![]() Due to that modified tonal circumstances a transformed concept of counterpoint begins to emerge that is less depending on a certain compulsive interval framework and is in that sense ‘liberated’. Two further examples show a loosening of primary tonal elements such as the decay of the outer voice framework (Außenstimmensatz) as well as the gradual loss of the “classic” location of chords on certain degrees as codified in the Rule of the octave (Försterscher “Sitz der Akkorde”). ![]() I begin with the examination of some early Scriabin-examples from the apprenticeship with Sergei Taneyev that proof Scriabins appropriation of elementary contrapuntal principles and the use of traditional musical schemata. Since then it’s been occasionally dragged out of the pile of half finished tabs but I. That’s why I started working on it in the early days of Uke Hunt (the 27th February 2008 according to the date on the file). As common practice counterpoint depends on the preference of vertical conditions (»Präferenz vertikaler Gesichtspunkte«, Krützfeldt 2005) the progressing decline of tonal principles reveals a transformation in the concept of counterpoint that leads towards a stronger autonomy of the melodic line (Krützfeldt: »Logik der Linie«). The Dave Brubeck Quartet’s Take Five (written by the group’s saxophonist Paul Desmond) is an absolute instrumental classic. The following text outlines a particular developement of contrapuntal thinking in Scriabins compositions that I call ›metamorphosis‹ of counterpoint.
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