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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Many scholars have noted that the onset of this section corresponds exactly to the golden mean of the ocntinuum. In my analysis of the piece, I will refer more often to the MIDI “piano roll” depiction than to the notated score. Here, we see it applied clearly in a symmetrical, repeating form.
György Ligeti – Continuum
It is also worth noting that this symmetrical pitch collection looks like an expanded version of the earlier tetrachord . 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.
Over the next several measures, four more pitches are added to the texture, in the following order: Under tonal conditions, the B would act as a leading tone of the C major scale, but in this case, the function is not quite so clear.
Yet it should be noted that every point of rest in Continuum is also a point of tension.
However, their treatment is severely limited. Retrieved 18 October All notes pulse at the same rate, but Ligeti has carefully staggered the changes to gives the feeling of smooth, accelerated motion. SECTION I While Ligeti makes it very clear in his writings that he never uses strict classical forms, the opening section ligei Continuum can easily be viewed as an exposition, introducing the piece’s central ideas and techniques.
Both are composed of a chromatic cluster with symmetrical “satellites” on either side.
It is nearly symmetrical in shape, opening and closing with a feeling of stability, just as the exposition of a sonata form would begin and end on the tonic. As this shifting occurs, no single pulse takes precedence. Next, the B is added above the top note Bbexpanding the total interval range to a tritone. I almost always associate sounds with color, form, and texture; and form, color, and material quality with every acoustic sensation.
I will take a more diplomatic approach, classifying the disputed areas generally the static “interval signals” as points of overlap. Enter the email address you signed up with and we’ll email you a reset link. While the previous two sections appear as a steady stream being shaken up and then settling down again, this section proceeds with a clear sense of direction with regard to range.
While Section I continuu a major second pi2 below a minor third pi3 conyinuum, Section II adds a minor third pi3 below a major second pi2.
György Ligeti – Continuum | RNZ
It is my view that this type of visualization is particularly revealing for a piece like Continuum, which has so much to do with perception of emerging patterns and symmetrical formations of notes.
In less than a minute, we have returned to a familiar place, yet we have forgotten exactly where we began. 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. Skip to main content.
Log In Sign Up. In the MIDI plot, we can see the perfectly symmetrical octaves, split in two by tritones. In a matter of seconds, the texture has transformed from a static pulse into a blurry mess. Amy Bauerp. The entire process is a series of sound impulses in rapid succession which create the impression of continuous sound.
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