About Chadwick Music Thankyou for visiting this site. I created it to share some creative activity that's inspired or enthused me since I retired from science and business consulting in 2015. But also to credit the people and organisations who have made that journey so enjoyable and satisfying and hopefully given audiences something to appreciate or at least chew over! My Background and Interests Andrew, originally from Yorkshire, learnt viola and violin in Blackpool under William Rees and then had the privilege of playing and touring with Lancashire Youth Orchestra and the National Youth Orchestra of GB, with viola lessons from Frederick Riddle. Studying science at Oxford, he was introduced to chamber music and had coaching from the Allegri Quartet. Since then he has acted as a semi-professional with Oxford Pro Musica and several East Midlands choirs, also playing in the major amateur Nottingham orchestras and in the Helix Ensemble, while taking continuing violin lessons from Roger Coull. He continued his chamber music interests with lessons in Czechia from members of the Martinu String Quartet, and branched into composing and arranging under the auspices of Contemporary Music for All and for our Bramley House Trio. Now retired from science and IT, he remains a keen chamber music player and has recently performed at the Southwell Music Festival fringe with Katharine, David and the other members of the Southwell String Quartet.

< Back Bach Art of Fugue completion Thomas Daniel J S Bach/ Daniel Contrapunctus XIV, the unfinished quadruple fugue, completed by Thomas Daniel. The completed fugues are in the Werner Icking collection. Violin 1 Violin 2 Viola Score as pdf 'Cello Bach Art of Fugue completion by Thomas Daniel Previous Next

WELCOME Site still under development with compositions and many arrangements still to appear. Use the contact form below to give feedback or say hi if you want! No offers from web developers needed, thanks! CONTACT Name Email Subject Message Submit Thanks for submitting!

Future Music Innovations Here I will talk about some of my innovations and discoveries in 19-Equal Temperament and in extending the application of the Tonnetz of Euler, Kepler and Hugo Riemann 19-ET Why stick to 12 notes to the octave? OK, 12 factorises by 2, 4 and 3 giving you a 6-note whole-tone scale, a diminished seventh with minor thirds that can continue indefinitely, and strings of major thirds that give you augmented sixth chords. You don't get any of these with a prime number of chromatic intervals in the octave. On the other hand, the major third in 12-ET (12-note equal temperament) is so out of tune from just intervals (a 5/4 frequency ratio) that it was rejected as a discord for many centuries, And the minor third is not much better. 19-ET gives you an amazingly pure minor third. Suspend your disbelief and listen to some of the creations in 19-ET from composers such as Sevish , Gabriel Torre and others - or, at a time when keyboard design was in flux, Guillaume Costeley around the year 1570, as shown here by Roger Wibberley. Even Gesualdo sounds richer in this temperament! The Tonnetz I have built a visualisation that works in both 12-ET and 19-ET and, among other features, helps turn arbitrary letter sequences into harmonic progressions. This applies the 'honeycomb' geometric visualisation invented by Euler and extends the letter coding of Hugo Riemann which helps explain the set of all possible triad transitions - in Brahms' and later composers' journey away from functional harmony. This user guide gives much more detail. Within the honeycomb are five video recordings of the tool in action (spot the 'Ode to Cheese!) . Linked also is a recent, polished web-friendly parallel in 12-ET from University of Strasbourg. Their rectilinear layout does not however show the enharmonic 'folding' from right to left and top to bottom - the true geometry is a torus. A#=Bb in 12ET or Bbb in 19ET. Tonnetz demos 12M Play Video 12min Play Video 19M Play Video 19min Play Video Tonnetz videos Watch Now Share Whole Channel This Video Facebook Twitter Pinterest Tumblr Copy Link Link Copied Share Channel Info Close Bayesian Harmonisation In an ambitious 2021 experiment for CoMA, which still has the legs for further development, I applied the Bayesian network tool Netica from Norsys to make a probabilistic harmoniser that can set up to five chords in sequence, optionally fitting a given melodic sequence and/or bass line. Opposite is the basic layout of one transition between chords, showing some of the options available - and the size of the whole network. You can set a 'target chord' or cadence and the network will infer - appling inverted probabilities - the best fit of chords to lead to it. The CoMA composers' group was very interested in looking at the extent to which this could replicate, at the micro level, aspects of a given composer's style, for example a characteristic transition of Vaughan Williams. The tool, christened 'RoboCoMA', was able to satisfy a number of requests from members for examples [sound files to follow] The full network was as much as Netica could handle. As well as basic functional harmony (dominant, subdominant regions - Riemann again!) there is avaiable, for detailed tailoring, a table of transition probabilities from all chord variants to any other variant. No doubt this concept has been overtaken since ! More weird and wonderful games and animations During lockdown, musicians trying to play together over Zoom were struggling to keep in time due to latency on the overloaded networks. This 'Entrain' prototype was an attempt to give them visual feedback on the overall rhythm within any particular pitch range. In the user window it creates bubbles stretching upwards according to the detected pitch, which change to a brighter colour and start to move at right angles once a rhythmic pattern is established. At first a fixed tempo is selected as the reference for rhythm detection, but there is the option smoothly to 'entrain' that tempo, pulling it toward the speed of the players. It has created quite quirky results, but is now (like me) retired....

