Issuu is a digital publishing platform that makes it simple to publish magazines, catalogs, newspapers, books, and more online. Easily share your publications. Grisey vortex temporum score pdf – vortex temporum score pdf Grisey vortex temporum score pdf Grisey vortex temporum score pdf. Partiels () is a defining piece of Spectral music by Gérard Grisey whose opening is derived from an electronic sonogram analysis of the attack of a low E2 .
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Partiels (Mixed Ensemble)
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This blew me away. It’s like an extension of my favorite textures from Ameriques and from Atmospheres. Glad there is finally a complete video of this on youtube. I played this piece once, it is excellent. I’m not sure I fully understand the question, but if you mean the wild intervals that pop up frequently in contemporary music like this, its challenging but not impossible.
Really it boils down to listening, just like in any piece of music. I practice tuning every interval every day-play a long held note on my tuner and match it, then just go up and down the chromatic scale tuning every interval. Its a great exercise that all musicians should do. Well, I’m a student composer, so I know these things do pop up very frequently, but I’m always interested in the performance side of things – I can hear it internally while composing and I know what sound I want, but that doesn’t mean it’s as easy for a performer to pick up from the score – which is why I ask about griseyy difficulty.
I have been wanting to explore microtonality and use of overtone scales, and so far I don’t know how musicians that aren’t specifically trained in playing in different tunings might handle these kinds of techniques. It varies from instrument to instrument, but I can tell you as a horn player sometimes its very difficult to pick up strange intervals out of nothing without some kind of audio cue it or an easily identifiable interval being played in another instrument or there is a line leading up to it.
I think its good to think of an instrument always as a voice, not a computer program, if that grisdy sense. There needs to be some kind of logic for a player to understand what pitches they are suppose to play. And remember a player will always enjoy playing idiomatic music to their instrument that is a challenge than seemingly easy music griset is not idiomatic to their instrument. Too many student composers seem to think of instruments as some kind of automatic note-producing machine, and write lines that are simply un-negotiable.
I definitely try to write idiomatically – that’s where the study of orchestation comes in.
I try not oartiels give musicians too much trouble. Speaking of giving musicians trouble, are you familiar with Wolfgang Rihm? Propably the most difficult part I ever played was from one of his pieces which I don’t recall the name of. Had the horns sit for 30 minutes than play another 30 minutes almost non-stop, super high and loud, super low and quiet.
A guide to Gérard Grisey’s music | Music | The Guardian
It was pretty wild, but somehow I got through it. That sounds like a fun piece to play At least us string players don’t have lip muscles that tire. This guide might be useful. I only heard this one piece that I played.
It was an hour long and really good but non-stop crazyness. I wish I could remember the title, but I couldn’t find it on his wiki page.
I don’t understand why people don’t just write electronic music if they want to do things like that. Well, I’m guessing it’s because we’re all students, and even though we’re attracted to certian kinds of musical languages and techniques that can’t be reproduced by computers yet? And that includes writing things that are, frankly, very bad.
We all do it, the key is to be able to learn from it and further our technique in the next piece! True, but I think this is something that applies to various composers, not just students. I guess I just wonder why more people don’t take the Stockhausen route and do purely electronic stuff.
Grisey Partiels Master Score
Maybe there’s still some lingering prestige attached to writing for live musicians? I don’t know, I’m just thinking out loud here to be honest.
Yes, and no – there’s an appeal to live performance in terms of sonority, in terms of discovering what someone is going to do with your work. And there’s the whole question of “interface”.
Some people, me included, just don’t enjoy working with computers, samples, or direct sound manipulation. It’s a question of personal preference as well. Both live and electronic music have something the other cannot provide. Electroacoustics are another beast altogether, and it’s something I am not sure I quite understand. My perception, being in a school that’s big on electroacoustis, is that it’s an extension of electronic music in a way.
Grisey is a genius. My professor just performed Griwey Noire De l’Etoile for his th concert; the score is absolutely trisey boggling to look at. Spectral music is fantastic! Also check out the works of a later composer, George Friedrich Haase.
Rules When submitting a link to a performance, please state partiele title and composerand ideally the names of the performers. Contains guides for beginners, an index of important composers and their works, and lists of classical pieces organised by genre, era, and theme. Introductory threads I’m new to classical, where should I start? A collection of previous threads on this topic An Introduction to the Violin Concerto. Or browse them all at once List of c. Welcome to Reddit, the front page of the internet.
Become a Redditor and subscribe to one of thousands of communities. Want to add to the discussion? I don’t know enough about Rihm! I should know more!