Petros Shoujounian

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Petros Shoujounian
    
    Six Melody for Cello Quartet
    
    
    
    Petros Shoujounian, an Armenian/Canadian composer has written Six Melodies
  for Cello Quartet, 2017, based on the folksong collection of the Armenian
  priest Komitas, known as the founder of the Armenian national school of music
  and one of the pioneers of ethnomusicology. Below are comments from the
  composer about his inspiration in writing these Six Melodies for Cello
  Quartet
    
    My interest in the collected works of Komitas's ethnographical songs was
  aroused when I was introduced to Bela Bartok's similar works followed by Alan
  Hovhaness's huge creative world. Bartok completed his project having at his
  disposal a large collection of ethnographic music, while Hovhannes studied
  the wealth of Komitas's music with great interest. It is difficult to say to
  what extent the Armenian underpinning of Hovhannes's works is nurtured by
  Komitas's musical world, but his classical interpretation of the Armenian ethnographical
  music created a huge interest in the listener. Needless to say, there is also
  Aram Khachaturianis legacy, which at its core has the ardent presence of
  the Armenian spirit, nurtured by Komitas's very existence.
    
    Komitas has left a collection of about 3,000 cleaned versions of the
  ethnographic song and dance pieces, of which 1,700 have reached us and about
  400 of which have been activated. I believe that in those beautiful musical
  fragments reside the power to be revived, once we enrich them with colorful
  musical instruments and unbounded polyphonic imagination.
    
    This is the motivation behind my own work and these Six Melodies for Cello
  Quartet: to make the essence of our ethnographic music accessible through Komitas.
    
    
    
    Petros Shoujounian,
    
    Composer

Six Melodies for Cello Quartet

Cello Quartet

Format

KEYS
In this volume, exercises for the keys are provided. Though less in demand, it is required
in a few institutions. Here, there is detailed work on the keys. Each note symbol is dealt
with and a more thorough study of the seven keys is given also. Each symbol is used on
the lines and spaces, then are combined gradually to attain mastery of the keys.

'Perfect Solfeggio'' Book 3

Book Book 3

RHYTHM
The rhythm exercises are divided into several sections. They begin with a simple pulse in
quarter notes to learn steady rhythm. Then they are followed by splitting it in
two, which allows students to develop a rhythmic sense, know the various symbols and
tackle increasingly challenging groupings. To the quarter notes are added eighth notes,
triplets (in one voice and two), sixteenth notes, groups of four sixteenth notes, etc. After wards, the time signatures come into play. Here, the two-voice exercises immediately follow
those in one voice, using the same time signatures, the same symbols to maintain
the same characteristics. Using the metronome is a must here. Still, a few accents are
added to clarify the intent. The exercises are progressive and encompass all the characteristics
and rhythmic symbols learned in the preceding parts. At the end, we have
three-voice exercises of increasing difficulty. The initial exercises are very simple and
gradually develop toward mastery of all the challengesa series of rhythmic exercises
that are focused solely on the pulse in various time signatures. In contemporary music,
the pulse changes in nearly every measure. The few exercises provided in this collection
for study should be sufficient to provide a general idea of the challenges of shifting pulse
and provide help for mastering this.

''Perfect Solfeggio'' Book 5

Book

Petros Shoujounian, an Armenian/Canadian composer has written Piano Trios
  No 5,6,7, 2018, based on the folksong collection of the Armenian priest
  Komitas, known as the founder of the Armenian national school of music and
  one of the pioneers of ethnomusicology. Below are comments from the composer
  about his inspiration in writing these Trios
    
    My interest in the collected works of Komitas's ethnographical songs was
  aroused when I was introduced to Bela Bartok's similar works followed by Alan
  Hovhaness's huge creative world. Bartok completed his project having at his
  disposal a large collection of ethnographic music, while Hovhannes studied
  the wealth of Komitas's music with great interest. It is difficult to say to
  what extent the Armenian underpinning of Hovhannes's works is nurtured by
  Komitas's musical world, but his classical interpretation of the Armenian
  ethnographical music created a huge interest in the listener. Needless to
  say, there is also Aram Khachaturianis legacy, which at its core has the
  ardent presence of the Armenian spirit, nurtured by Komitas's very
  existence.
    
    Komitas has left a collection of about 3,000 cleaned versions of the
  ethnographic song and dance pieces, of which 1,700 have reached us and about
  400 of which have been activated. I believe that in those beautiful musical
  fragments reside the power to be revived, once we enrich them with colorful
  musical instruments and unbounded polyphonic imagination.
    
