Tag: AVANTGARDE CLASSICAL COMPOSING

  • Klangflächen Komposition

    Yendo Starritz
    in

    – a Modern Composition Technique that Puts the Timbre and Textures into Focus (Klang und Klangflächen) – the Very Dense Result in such a Composition is Done through Chord Bands (Akkord-Bänder) which are Essentially Chords that are Layered on Top of each Other  – Inside the Sound Textures Vertical and Horizontal Connections are Used, in…

  • Spectral Music

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    in

    General -The Focus is on the Sonorous Nature Of the Sound / Spectrum (Not on Harmonic Progressions or Tone Rows) – Makes use of FFT (Fast Fourier Analyser) to Analyse Partials occurring in the Overtone Series of any Sound – It is a Journey build by Modulating from Spectrum to Spectrum (included Relation to different…

  • Arnold Schönberg Approach

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    in

    – No Note Dominates in 12 Tone Music or is More Important than the Other (that is why it is called Atonal or Pan-Tonal Music) – Avoid to Use Scales – Rely on a Tonal Centre  – He did that by Using All the Notes with Equal Frequency  – Tone Row is Sort of a…

  • Arvo Pärt Approach

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    in

    General – “Tintinnabuli” (Lat. for Bell) is a Technique, where “Custom Resonances” are Applied to a Single Note  – the Idea is Based on Different Sounding Timbres of Bells – These Resonances Do Not Derive from the Original Sound, but are Based on a Previous Defined Triad Picture – the “Tintinabulli” Composition Itself is a…

  • Béla Bartók Approach

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    in

    General – Repeats “Eastern Melodies” that are by Nature Closer Together (Adjacent Keys)  – Plays on Every “One” a Slightly Different Chord as an Accompany, Either through Re-Harmonisation or Chord Change – for Example Hungarian Mode = C, D, Eb, Gb, G, Ab, B, C (same as Harmonic Minor but with a Raised 4th) –…

  • Claude Debussy Approach

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    – Did not went far away from a Tonal Centre, but he used a deliberately “Vague Harmonic Language” in order to avoid Classical Duality of Tonic and Dominant  – Debussy’s Interest for better “Timbre” by Assigning Single Lines to a Dedicated Single Instrument Not Played by any Other Instrument – He often Mixed Scales, for…

  • György Ligeti Approach

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    in

    General – a Way of Combining many Individual Timbres into Large-Scale-Textures which are Shaped in Time by Changes in their Global Qualities (and Not by the Interplay of Individual Lines) – Ligeti’s “Cloud-Clusters” are Always in Movement, Blending into each Other in Different Colours, Begins with a “Nebulous” Note and Ends in “Nothing” – Ligeti’s…