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[F_MINOR] Slink (was:Re: [F_MINOR] List artits called)
On Tue, 13 Jan 2004 00:33:32 +0100
Jost Ammon <jost.ammon@GMX.DE> wrote:
> > I am a chemist by trade and education, but I spend much of my time pursuing
> > artistic endeavors.
>
> Please go and get the following record:
>
> http://www.amazon.com/exec/obidos/tg/detail/-/B00000FYHM/ref=m_art_li_3/104-5026664-2573546?v=glance&s=music
>
> If you cannot afford to do so drop me a line and I encode the piece "Slink" of this album to mp3 and provide it for download on my website. Then - not only as a chemist - read the following notes from the composer and pianist:
Ok, I've uploaded the mp3 (7.6mb) to:
http://www.ammon-web.de/03_slink.mp3
Listen, read and have fun,
jost
> I am listening to St. Mathew right now and must stop writing for a
> moment... Yes the double choir is powerful but more powerful is the
> motivic development. Yes this a perfect embodiment of architecture, and I
> am also reminded of organic chemistry. It sounds to me like endless
> molecules organically linked. To give you an example of how the great Bach
> influenced me consider how my piece "Slink" develops. Let's put this in
> the context of chemistry. Slink starts with an atom that contains an
> ascending fifth, Eb Bb, followed by a linking atom that only contains F,
> followed by an atom that mirrors the first atom but is a major third
> higher: G, D. This major third is significant and further developments
> will make that clear. But let's call these first five notes a molecule.
> The next molecule contains only the atom of the ascending fifth, C, G..
> The next molecule is similar in many regards to the first molecule because
> it contains the ascending atom, D,A, followed by the singular atom, Eb,
> followed by a mirror of the first atom in this third molecule, F. C, but is
> a minor third higher. This minor third will also be dealt with later. Now
> look at how these first 12 notes replicate the first five. The first five
> contain a two note atom linked by a one note atom to another two part atom.
> The first 12 contain a five note molecule linked by a two note molecule to
> another five note molecule. I suggest you listen to only the first few
> seconds of Slink until this parallel is clear. Now the game has already
> begun because the molecules start at different points in the meter, (It's
> all 4/4 and ends up as a standard eight bar phrase BTW).. The game is
> furthered by longer molecules playing with the idea of ascending two note
> atoms linked by singular atoms to ascending atoms, and the displacement
> within the meter is also continued. Notice when the second voice enters it
> starts with an inversion of the opening atom, now it's a descending fifth -
> F, Bb, and goes on to add new material but also to comment on the existing
> material. The third voice is designed for contrast. The first two deal
> mainly with the interval of the fifth but the LINKING notes were always
> next to each other as in a scale. So the third voice deals with the idea
> of the scale and contains very few leaps. With this introduction of the
> third voice we have a clearly implied harmony and it swings between Eb
> major and C major. I told you the issue of the ninor third would be dealt
> with. There is an interlude where these ideas are further explored and
> then a reprise of the three part culmination. But in the next section the
> harmony swings between Ab major and C minor, thus dealing with the major
> third issue, and the melody expands on both the scales and leaps of the
> previous material. For instance, the first four notes of the melody in
> this section start with a step (in inversion to the first step) followed by
> a fifth (in inversion to the first fifth). The inversion idea is furthured
> by rhythm as the the first four notes of the piece contain the fifth
> followed by the step. These four notes contain the inversion of the first
> step followed by the inversion of the first fifth. Thus we have a
> rhymythic inversion of the leap and the step. The end of all this
> expositional material contains and ascending (again) series of thirds
> (A,C,E,G,B,,D,F#,A) inverting again the order of the introduction of the
> major and minor third idea. Listen to Slink again with this knowledge and
> tell me what you think. And let's all keep listening to Bach.
>
> (from a private email conversation)
>
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