    This is the motivation behind my own work and these Piano Trios: to make
  the essence of our ethnographic music accessible through Komitas.
    
    
    
    Petros Shoujounian,
    
    Composer

Piano Trio No 5,6,7,

Piano Quartet- Violin, Viola, Cello, Piano Trio

Petros Shoujounian, an Armenian/Canadian composer has written Piano Trios
  No 2,3,4,
    
    2018, based on the folksong collection of the Armenian priest Komitas,
  known as the
    
    founder of the Armenian national school of music and one of the pioneers
  of
    
    ethnomusicology. Below are comments from the composer about his inspiration
  in
    
    writing these Trios
    
    My interest in the collected works of Komitas's ethnographical songs was
  aroused when I was
    
    introduced to Bela Bartok's similar works followed by Alan Hovhaness's huge
  creative world.
    
    Bartok completed his project having at his disposal a large collection of
  ethnographic music,
    
    while Hovhannes studied the wealth of Komitas's music with great interest.
  It is difficult to say
    
    to what extent the Armenian underpinning of Hovhannes's works is nurtured
  by Komitas's
    
    musical world, but his classical interpretation of the Armenian
  ethnographical music created a
    
    huge interest in the listener. Needless to say, there is also Aram
  Khachaturianis legacy, which at
    
    its core has the ardent presence of the Armenian spirit, nurtured by
  Komitas's very existence.
    
    Komitas has left a collection of about 3,000 cleaned versions of the
  ethnographic song and
    
    dance pieces, of which 1,700 have reached us and about 400 of which have
  been activated. I
    
    believe that in those beautiful musical fragments reside the power to be
  revived, once we enrich
    
    them with colorful musical instruments and unbounded polyphonic
  imagination.
    
    This is the motivation behind my own work and these Piano Trios: to make
  the essence of our
    
    ethnographic music accessible through Komitas.
    
    Petros Shoujounian,
    
    Composer

Piano Trio No 2, 3, 4

Petros Shoujounian
    
    Six Cello Duos (2021)  
    
    
    
    The deep sound of the cello is what the public loves the most in the
  concerts.
    
    Bachis iiPartitasii are iione instrument symphonies.ii
  Itis so powerful.
    
    As soon as the musician puts the bow on the instrument, itis rich sound
  grabs you and youire in a meditative session. This is the distinctive
  quality of the cello. 
    
    Hence, after a long reflection, I decided to put two cellos together and
  write a free counterpoint for this fascinating instrument.
    
    Youill find intense melodies merging between the two cellos and itis
  stays until the end of the piece.
    
    I have six pieces for two cellos, all of them not too long, but still very
  challenging for the musicians.
    
    Petros Shoujounian

Six Cello Duos

Cello Duet

These concert duos composed in a very short time, having a unique source of inspiration for each piece. They were named after being composed, according to the natural phenomenon that inspired it. At the core of the melodies lies Armenian Sacred Music from 10th to 15th century.
 
https://youtube.com/playlist?list=PL-7e0d4gtdn-jjFIZivqfe2G77k3XDfFS

Twelve Concert Duos For Two Violins

Violin Score

``Group of seven`` musical exhibition 
    
    
    
    An original piece of art is a passionate creative work that reflects the
  soul of the artist and the soul of the buyer as well for choosing the art
  piece. To the viewer in todayis increasingly cultivated society, seeing
  works of visual art can stimulate interest, change, or suggest a new way of
  seeing things around us. It can trigger us to inquire about what we perceive,
  which helps our understanding of other realms as well.
    
    
    
    In the early twentieth century, circumstances brought together several
  artists who were committed to exploring, through art, the unique character of
  the Canadian landscape.
    
    
    
    The Group of Seven was a group of Canadian landscape painters known for
  their large, brilliantly colored scenes of the Canadian wilderness.
    
    
    
    Believing that a distinct Canadian art could be developed through direct
  contact with nature, the Group of Seven initiated the first major Canadian
  art movement. The original members of the group were Franklin Carmichael,
  Lawren Harris, A. Y. Jackson, Frank Johnston, Arthur Lismer, J. E. H.
  MacDonald, Frederick Varley.
    
    
    
    Canadais rugged wilderness needed to be recorded in a distinctive
  painting style; a style that would break from the European tradition and
  reflect an increasingly nationalistic sentiment.
    