< Back Byrd Fantasia 1 William Byrd His first to be written but last to be published. Originally in the key of F, transposed up a semitone so that the Vln 2 part lies within range. Violin 1 Violin 2 Viola Score as pdf 'Cello Fantasia a 4 no. 1 in G minor Previous Next

New Music I'm an amateur composer with some training from Open College of the Arts and the CoMA composers course at St Hilda's Oxford. The works showcased here were mainly written for Contemporary Music for All in the East Midlands or Sheffield. read more Small instrumental ensembles Mostly works written for specific CoMA ensembles Flexible ensemble Pieces written for amateur performance with a range of possible instruments, often using acrostic harmonic sequences (see 'Innovations' ) Choral So far, just the one movement, 'Daffodils' written for SATB and piano, for 'Incanto' Nottingham Voice and instruments 'Violets' a short sad song for Soprano, Cor anglais and viola

< Back Bach Art of Fugue completion Jan Trede J S Bach / Jan Trede Contrapunctus XIV, the unfinished quadruple fugue, completed by Yngwe Jan Trede. The completed fugues are in the Werner Icking collection. Violin 1 Violin 2 Viola Score as pdf 'Cello Bach Art of Fugue completion Jan Trede Previous Next

String Quartets Mainly early music - renaissance and baroque - made playable for string quartet. All free to download. Voice, String and Keyboard Classical songs for low voice and piano, where I have added a viola line for the Bramley House Trio. Small Orchestra A few pieces that work better with multiple players on a part. Bach and Handel included. Mostly string orchestra. Other Take a look at the 'Compositions' page for original works for mixed instrumentation, or 'Innovations' to see or hear electronic and microtonal creations Current arrangements Current arrangements

Collaborations Especially during lockdown, I have had the good fortune of two fruitful composing collaborations and subsequently enjoyed restarting public performances. Links below take you to some of the output from these. MachellMusic A valued and fruitful collaboration with the well-established composer/performer David Machell as soloist even acting as Joachim to his Brahms... Here is his own web site MachellMusic and a link to our performance of his sonata for viola and piano on Wordsworth's ode 'Autumn' . CoMA and 'Listening Grounds' https://www.coma.org/whats-on/events/festival-2022/listening-grounds/ CoMA groups in the East Midlands and Sheffield have been great performing colleagues often willing to try out the new music - see the Compositions Page Bramley House Trio A few of my arrangements have been for the Bramley House Trio - Katharine Dryden (mezzo-soprano), David Machell and myself on a fiddle... We've performed widely around the East Midlands and South Yorkshire, with our favourite being the two songs for Alto, Viola and Piano by Brahms (here is one of our favourite recordings) Southwell String Quartet The Southwell String Quartet - David Wood and Catharine Lester violins, Margaret Chadwick on 'cello and myself on viola - have performed several of my arrangements as part of eclectic programmes often associated with Southwell Minster or the Southwell Music Festival While I haven't yet written anything for larger ensembles, much of my experience of music comes from playing in good amateur orchestras, where I have made many friends and encountered plenty of challenging repertoire. Particular highlights have been the Bartok Concerto for Orchestra with Nottingham Philharmonic Orchestra and Tippett's Fantasia Concertante on a theme by Corelli, with the Helix Ensemble LOCAL ORCHESTRAS

< Back Senfl Lust for Music Ludwig Senfl Ludwig Senfl was Swiss Violin 1 Violin 2 Viola Score as pdf 'Cello Ludwig's Lust for Music Previous Next

< Back Froberger Ricercar VII Johann Jacob Froberger Froberger moved between Cologne, Italy and Vienna and is credited as the originator of the dance suite in the early baroque period. Violin 1 Violin 2 Viola Score as pdf 'Cello Ricercar VII Previous Next

T's and C's Content use subject to terms of CC-NC-SA licence All downloadable content is freely provided for study, performance or embellishment in further not-for-profit work. Please acknowledge the contribution I or original creators and collaborators have made, but please do use and perform anything you find stimulating or useful! You can use the Contact form to let me know of any major problems with the material, to offer collaboration on charity or even commercial use, and if you think anything here does in any way breach your own copyright I will be happy to modify or withdraw it. Messages via Mrs Rosemary Brown not, however, accepted!