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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As this shifting occurs, no single pulse takes precedence. 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.
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. Retrieved 18 October 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 as an exposition, introducing the piece’s central ideas and techniques. Ligeti’s spelling of the notes also suggests this scale.
However, the appearance of the major triad here manages to sound both entirely consonant and mysterious at the same time.
György Ligeti – Continuum | RNZ
Remember me on this computer. It is also worth noting that this symmetrical pitch collection looks like an expanded version of the earlier tetrachord .
A harpsichord has an liteti touch; it can be played very fast, almost fast enough to reach the level of continuumbut not quite it takes about eighteen separate sounds per second to reach the threshold where you can no longer make out individual notes and continum limit set by the mechanism of the harpsichord is about fifteen to sixteen notes a second.
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 ccontinuum adequately characterized.
Log In Sign Up. 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.
Views Read Edit View history. Help Center Find new research papers in: In fact, it might be said that from this point on, the piece feels as if it is in a continual state of climax quite astonishing, considering that the piece has not even reached its midway point. Retrieved from ” https: Amy Bauerp. 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 reverting to traditional harmony.
Continuum is notable for its paradoxical premise: Ligeti himself has stated cpntinuum structural importance of the minor third appearing at the opening of the piece. This piece has also been arranged for barrel organ and for two player pianos by the composer.
György Ligeti – Continuum
This page was last edited on 27 Juneat However, their treatment is severely limited. With the addition of the C below the main shape, the pattern begins to sound like a rapidly ascending and descending C major scale. It is approached without any traditional harmonic preparation, but instead with a type of stuttering, alien counterpoint. G belowC middleD middleF below. This article about a classical composition is a stub.
Yet it should be noted that every point of rest in Continuum is also a point of tension. Over the next several measures, four more pitches are added to the texture, in the following order: In their paper, Cambouropoulos and Tsougras use small excerpts of the piano roll to illustrate certain discrepancies between what is notated and what might be perceived.
A theoretical and perceptual study. Both sections add a fourth pitch to form the same symmetrical tetrachord . In a matter of seconds, the texture has transformed from a static pulse into a blurry mess.
Continuum (Ligeti) – Wikipedia
You can help Wikipedia by expanding it. Both are composed of a chromatic cluster with symmetrical “satellites” on either side. The composer describes the conception and result of its technique: Many scholars have noted that the onset of this section corresponds exactly to the golden mean of the piece. Ligeri 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 lkgeti impression of continuous sound. The result was to give an effect of slow motion. It is nearly symmetrical in shape, opening and closing with a feeling of stability, just as the exposition continuumm a sonata form would begin and end on the tonic.