    
    
    Today, these men are among Canadais most famous artists. For many, their
  works have come to symbolize what is distinctly the Canadian identity.
    
    
    
    I chose three paintings from each painter as inspiration to compose my
  seven-movement musical exhibition for two Pianos.
    
    
    
    Petros Shoujounian

''Group of Seven'' musical
  exhibition For Two Piano

Piano Duet-2 Pianos, 4 Hands

MIXED
These exercises bring together everything learned. Before attempting these exercises,
the student must have mastered all the notions learned. In this volume, there are exercises
in one, two, and three voices. The challenges are greater with intonations, rhythms,
and keys. The audio files play a big role here. The student who succeeds in mastering all
the exercises should no longer encounter unsurmountable challenges in any score. They
should feel quite at ease.

''Perfect Solfeggio'' Book 6

KEYS In this volume, exercises for the keys are provided. Though less in demand, it is required in a few institutions. Here, there is detailed work on the keys. Each note symbol is dealt with and a more thorough study of the seven keys is given also. Each symbol is used on the lines and spaces, then are combined gradually to attain mastery of the keys.

'Perfect Solfeggio'' Book 4

Book Book 4

Intonation Intervals The exercises (complete musical phrases) are composed specially for each interval and are designed to develop strong intonation base. They are presented individually from small to large seconds, thirds, perfect fourths, tritones, fifths, sixths, sevenths, octave, and unison together, ninths, and tenths. The initial exercise introduces seconds. In the next one, thirds are added but seconds remain, and so on for each subsequent exercise. Thus, there is a gradual introduction of fourths, fifths, sixths, etc. In this way, singing each interval becomes increasingly natural. Each exercise includes different rhythmic and melodic characteristics. By varying the pulse (the beat), many types of rhythms are tackled simultaneously with the intervals. The exercises are not very long, keeping the focus on each interval as it is developed. They are designed to keep interested in the music and the phrasing, and also to accentuate the newly introduced interval. In the exercises, the measure where the new interval is introduced is very striking. This method enables more natural auditory memorization of the intervals, especially with combinations of intervals that are harder to maintain.

Perfect "Solfeggio'' Book 2

Book Book 2

INTONATION  INTERVALS
    
    The exercises (complete musical phrases) are composed specially for each
  interval and
    
    are designed to develop strong intonation base. They are presented
  individually from
    
    small to largeseconds, thirds, perfect fourths, tritones, fifths, sixths,
  sevenths, octave,
    
    and unison together, ninths, and tenths. The initial exercise introduces
  seconds. In the
    
    next one, thirds are added but seconds remain, and so on for each
  subsequent exercise.
    
    Thus, there is a gradual introduction of fourths, fifths, sixths, etc. In
  this way, singing each
    
    interval becomes increasingly natural.
    
    Each exercise includes different rhythmic and melodic characteristics. By
  varying the
    
    pulse (the beat), many types of rhythms are tackled simultaneously with the
  intervals.
    
    The exercises are not very long, keeping the focus on each interval as it
  is developed.
    
    They are designed to keep interested in the music and the phrasing, and
  also to accentuate
    
    the newly introduced interval. In the exercises, the measure where the new
  interval
    
    is introduced is very striking.
    
    This method enables more natural auditory memorization of the intervals,
  especially
    
    with combinations of intervals that are harder to maintain.

''Perfect Solfeggio'' Book 1

The 100th anniversary of the Armenian genocide, an internationally
  acknowledged tragedy in which more than one and a half million Armenians
  died, was commemorated in 2015. To mark this anniversary and draw our
  attention to this tragedy, I have written four string quartets, all based on
  Armenian liturgical chants.
    
     These chants, which date from the
  medieval period (from the 5th to the 15th centuries), have been transmitted
  to us in manuscript form. The neumes in which they were notated were
  transcribed by musicologist Nikoghos Tahmizian and compiled in his book on
  Gregory of Narek and Armenian music from the 5th to 15th centuries. In this
  book, the main source of the liturgical chants that inspired my quartets,
  these chants are presented in the form of monologues or prayers for a single
  voice. In my quartets, the content of these prayers is enriched with
  polyphony.
    
     Each movement is named after a river
  in Armenia. The symbolism is intentional: water is essential to life, and
  rivers are the veins of a country, just as faith nourishes and sustains our
  existence as creative and forward-looking people.
    
