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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This piece has also been arranged for barrel organ and for two player pianos by the composer. Stable areas can occur in any range, sometimes through gradual transformations and sometimes through jarring leaps.

While I will do the same here, I feel that the last two sections could easily be grouped together. Logeti 18 October Views Read Edit View history. It is also worth noting that this symmetrical pitch collection looks like an expanded version of the earlier tetrachord [0][2][3][5]. It is approached without any traditional harmonic preparation, but instead with a type of stuttering, alien counterpoint.

Even abstract concepts, such as quantities, relationships, connections, and processes, seem tangible to me and have their place in an ligwti space. By using this site, you agree to the Terms of Use and Privacy Policy.

Enter the email address you signed up with and we’ll email you a reset link. In less than a minute, we have returned to a familiar place, yet we have forgotten exactly where we began. Over the next several measures, four more pitches are added to the texture, in the following order: 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.

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The entire process is a series of sound impulses in rapid succession which create the impression of continuous sound. And while the opening minor third certainly constitutes an important recurring signal, it is only one of many. The composer describes the conception and result of its technique:. With the addition of the C below the main shape, the pattern begins to sound like a rapidly ascending and descending C major scale.

György Ligeti – Continuum

While Section I adds a major second pi2 below a minor third pi3Section II adds a minor third pi3 below a major second pi2. Contjnuum II presents a similar process of blurring the interval signal, then forming them into expanded symmetrical units, but here the range is expanded, and the notes are presented in near-diatonic fashion.

As this shifting occurs, no single pulse takes precedence. I almost always associate sounds with color, form, and texture; and form, color, and material quality with every acoustic sensation. Yet it should be noted that every point of rest in Continuum is also a point of tension. Amy Bauerp.

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Ligeti himself has stated the structural importance of the minor third appearing at the opening of the piece.

Ligetk me on this computer. This article about a classical composition is a stub. However, their treatment is severely limited. 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.

A theoretical and perceptual study.

Ligeti Continuum Analysis | Seth Horvitz –

In a matter of seconds, the texture has transformed from a static pulse into a blurry mess. 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.

Although it would be jarring, the piece could easily end here, but instead, the climactic movement continues to move upward. Ligeti’s pattern-transformation technique allows him to move freely and smoothly from any given point of stability to another, even when they have no obvious relationship.

G belowC middleD middleF below.