View credits, reviews, tracks and shop for the CD release of Continuum / Zehn Stücke Für Bläserquintett / Artikulation / Glissandi / Etüden Für Orgel. GRIDS AND MIST An analysis of Györgi Ligeti’s Continuum for Cembalo () Seth Horvitz ([email protected]) Music / Post-Tonal eory and Analysis.
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I almost always associate sounds with color, form, and texture; and form, color, and material quality with every acoustic sensation. I hope that my extensive use of the piano roll will shed new light on previous analyses of the piece. The entire process is a series of sound impulses in rapid succession which create the impression of continuous sound.
This article about a classical composition is a stub. Here, we see it applied clearly in a symmetrical, repeating form. At precisely a minor third pi3 above and below this shape, the high B and low C pulse at identical rates every eight 8th notes.
Many scholars have noted that the onset of this section corresponds exactly to the golden mean of the piece.
Ligeti Continuum Analysis | Seth Horvitz –
continuuum I will take a more diplomatic approach, classifying the disputed areas generally the static “interval signals” as points of overlap. It is also worth noting that this symmetrical pitch collection looks like an expanded version of the earlier tetrachord .
Retrieved from ” https: Perhaps a lesson to be gained from Ligeti’s technique is that intervals and pitch groups can be related to one another in a multitude of perceivable ways without lifeti to traditional harmony. Under tonal conditions, the B would act as a leading tone of the C major scale, but in this case, the function is not quite so clear. While the previous two sections appear as a steady stream being shaken up and then settling down again, this section proceeds with a clear sense of direction with regard to range.
Click here to sign llgeti. Continuum is notable for its paradoxical premise: First, an Ab is added m.
As the string is plucked by the plectrumapart from the tone you also hear quite a loud noise. Section II presents a similar process of blurring the interval signal, then forming them into expanded symmetrical units, but here ligsti range is expanded, and the notes are presented in near-diatonic fashion. Both are composed of a chromatic cluster with symmetrical “satellites” on either side.
Enter the email address you signed up with and we’ll email you a reset link. SECTION I While Ligeti makes it very clear in his writings that he never uses strict classical forms, the opening section of Continuum can easily be viewed vontinuum an exposition, introducing the piece’s central ideas and techniques.
Its light touch, as Ligeti notes, allows for extremely rapid repetition, much faster than the piano.
One might describe the opening interval not as a seed from which the entire piece grows, but instead as a single plant living in a diverse, but mutually dependent ecosystem. Over the next several measures, four more pitches are added ligefi the texture, in the following order: It is as if the sound of the opening has been thrown down a rocky cavern, emerging from the other end recognizable, but chipped and chiseled in the process.
In fact, the delicate, subtle asymmetries are what give Continuum its beautiful, rugged shape, somewhere between a tangle of chains and a shattered crystal.
G belowC middleD middleF below. However, the appearance of the major triad here manages to sound both entirely consonant and mysterious at the same time. The result was to give an effect of slow motion.
György Ligeti – Continuum | RNZ
In my opinion, these interval categories are less useful and even confusingsince in many of the more chaotic sections of the piece, these processes occur simultaneously, overlapping in such a way that they cannot be adequately characterized. In the center is a repeating diamond shape spanning the chromatic range of a P4 from E Dx in the score to A. Log In Sign Up. And while the opening minor third certainly constitutes an important recurring signal, it is only one of many. Skip to main content.
György Ligeti – Continuum
As this shifting occurs, no single pulse takes precedence. From Wikipedia, the free encyclopedia. In my analysis of the piece, I will refer more often to the MIDI “piano roll” depiction than to the notated score.
All notes pulse at the same rate, but Ligeti has carefully staggered contibuum changes to gives the feeling of smooth, accelerated motion. Ligeti’s spelling of the notes also suggests this scale. In the MIDI plot, we can see the perfectly symmetrical octaves, split in two by tritones. Although it would be jarring, the piece could easily end here, but instead, the climactic movement continues to move upward.
This page was last edited on 27 Juneat The composer describes the conception and result of its technique:.
Stable areas can occur in any range, sometimes through gradual transformations and sometimes through jarring leaps. Remember me on this computer. I will make occasional use of the terminology presented by Michael Hicks in his article, in which he groups Ligeti’s “blurring” techniques into the following three categories: