Listening log of rhythmically interesting pieces
Score Details
Recording Details Comments
Stravinsky: “The
Rite of
Spring” (1913)
(learning central audio and score)
• In “The Augurs of Spring”, the strings play a quaver ostinato that has irregular accentuation (e.g. 2nd and 4th quavers in the third bar of 13). This causes the pulse and sense of rhythm to become obscured. I have made use of this technique in variation 13.
• Stravinsky makes use of triplets, sextuplets (flute in first bar of
17) and septuplets (7th bar of 32). I have also made use of these in the transition from section B to section A’ in order to imitate a rallentando.
• In “The Glorification of The Chosen One”, there is extensive syncopation used. Variations 2, 3 and 4 are syncopated and many of my other variations contain syncopation.
Bartok:
(learning central
“Mikrokosmos” (vol audio and score) ume 6, 1940)
• Heavy syncopation can be heard throughout the work. I have made use of this technique.
• The harmony used in no. 151 is quite dissonant (e.g. bar 32). but it becomes very complex and hard to follow towards the end • Grace notes are used in no. 148. I have used a grace note in my music in order to alter the motif variations.
Messiaen: “Quartet (learning central for the end of time” audio and score)
(1941)
• In Mvt. VI, Messiaen uses added values, augmented and diminished rhythms along with non-retrogradable rhythms. I have used added values (4/4 to 5/4)
• The harmonies used in Mvt. II have been referred to as heavenly. I don’t believe heavenly referes to the start of the Mvt as the harmony there is obscenely dissonant. The D section however is far calmer and the harmony is calmer too and does indeed sound divine in nature, despite the constant dissonance. Rachel Gledhill:
“Battercada” (for two drums, 2002)
(learning central score) • Gledhill makes great use of the two drums. The techniques used vary greatly. Hitting the shell, rim and using the hand to dampen the sound produced are the most noteworthy techniques used. I have used
Recording Details Comments
Stravinsky: “The
Rite of
Spring” (1913)
(learning central audio and score)
• In “The Augurs of Spring”, the strings play a quaver ostinato that has irregular accentuation (e.g. 2nd and 4th quavers in the third bar of 13). This causes the pulse and sense of rhythm to become obscured. I have made use of this technique in variation 13.
• Stravinsky makes use of triplets, sextuplets (flute in first bar of
17) and septuplets (7th bar of 32). I have also made use of these in the transition from section B to section A’ in order to imitate a rallentando.
• In “The Glorification of The Chosen One”, there is extensive syncopation used. Variations 2, 3 and 4 are syncopated and many of my other variations contain syncopation.
Bartok:
(learning central
“Mikrokosmos” (vol audio and score) ume 6, 1940)
• Heavy syncopation can be heard throughout the work. I have made use of this technique.
• The harmony used in no. 151 is quite dissonant (e.g. bar 32). but it becomes very complex and hard to follow towards the end • Grace notes are used in no. 148. I have used a grace note in my music in order to alter the motif variations.
Messiaen: “Quartet (learning central for the end of time” audio and score)
(1941)
• In Mvt. VI, Messiaen uses added values, augmented and diminished rhythms along with non-retrogradable rhythms. I have used added values (4/4 to 5/4)
• The harmonies used in Mvt. II have been referred to as heavenly. I don’t believe heavenly referes to the start of the Mvt as the harmony there is obscenely dissonant. The D section however is far calmer and the harmony is calmer too and does indeed sound divine in nature, despite the constant dissonance. Rachel Gledhill:
“Battercada” (for two drums, 2002)
(learning central score) • Gledhill makes great use of the two drums. The techniques used vary greatly. Hitting the shell, rim and using the hand to dampen the sound produced are the most noteworthy techniques used. I have used