death_fugue

Several months on and off--I'd guess 25-30 hours total. The theme has a rather limited number of notes, but I also used some of the secondary theme--it's just not as obvious.

In this case, I knew the abilities of the performer, so virtually anything was possible! If others decide to take it on, I may need to simplify it in places.

Thank you for your detailed response! I've played for quite a while and have studied numerous other scores that push players to the edge of playability. I don't think any one passage is actually impossible (I just played through those that you specify--surely they are quite difficult, but I wrote this for a super-virtuoso!). Listen to/look at Eliot Carter's Changes or Berio's Sequenza XI for guitar--both are just as punishing in different ways! Finale's Canonic Tool sometimes does weird enharmonic things, and this is one case. I fixed the g#/ab e#/f--thanks. I initially wanted the 1/4 notes to die out, but now I decided to have them partially play out the theme. Again, thanks for calling my attention to the passage.

No, the right hand pulls the string away from the fingerboard (about 1/2 inch) and lets it snap back--a pull off uses the left hand to play the upper note that "pulls off" to the lower one. Fair enough...that's why it's in the Atonal section! :wub:

Haha, thanks. Yes, that might be tricky. I've sent the score to a few ultra-virtuoso players, but I haven't gotten a response yet. I recently completed a new score, which is just as difficult, and it will be premiered in a few months by Antonio de Innocentis. This new piece is a little less dissonant, which appeals to Antonio more than "Twilight" does.

The string is pulled away from the fingerboard and allowed to snap back--it gives a very percussive sound yet with a definite pitch. Bela Bartok invented it.

This piece is a variations and fugue on "The Twilight Zone" for solo classical guitar. It's wildly virtuosic and atonal. Twilight Mutations.pdf Twilight Mutations.MUS Twilight Mutations2.MID