    
    
    
    
    1i iiAkhourianii Itis the evening before the feast. Everything
  is being made ready for the big Easter celebration. Itis a scene of
  commotion, as everyone works hard to finish on time. The mood of this
  polyphonic prelude is full of joy and positive energy. As the theme passes
  from one instrument to another it keeps its festive feel. 
    
    
    
    2i iiAghstevii The source of this movementis main theme is the
  magnificent liturgical chant Seerd Eem Sasanee (My Heart Trembles). The
  intensity of the content in this great monologue grows more pronounced when
  the second voice enters, in unison, like a background sound. This simple
  dialogue clarifies each thought and leads us to deep and sad reflections. A
  little later, the third voice, with high, sustained notes, takes over from
  the others, and so the music flows to a somber and melancholic end. 
    
    
    
    3i iiVediii In this scene of exaltation and glorification, the
  theme of happiness, like the song of a rippling stream, is passed from one
  instrument to the other, creating a mood of real joy that dominates until the
  end.
    
    
    
    4i iiGetikii For this movement, which is inspired by the power
  and determination embodied in liturgical chant, a marvelous monologue found
  in the ancient patrimony of Armenian music serves as the point of departure.
  This theme also transmits the delight associated with good will and trust in
  others. Itis a question, then, of remaining true to the faith. The
  complexity of the movement lies in how it is performed: you must hear the
  profundity of the cry that bursts from the lips of a monk living in a
  monastic cave in the 14th century.
    
     5i iiArgishtiii The solo
  of this final movement contains a message of hope. It communicates all the
  positive forces: goodness, honesty, straightforwardness, candor, justice;
  and, as well as these magnificent forces, we also hear expressions scruples,
  and forgiveness. All these qualities characterize a people who have known how
  to pray, to remain strong in faith, to survive all evils and threats, to
  prosper, to create a sure and happy future. And thus, they continue to carry
  their Holy Cross, the symbol of Love and Peace.
    
    
    
     Petros Shoujounian
    
     Translated by Sean McCutcheon

String Quartet No 6

String Quartet

The 100th anniversary of the Armenian genocide, an internationally
  acknowledged tragedy in which more than one and a half million Armenians
  died, was commemorated in 2015. To mark this anniversary and draw our
  attention to this tragedy, I have written four string quartets, all based on
  Armenian liturgical chants.
    
     These chants, which date from the
  medieval period (from the 5th to the 15th centuries), have been transmitted
  to us in manuscript form. The neumes in which they were notated were
  transcribed by musicologist Nikoghos Tahmizian and compiled in his book on
  Gregory of Narek and Armenian music from the 5th to 15th centuries. In this
  book, the main source of the liturgical chants that inspired my quartets,
  these chants are presented in the form of monologues or prayers for a single
  voice. In my quartets, the content of these prayers is enriched with
  polyphony.
    
     Each movement is named after a river
  in Armenia. The symbolism is intentional: water is essential to life, and
  rivers are the veins of a country, just as faith nourishes and sustains our
  existence as creative and forward-looking people.
    
    
    
    
    
    1a aa Vorotanaa We witness a scene of humble praise-giving gently
  turning into a lamentation. The transition, as images of joy give way to a
  mood of profound sadness, is gradual, leaving room for the grain of hope on
  to which each of us holds when we experience these episodes in life.
    
     2a aa Pambakaa Three
  instruments present the theme of light. The intervention of the fourth
  instrument is always incomplete; it hesitates before this lightas power.
  Though it changes in character, the theme is always recognizable. Every time
  it returns, the trio plays more and more majestically, and despite the
  apparent complexity of the writing, the music moves forward with
  simplicity.
    
     3a aaKasaghaa The theme
  shared between the trio and the cello in the previous movement is followed by
  an energetic motif which begins in unison, signifying the unifying nature of
  this prayer. When it comes to calling for justice, for an exit from
  inextricable conflict, all humans are united. The decisive theme, which
  remains unchanged throughout the movement, has a strong rising melodic line,
  and is marked by explosive chords and unexpected pianissimos.
    
    
    
    Petros Shoujounian
    
     Translated by Sean McCutcheon

String Quartet No 5

The 100th anniversary of the Armenian genocide, an internationally
  acknowledged tragedy in which more than one and a half million Armenians
  died, was commemorated in 2015. To mark this anniversary and draw our
  attention to this tragedy, I have written four string quartets, all based on
  Armenian liturgical chants.
    
