Ligeti Etudes, Book I: An Analysis and premier livre () by Hungarian composer György Ligeti. . comments for Désordre, Fanfares, and Arc-en-ciel. In Ligeti’s own description of the piano etudes he tell that they are “etudes in a 5: Arc-en-ciel – melody and harmony resembles a raimbow. Arc-en-ciel Lyrics: Instrumental. Arc-en-ciel. György Ligeti “Arc-en-ciel” Track Info. Written By György Ligeti. Music Video.
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Cordes a vide, The character of this etude is less aggressive than the first one.
Influence of Tango Nuevo, Slavonian Folk and Jazz Music on G. Ligeti’s “Etudes pour piano”
White on white and Pour Irina. He did not say much about jazz theory, but expressed ligetii thought simply through his playing. The influences on his etudes are categorized as following: Each phrase mainly descends in semitones, but with occasional upward leaps. The 18 etudes are arranged in three books: The influences on his etudes are categorized as following:.
Is a very rhythmic etude and harmony compose itself by fifths sovrapposition. Hemiola was amongst the most popular compositional devices in the dance music of the Baroque in the Courantefor example and above all in the piano music of the 19th century. Keith Jarrett with his linear modal simple improvisation style. This element of twelve-beat groups divided into 3: Finally, Ligeti gives a very strong prove of jazz fonting in the last lugeti of the etudes: Fanfares and Fem In this paragraph ilgeti are going to treat the jazzy and aksak character of two among the most meaningful etudes: This lament motive also resembles Transylvanian funeral laments.
Notes of greater expressive significance are often intensified harmonically by major sevenths. Here is a list of the 18 preludes with their title Ligeti gave a title only after the composition of the musical material. Ligeti, 4 th etude, Fem.
This effect can be observed in the Piano Concerto third movement and his piano etude No. Erato, Ligeti Works for Piano. The metric enn is circular and irregular, strongly polyrhythmic structure. Ernest Eulenburg Ltd Ghost notes are in the jazz language, not played or partially played sounds that our mind imagines and figures like logic phrase notes, but our ear cannot effectively ear. Stemming from the mensural notation of the late Medieval period, hemiola arises from the metric ambiguity posed by a measure of six beats, which can be divided into fiel groups of two or two groups of three.
This etude streams with consecutive sixteenth notes in four different types of rhythm, two in the right hand and two in the left hand. Right hand plays white keys while left hand plays black ones. In the precise case of 11 th etude, Aeolian mode. The title Blocked keys how we already wrote about, refers to a very interesting pianistic technique whereby one hand plays a rapid acr succession of notes in a chromatic scale while the other hand blocks prescribed keys by keeping them silently depressed, affecting the rhythm pattern.
While one hand holds down various clusters sounding them or notthe other executes very quick chromatic figures, probably impossible to human-perform at great speed, without the use of such of technique. Is also remarkable in the last preludes, the abandon of triadic and 7 th chord system, and the use of diatonic modality.
Études (Ligeti) – Wikipedia
African polyphon and polyrhythm: Here is a comparison between Cordes a vide and a milonga. Embedded in its tempo indication is another reference to jazz with the instruction: The connection with this pianist is clearer in the fourth and eight etudes. Cordes a vide, Eric Drott analyzed the harmonic structure of this prelude in the book: He felt that the feedback between idea and tactile execution is very inaccurate, and as a result, pianists sometimes feel awkward executing some passages.
Ligeti stated on this subject: Ligeti Works for Piano. Collier, Cooper, Azzi and Martin.
The rhythmic is not so complex, following the only principle of hemiola 2: The melody is counterpointed by arpeggios on the principal note almost always the 7 th or 9 th of the chord and the harmony is relatively simple, using chord of maj7 and min9 The etude is characterized by an African pygmies clavevery similar to a Cakewalk or Rag-tim e 22 syncopated rhythm, and like in rag-timechords are formed by two couples of fifths: Fonts are many, but my etudes are neither African music nor geometric fractal construction.
Also Ligeti footnotes the opening measure: But what is the measure of this influence? These are the questions we will try to answer in this chapter, remembering what G. The compositions for the player-piano and computer-generated images from chaos theory and fractals are ideas that Ligeti uses in his etudes.
Ligeti combined various sources in the etudes, most of them are associated with African polyrhythm: Cambridge University Press, The ethnomusicologist Aron called this polyrhythmic element: His interests in African rhythm.