, karl@freefriends.org Fratres means brethren (or brothers). Hence when priests or ministers get together it is called a Fraternity (now that we have women priests it should be a Maternity!) The pulses on the claves/percussion is a Renaiassance call to attention/prayer that the monks (or brothers) would have played using wooden semantra - which prefigured the use of bells in the Eastern Church). Does anyone happen to know the origin of the piece, and/or why it has the name Fratres?

I've never come across this in my readings about Part and I am very curious, it being one of my favorite pieces to listen to (and play). Best to all, karl@freefriends.org Fratres means brethren (or brothers). Hence when priests or ministers get together it is called a Fraternity (now that we have women priests it should be a Maternity!) The pulses on the claves/percussion is a Renaiassance call to attention/prayer that the monks (or brothers) would have played using wooden semantra - which prefigured the use of bells in the Eastern Church).

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This is an interesting analysis. Very intriguing! I think that the 'circular' step-wise motion is an effect, not a cause. I believe that the voices move that way due to the smooth, scalar voice-leading that Part chose; but I do not believe that Part was thinking in the way that you describe: which is to say that the music can certainly be diagrammed in the manner that you describe, but that I do not believe that Part had this scheme in his head when he composed the piece. Certainly, there is a harmonic additive process being employed. But I think that he was thinking in harmony, melody, and voice-leading. Of course, I don't know that for a fact, and again I don't mean to criticize your analysis-only to point out that perhaps Part was thinking in 'math,' from which you have distilled an interesting 'equation.'

I've been searching in vain for a guitar tabulature for Fratres, does anyone have a version? I'd be happy for just the basic rythm part/main chords but I'd really like it if anyone had a tab for some cool arppregios too!

I've found some sheet music but I'm so bad at reading them, I can't translate it reliably:( Forgive my tardiness. Having found this explanation of Fratres on Google (thank you Mr. Kesson for such a thorough analysis!), I set out to intabulate it.

It works perfectly without transposition. Please email me at ninebreaker21@yahoo.com and I will send you a copy of my intabulation. Does anyone happen to know the origin of the piece, and/or why it has the name Fratres? I've never come across this in my readings about Part and I am very curious, it being one of my favorite pieces to listen to (and play).

Best to all, karl@freefriends.org Fratres means brethren (or brothers). Hence when priests or ministers get together it is called a Fraternity (now that we have women priests it should be a Maternity!) The pulses on the claves/percussion is a Renaiassance call to attention/prayer that the monks (or brothers) would have played using wooden semantra - which prefigured the use of bells in the Eastern Church) No, sorry, it would be sorority - not maternity! Thanks for the in-depth information on Fratres! I'm wondering if anyone else knows the version from William Orbit on his first released Pieces In A Modern Style album? The album was pulled from the market again only weeks after release because he couldn't get the rights for some of the pieces (among them Fratres and Gorecki's Pieces In The Old Style, which is a real bummer because they are the best). In any case you can listen that version here on Youtube it's one hauntingly deep piece!

Btw: anyone happen to have a MIDI file of the arrangement (yes, i'm being lazy;). I've been listening - 3 times now! - to a recording of Leo Phillips's beautiful performance of Fratres recorded at the Leicester Haymarket with Martyn Brabbins conducting the East of England Orchestra (11.2.1990).

I love it - and I suspected something of the sort - but I had no idea just how exquisite was the nature of the composition. The recording was part of a birthday present gifted to me (Leo's mother) nearly quarter of a century ago. I'm including your notes along with the recordings I've been making for his half century birthday present! A beautiful bonus.

Thank you so much. Jill Phillips.

I've been returning to this page for a couple of years now, and I point it out to other people on a regular basis, too. I'm not particularly interested in SIDs or in classical music rendered with computers or anything, but you have created something really special here. Reading the comments once again I just realized that I agree with Lukas from Prague's statement about how this particular 8 bit sound suits this music so well that it has become (his second and) my favorite version. Someone else, I believe, is saying that the synthetic timbres match the 'unworldly chord progressions', well, that is just exactly how I feel about it. I hope Lukas from Prague doesn't read this last sentence about how my former favorite version was the one for male voices and cellos by the Schola Gregoriana Pragensis. Anyway, to put it in one word: thanks.