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TeeteringBulb
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This is totally what I am missing in my drilling. I need a mat! now!
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TeeteringBulb
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This simple move works a lot better than you'd think! Countless times have I seen high level grapplers almost passing the guard only to be pushed in the triceps, and suddenly being back in the guard, or even getting swept. I use it all the time - the hardest part is getting up on your elbow if he...
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3:08 It's gotta hurt when the other guy is grabbing your bare scalp.
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About Kanal tilhørende TeeteringBulb
Created by
TeeteringBulbLatest Activity
Mar 5, 2012Date Joined
Oct 4, 2009About this user
I wrote 'Discombobulatorium' in the program Finale. truly great, it can do almost anything.We had a course entitled something like 'free-tonal arrangement'.
We studied some of the main composers of the early 20th century who wrote music that freed itself from conventional tonality, but didn't take the route towards serialism.
The main question was: How did the composers manage to create internal coherence and drive/impetus
in their music without relying on the same old dominant-tonic relations?
We focused on some techniques in that respect, and we had to use some of them in our own pieces (we had to write about 10 bars on
a new theme every week, and one larger piece at the end of the course.)
Some of the techniques were:
- counterpoint: Musical coherence can be created by the movement of the individual voices rather than by whether the chords produced thereby are in a
logical order. We looked at examples of this in some small piano pieces by Bartok, among others.
I use this technique in the first theme of my piece.
- parallel motion: In conventionally tonal pieces, parallel motion follows the scale. So for example, if you have two voices a sixth apart both moving
downwards step by step, the actual interval between them will change between a major and minor sixth.
In the new music, you often see parallel motion where the focus is on keeping the interval the same instead, e.g. a major sixth through all steps.
Often you see whole chords treated like this.
This technique is used by among others Stravinsky and Prokofiev - see 4:42-5:01 in this video: http://www.youtube.com/watch?v=3e-j8xnE4ak
It's easier to get a hold of with the score, but when the chords in the left hand is moving upwards they are following the scale, and when they are
moving downwards the intervals between the notes in the chord are fixed.
I use this fixed-interval parallel motion in the middle section of my piece (although here the chord only moves back and forth between two notes).
- new scales/modes: Instead of only major and minor, a lot of old and new scales were brought in, such as the greek (dorian, phrygian, etc.) and
pentatonic scales, both of which Debussy and Ravel used a lot. Bartok employed a number of folk-music derived scales and the acoustic scale, for the latter
see for instance the beginning of his sonata for 2 pianos and percussion: http://www.youtube.com/watch?v=p-7E1348GyU
Others, like Messiaen and Stravinsky, used the octatonic scale, like in this Messiaen prelude: http://www.youtube.com/watch?v=ARJYnA0ScTo
I use this scale in measures 3-5, 10-12 etc. in my piece.
- bi- or polytonality. I haven't used this technique myself, but we took a closer look at this piece in class: http://www.youtube.com/watch?v=xy39ArkPTzU
- irregularities in rhythm and meter: If you listen to e.g. Mozart pieces, you often find they are written in simple time signatures like 3/4, 4/4, 6/8 etc., and phrases
usually come in nice groups of 4 or 8. Especially Stravinsky turns away from this and you'll find a lot of 5/8's, 7/8's and the like in his music. There were also other
ways of adding the desired rhythmic vitality, take for instance the beginning of this piece where Stravinsky puts a 3-tone figure up against a 4-tone figure:
http://www.youtube.com/watch?v=tads_7vx6oY
I stole this idea, added a little Bartok http://www.youtube.com/watch?v=jPi-ZjRPcj8 (0:46-0:49) and put it in measure 24-26 of my piece.
Actually, this little set of easy piano pieces, "le cinq doigts", is often brought up in the study of 20th century music because the compositional ideas are so easily
accessible due to the simplicity of the pieces. I recommend playing them for yourself on the piano.
- Extended harmonies: Adding sevenths, ninths, elevenths and 13ths to the major and minor chords; diminishing and augmenting chords. For examples of this, check out Ravel's
music, e.g. his 'Sonatine' or 'Le Gibet' from 'Gaspard De la Nuit'
You also see harmony based on fourths instead of thirds (a favorite of Hindemith's).
- rapid key changes: I don't have an english word for it, but it's when melodic lines seem to follow some key or scale for a brief moment, but then changing to another before
a key really is established. A melodic line and its underlying harmonies could for instance seem to be a flat major-ish, then b minor-ish, then F major-ish, all within one or
a few bars. In class we saw some examples of it in this Hindemith sonata: http://www.youtube.com/watch?v=P1u-2RoGlrM but I think it's even easier to hear in Shostakovich:
http://www.youtube.com/watch?v=qif3YW7BwO4
Some serious brains under all that curly hair.