Opération Toccata (French Edition)
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Blind comparison : Bach's Toccata BWV (harpsichord)
The Aa elements of the original score cf. In order to realize the groove as a formal unit, the group decided then to repeat this GAa unit several times before moving on to the next Aa1 unit in the score. To do this, they created a typical descending chromatic figure of the Choro 7-string guitar, which was performed with a perfect fourth interval split between the piano and the guitar.
At least two points should be stressed in this approach. Firstly, the purpose of the group in this re-modelling process was to add continuous pulse: a constitutive factor, par excellence, of the audiotactile rhythm phenomenology. By doing so, Suzando could play the syncopations of the rum with his thumb, which allowed him to propel these rhythms in a forceful manner. This inversion of technique granted him the ability to recreate these patterns on the pandeiro in a stylistically accurate fashion.
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After describing these audiotactile aspects, we may now apply them to the analysis of the extract transcribed in Ex. This example uses a graphic notation model Fig. It is notable, in the analysis of Ex. We emphasize that this extemporaneous play based on micro-variations of pitch levels is in fact the place of the systemic effect of the deep-level groovemic constitution of the IFS.
After identifying the GAa groove as an IFS, the group will occupy this musical space for the equivalent to 16 bars at bpm, after which a section more faithful to the score will follow, with unison patterns until the subsection Ab. Figure 1. Semiographic encoding of the pandeiro performance transcription Example 3.
Pandeiro line in GAa: metric dissonances, extemporization on pitch micro-modulations, and with the use of rolls at a macro level. Transcription by F.
In this subsection, the guitar follows the original composition more faithfully. The piano intervention may however be perceived as an extemporaneous development of audiotactile sources of the original piece, which resulted in a pianeiro-like sonority. This specific extemporization standard stems from the score archetype and from typical models of the Choro language; e. Example 4.
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Ab sub-section indicating the metric dissonance between the written guitar phrases and the lines developed by the pianist and the pandeiro player. Figure 2. Extract of the Brasiliana n. Subsection Ac indicates the written conventions, which supports the evoking of the breque model, typical of the Partido Alto Samba and Choro. Both the pianist and guitarist outlined a harmonic sequence with a harmonic rhythm pattern of two chords per bar.
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Draft of the chord changes and piano conventions designed for the Ad subsection 51 Ex. Nazareth , Ed. Example 6. Ad sub-section with the piano rhythmic-harmonic extemporization and the pandeiro extemporization. However, in order to display both the idiomatic peculiarities of traditional Samba and Choro and follow the formal standards of Gnattali's score, a re-elaboration of the original compositional architecture, based on audiotactile groovemic criteria, was necessary.
Table 4 shows the architecture of the first theme exposition. This model results from the audiotactile re-elaboration of the original Toccata em Ritmo de Samba n. Thus, as it may be observed in the transcription of this excerpt Ex. This repetition is virtually a sine qua non condition for the groove, and it is enough to thrust its energy onto the breque, which naturally preludes subsection Ad, which somehow welcomes the improvised "choruses".
Example 7. The pandeiro Breque anticipates the improvisations Transcription by F. As observed, the Ad subsection naturally ties with the breque evoked from the end of Ac to form an end to the GAa groove. How was the harmony modified in the solos, in relation to Ad? What was the principle behind this process? Figure 7. Handwriting indicating the chord change for the solos, resulting from the modifications in Ad We may note right away that the first five bars of Ad were not changed and that the modifications may be seen afterwards, either at a harmonic-rhythmic level, or at the level of the chord changes.
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