dimanche 16 mars 2014

Christien Ledroit - Tinted


Christien Ledroit
I’m not fond of traditional composer bios because they don’t tell you what makes that person’s music really sing. If you really want to know what makes my music sound the way it does, it’s because of all the things in my life that feed my soul. In school I learned to appreciate the beauty of the creation and inner machinations of music. Outside of school I learned to appreciate the beauty of sound and passion. I grew up in the 80s and early 90s, so that should tell you something about what kind of pop culture influences me. My favourite music to listen to is punk rock, Beethoven, Debussy, Ligeti, Murray Schafer and a lot of what’s going on in NYC right now (David Lang, etc).  I can’t stand Mozart, with the exception of his two symphonies in G minor. Read into that what you will! I’m married to a wonderful woman and soul-mate, and we have two amazing young daughters.  I’m not much of a performer. I grew up playing violin, and picked up guitar and drums along the way. I play guitar in a rock band. I’m a bit of a foodie, and have an appreciation (if not always a budget) for good wines and single-malt scotch. I’m also have a thing for vintage sports cars.  There’s a direct correlation somewhere in there between the very fine inner workings of an internal combustion engine and the various notes, figurings and nuances of a composed piece of music, as well as the raw power and speed of a performance car, and the visceral emotions found in a lot of my music. What does all this mean as far as music? Nothing and everything, but what comes out of my pencil in my studio is always going to reflect bits and pieces of what makes me an artist.

(by the composer himself)

The title Tinted refers to glass (Glass) that's been coloured - you see a different picture than if it were clear.  In this case, it's Glass's style tinted with my own.  The scalar patterns and regular 4-bar phrasing is all Glass.  The morphing of the scalar pattern (one note being removed at a time over several repetitions) is all me.  I start with something that could have been written by Glass, then gradually move it more towards something that couldn't possible be written by him - changing meters, clusters, etc.  The building process occurs twice, though the left hand constantly evolves throughout.  

You'll see x noteheads (indicating imprecise pitch - wherever your finger lands) gradually enter as it builds towards clusters.  You don't have to be precise about these.  It could be the top note of the chord, middle note, etc.  It doesn't even have to be that exact note - it could be the next, or previous.  It's just a guide as to when to introduce the imprecise notes, and how to build towards clusters, where they're all x's.  Around m. 23/24, the clusters in the right hand should overpower the scales in the left - that's ok.  The scales should emerge in m. 25 as the clusters fade away.

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