Re: [F_MINOR] Slink (was:Re: [F_MINOR] List artits called)

[Jost Ammon <jost.ammon@GMX.DE>]

> > > I am a chemist by trade and education, but I spend much of my time pursuing
> > > artistic endeavors.
>
> http://www.ammon-web.de/03_slink.mp3

> Listen, read and have fun,

According my logfiles 8 people have downloaded this piece so far. Those among you who have listened to it - can you relate to Lyle's comments about motivic development accounted for in chemistry patterns? Did you desire to have a "slow motion key"? Did you think the piano improvisation was genetically, well molecularly, linked to the basic elements?

Just curious about what you found.

Jost


> 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)
> >
> > **************************************************
> > Signoff instructions, and user preference interface:
> > http://email.rutgers.edu/cgi-bin/wa?SUBED1=f_minor&A=1
> >
> > F_minor Website (with early archive):
> > http://www.rci.rutgers.edu/~mwatts/glenn
> > **************************************************
> >
>
> **************************************************
> Signoff instructions, and user preference interface:
> http://email.rutgers.edu/cgi-bin/wa?SUBED1=f_minor&A=1
>
> F_minor Website (with early archive):
> http://www.rci.rutgers.edu/~mwatts/glenn
> **************************************************
>

**************************************************
Signoff instructions, and user preference interface:
http://email.rutgers.edu/cgi-bin/wa?SUBED1=f_minor&A=1

F_minor Website (with early archive):
http://www.rci.rutgers.edu/~mwatts/glenn
**************************************************