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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In other words, etudes perfectly combine virtuoso technical problems with expressive content, like rarely was done in the second half of the 20 th century. Ligeti, fragment from second Prelude: The result is a series of complicated patterns that appear chaotic.
But what is the measure of this influence? Finally, Ligeti gives a very strong prove of jazz fonting in the last part of the etudes: This effect can be observed in the Piano Concerto third movement and his piano etude No. It is a three-phrase melody of which the third is longer in duration.
The Etudes are conventionally regrouped in 3 books, composed during the period between and and they constitute ligetj milestone in the history of music for piano and in the field of composition.
Evans studied classical piano when he was young, and his classical music background enhanced his pianistic technique and other aspects in his jazz improvisation. 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 three groups of two or two groups of three.
Is a very liyeti etude and harmony compose itself by fifths sovrapposition.
Études (Ligeti) – Wikipedia
The rhythmic is not so complex, following the only principle of hemiola 2: He brought an unusual harmonic idiom to jazz, lgieti them, his distinctive voicing and rootless chords. Ligeti, 4 th etude, Fem. This element of twelve-beat groups divided into 3: The African music and rhythm involves: Evans biography Shimha Arom. The ethnomusicologist Aron called this polyrhythmic element: He showed that there were entire worlds of rhythmic-melodic subtleties that lay far beyond the limits that we hadrecognized in modern music until then.
The following figure illustrates the first three phrases in the top voice of Arc-en-ciel:.
Each phrase pigeti descends in semitones, but with occasional upward leaps. The hemiola Ligeti used is an inspiration taken from the Romantic-era piano music of Chopin and Schumann.
An important aspect to be treated is the internal structure rhythm. Subdivision is provided that divides a measure in the treble part into three, while the bass part is divided into two. Here is cil list of the 18 preludes with their title Ligeti gave a title only after the composition of the musical material. Is also remarkable in the last preludes, the abandon of triadic and 7 fn chord system, and the use of diatonic modality.
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 viel technique. Right hand plays white keys while left hand plays black ones. Notes 60 March 03, Clel metric cycle is circular and irregular, strongly polyrhythmic structure.
As such, his pianistic approach in the etudes he composed generally follows the concepts of composers who he believes thought and composed pianistically.
Tempo is 96 M. The rhythmic lag grows until when the listener is not anymore able to recognize which melody leads on the other. This similarity is absolutely not denied by Ligeti, who wrote as performing indications for this etude: The accompaniment is in hemiola.
Another perpetual motion etude, the constant quaver pattern that one plays is incongruent with that one hears. Ligeti stated on this subject: How already written, Ligeti adapted to the piano keys, Cameroon and Zimbabwe technique of polyrhythmic playing ligegi lamellophone one executor can play until three or four different rhythms, 18 but perhaps also the Hungarian Gypsy style of playing the cimbalom.
The perpetual ostinato, which is repeated times with only octave transpositions, is the most distinct feature of this piece. Cordes a vide, African polyphony and polyrhythm: There is then a distinction between metre and pulsation. The procedure of Ligeti composing the etudes was that he laid his ten fingers on the keyboard and imagines music, then his fingers copy this mental image as he presses the key 7.
Ligeti combined various sources in the etudes, most of them are associated with African polyrhythm: White on white and Pour Irina. He employed innovative voicings based on his classical training. At the beginning of the piece, as is possible to deduce from the imagine, the two melodies are synchronized together, giving an impression of order; impression gradually disappear from the fourth bar, when accents in the left hand start to lag behind those of right hand.
Although the theorization is valid more or less for all the etudes, we will concentrate our writ ac the most meaningful etudes, especially from the first and the second book.
Ghost notes are in the jazz language, not played or partially played sounds that our mind imagines and figures like logic phrase fn, but our ear cannot effectively ear. He felt that the feedback between idea and tactile execution is very inaccurate, and ligetu a result, pianists sometimes feel awkward executing some passages.
Thames and Hudson, Ltd. Erato, Ligeti Works for Piano. Fanfares and Fem, we shall also argument the strict relation between the two etudes.
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:.
The lament motive consists of descending chromatic lines that are often associated with expressions of grief and sadness.