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Found 1 result

  1. Oh hey everyone, I haven't been on this thing for ages. I am at uni now, studying composition among other things. For one of my assignments we have two different ways we can compose our piece. 1st - Using archetypal shapes or phrases that get repeated with variation, in the style of Syrinx by Debussy. 2nd - Talea and Color in the style of Messiaen. Chord patterns that phase in and out of the pulse of the beat. Here is my idea, i'm going with option 2 btw. I have a 12 tone row which is basically a set of four major and minor triads. The idea is that the base holds the route, once the rest of the triad is played, the bass then moves to the route of the next chord, basically creating three chords per bar rather than two. Here's an example. As you can see in the attached file, it appears as though the chords are: (F+ maj) - (space) - (Cmaj) When in reality because of the held on F+ there are three chords (F+maj) - (F+, E, G) - (Cmaj). The piece continues like this with the route in the bass and the response in the violin and viola being separated. Eventually the viola's rhythm is augmented (x 0.5) and the violin's diminished (x0.5) which creates the middle and the top line phasing in and out with the bass line. Sorry if that's a lot to take in, but is this an example of a talea and color? Is this technically an example of a modern passacaglia? I need to know i'm on the right track. Thanks
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