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One10: Violin Solo Book

$22.95 USD
$22.95 USD
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One10 Cover Image
One10: Violin Solo Book

One10: Violin Solo Book

for Violin Solo

By John Cage

Item: 98-EP67441
$22.95
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Description
In One10, only natural harmonics are used, without microtonal changes. The work comprises three pieces (A, B, C), each with 15 time brackets containing single tones. As Cage himself instructs: "Make a sound that is repeated from bracket to bracket as long as possible without any noticeable bowing. When the sound is not repeated, leave a space of time before and after playing it. Light-face brackets indicate overlaps for which the performer must find a solution that satisfies each of the brackets." As is the case with Cage's One6, this composition may be performed as the instrumental part of an assemblage with a sound sculpture by Mineko Grimmer. Grimmer's sculpture consists of small stones encrusted in a good-sized block of shaped ice, which is itself housed within a wooden structure. As the ice melts, the stones are released, hitting metal wires placed below, causing the strings to "sing" before they fall with soft "plunks" into the accumulating pool of water at the very bottom. The sculpture for One10 is basically the same as is used in a performance of Cage's One6, but in a different configuration.

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Additional Details
Publisher: Edition Peters
Page Count: 16
ISBN10: 0-30-073993-1
ISBN13: 979-0-30-073993-9
SKU: 98-EP67441

More about this title

About the Composer: John Cage

John Cage (1912-1992) fundamentally expanded what music could be, challenging performers and listeners to hear silence, chance, and everyday sounds as integral to composition. His indeterminate works, including the One series, strip away conventional notation and virtuosity, asking instead for focused attention and creative problem-solving from the performer.

Why we love this

One10 offers violinists a rare encounter with composition as a framework for discovery rather than display. The work demands interpretive courage and imaginative decision-making within Cage's constraints, making it profoundly educational for advanced students who are ready to think beyond standard repertoire.

What to expect

One10 is meditative and austere, built from sustained tones and calculated silences that ask for acute listening. The natural harmonics lend an ethereal, crystalline quality, and the sparse texture creates space for each sound to resonate fully before dissolving into quiet.

Who it's for

Advanced violinists seeking engagement with contemporary classical composition and graphic or indeterminate notation will find rich material here. This work suits chamber musicians and soloists with experience in new music performance and a willingness to embrace interpretive responsibility.

How to get the most out of it

  • Study the bracketing system carefully before rehearsal; each bracket represents a discrete sonic choice, and your decisions about tone duration and spacing directly shape the piece's form.
  • Explore natural harmonics systematically across your instrument's range during practice so you can execute each sound with clear intention and consistent timbre.
  • Consider the optional collaboration with Mineko Grimmer's sound sculpture (if available); understanding the sculpture's activation timeline can inform your pacing and silence choices.
  • Record yourself experimenting with different solutions for the overlap brackets; listening back will reveal which approaches create satisfying counterpoint with your own previous material.

How to use it

Program One10 in a concert devoted to indeterminate or experimental music, where audience expectations are already calibrated for unconventional structures. It pairs naturally with other Cage works or with contemporary pieces that embrace silence and chance as compositional tools.

Skills your students will build

  • Executing natural harmonics with clarity and consistency across the violin's range
  • Interpreting graphic and indeterminate notation with confidence and artistic judgment
  • Managing silence and sustain as integral musical elements rather than gaps
  • Listening critically to one's own sound and making real-time adjustments to tone and duration

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