Word: chordal
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
...piece builds over a slow, droning, continually repeated chordal procession called Musica Mundana (Music of the Spheres). Says Crumb: "I like sounds that never stop." He also likes a good explosion or two. Halfway along comes a percussive cataclysm that shakes the rafters like a latter-day The Rite of Spring. At the end, the glistening harmonics from three solo violins perched high in a rear balcony evoke a paradisiacal kingdom where the chil dren of light will reign...
Avant-garde jazz grew out of a reaction to the increasing slickness of jazz in its hard bop and cool phases in the late '50s. Musicians who had grown up with the bop revolution could rattle off chordal solos with such facility that there were no longer any challenges left. To restore the music's freshness, another revolution was necessary, but like most revolutions, it brought changes for which few were prepared. Musicians such as Cecil Taylor and Ornette Coleman sought to move outside the boundaries of traditional musical structure, to ignore the rules of harmony and tonality. Such...
Albert Ayler founds his approach to jazz on a search for simplicity. His music reaches back into the origins of jazz for its most basic, primal elements. He rejects the modern sophistication of chordal structures to construct a new blues form. Ayler digs deep into the tenor saxophone's gutteral voice to produce a sound that is harsh, unsubtle and unpolished. He plays in a strong, brutal manner; he bends, bashes and torments notes until they express what he desires. Usually building around a simple recognizable theme, Ayler relies on a rawness of emotion unfiltered through traditional structure that seems...
...sacred motets that opened the program suffered from exactly this type of difficulty, as did William Byrd's Mass for five voices. With only a single voice for each elaborate contrapuntal line, I Dilettanti were simply unable to maintain the warm blended tone they brought to the simpler, chordal passages...
...middle of the program. It has a bright, attractive third movement where seemingly by accident a melody found its way into the oboe part. The movement is atypical of de Falla and slightly reminiscent of Poulenc. The first and second movements are far more percussive with frequent marcato chordal passages. Moshell and Wolff, their earlier roles reversed, were here soloist and conductor. The breakdown of the harpsichord precluded any fair judgment of the piece or its performance...