     These chants, which date from the
  medieval period (from the 5th to the 15th centuries), have been transmitted
  to us in manuscript form. The neumes in which they were notated were
  transcribed by musicologist Nikoghos Tahmizian and compiled in his book on
  Gregory of Narek and Armenian music from the 5th to 15th centuries. In this
  book, the main source of the liturgical chants that inspired my quartets,
  these chants are presented in the form of monologues or prayers for a single
  voice. In my quartets, the content of these prayers is enriched with
  polyphony.
    
     Each movement is named after a river
  in Armenia. The symbolism is intentional: water is essential to life, and
  rivers are the veins of a country, just as faith nourishes and sustains our
  existence as creative and forward-looking people.
    
    1 Hrazdan A festive scene. A time to give praise. Heaven and earth
  unite giving birth to joy and freedom which, as the theme passes from one
  instrument to the next, take wing, always seeking new horizons. One wants to
  believe this daydream will never end. This happiness is worth savoring. Such
  moments of pure freedom in our lives are rare and precious.
    
     2 Vordji Solitude, sadness,
  darkness, and even despair can be heard in this prayer. The theme evokes a
  depressed state of mind and reflects the exhaustion of the man who no longer
  believes in anything, and who sees no-one around him. It would be better if
  he were to close his eyes and abandon himself to the unknown reality.
    
     3 Azat The first violin plays a
  solo, and then gradually adopts the theme of renewal that the other
  instruments contribute. The energy of the rising sun and new day is
  transmitted to the lost souls to whom the previous movement gave expression.
  We hear this soul vibrate with power and hope, with courage and the will to
  continue. Once again, confidence in life, and admiration for all that
  surrounds it, find their place in this soul. Harmony reigns. Such is the power
  of faith and prayer
    
    Petros Shoujounian
    
     Translated by Sean McCutcheon

String Quartet No 4

The 100th anniversary of the Armenian genocide, an internationally
  acknowledged tragedy in which more than one and a half million Armenians
  died, was commemorated in 2015. To mark this anniversary and draw our
  attention to this tragedy, I have written four string quartets, all based on
  Armenian liturgical chants.
    
     These chants, which date from the
  medieval period (from the 5th to the 15th centuries), have been transmitted
  to us in manuscript form. The neumes in which they were notated were
  transcribed by musicologist Nikoghos Tahmizian and compiled in his book on
  Gregory of Narek and Armenian music from the 5th to 15th centuries. In this
  book, the main source of the liturgical chants that inspired my quartets,
  these chants are presented in the form of monologues or prayers for a single
  voice. In my quartets, the content of these prayers is enriched with
  polyphony.
    
     Each movement is named after a river
  in Armenia. The symbolism is intentional: water is essential to life, and
  rivers are the veins of a country, just as faith nourishes and sustains our
  existence as creative and forward-looking people.
    
    
    
    
    
    1i iiDebedii Sadness, solitudei the first violin starts a
  monologue, which becomes a somber dialogue with the second violin. The viola
  and cello enter with brief interventions, enhancing the mood of subtlety and
  depth. 
    
    2i iiArpaii In this prayer for forgiveness the cello has the
  theme, supported by the three other instruments playing a choir-like
  pianissimo accompaniment. In the movementis canonic ending, the cello comes
  to the fore once again, formulating a last prayer. 
    
    3iii Dzoragetii This movement is imbued with the power of faith
  and the inherent majesty of the prayer, Alliluia, whose magnificent melody
  is its sole theme. The music becomes an appeal to protect and preserve the
  Christian faith. The tense mood continues to the very end, and, through the
  music, one becomes aware of the gaze and soul of a believer strengthened, and
  carried ever higher, by faith.
    
    
    
    Petros Shoujounian
    
     Translated by Sean McCutcheon

String Quartet No 3

Petros Shoujounian
    
    
    
    Twelve Etude for Two violins (2017)
    
    Presently, music for two violins is taking an important place in the music
  library,
    
    particularly composers like Telemann, Haydn, Schubert, Wieniawski,
  Ysaie,
    
    Honegger, Prokofiev, Bartik, Ligeti and others.
    
    The composers were interested in the specific ensemble of two violins,
  because it
    
    creates a very intense musical momentum, with a lot of imagination related
  to the
    
    violinis unlimited possibilities of expression. In this case, the
  ii12 duo etudesii are
    
    done for young performers. They build up on the short musical elements,
  with
    
    articulated melodic and rhythmically different character, to express
  the
    
    instrumentis capacity of exposing their colors and virtuosity.
    
    
    
    Petros Shoujounian

Twelve Etudes for Two Violins

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