Salvador Sandia Erubiel - Accordion/Xylophone and tonality
D. P. Magnus - Electric Bass and darkness
Callie Concord - Keyboard and tolerance
Pete Wellington - Percussion and nonsense
Carl "Commie" Kaline - Alto Saxophone and references
Etkilendikleri
- Punk (Chumbawamba's "Pictures of Starving Children Sell Records" and "Never mind the Ballots", Dead Kennedys' "Fresh Fruit for Rotting Vegetables" and "Plastic Surgery Disaters", Operation Ivy's "Bankshot", The Pouges' "Rum Sodomy and the Lash" and "Red Roses for Me", Leftover Crack's "Mediocre Generica" and "Rock the 40oz", Minor Threat's "Complete Discography", R.A.M.B.O.'s "Wall of Death the System", Suicidal Tendencies's self titled album, DRI's "Dirty Rotten E.P.")
- Classical (Beethoven's Fifth and Seventh Symphonies, and late string quartets)
- Romantic era (Liszt's Trancendental Etudes and Dvorak's Slavonic Dances and Ninth Symphony)
- 20th century music (Bartok's string quartets and piano music, Ravel's "Gaspard de la Nuit", and Schoenberg's "Verklärte Nacht"),
- Traditional (Eastern European, specifically Hungarian and Romanian),
- Hardcore
- Coffee
- Ferncliff Cemetery
Polymodal chromaticism is a musical term coined by composer, ethnomusicologist, and pianist Béla Bartók. The technique became a means in Bartók's composition to avoid tonality in the sense used between approximately 1600-1900 and yet a different approach than that used by Arnold Schoenberg and his followers in the Second Viennese School and later serialists.
Bartók had realised that both melodic minor-scales gave rise to four chromatic steps between the scales' 5th and the rising melodic minor-scale's 7th degrees when superimposed. Consequently, he started investigating if the same pattern could be established in some way in the beginning of any scales and came to realise that superimposing a Phrygian and a Lydian scale with the same tonic resulted in what looked like a chromatic scale. Bartók's twelve-tone Phrygian/Lydian polymode, however, differed from the chromatic scale as used by, for example, late-Romantic composers like Richard Strauss and Richard Wagner. During the late 1800s the chromatic altering of a chord or melody was a change in strict relation to its functional non-altered version. Alterations in the twelve-tone Phrygian/Lydian polymode, the other hand, were "diatonic ingrediences in a diatonic modal scale." (Béla Bartók Essays)
Phrygian mode (C): C - Db - Eb - F - G - Ab - Bb Lydian mode (C):
C - D - E - F sharp - G - A - B Twelve-tone Phrygian/Lydian polymode (C):
C - Db - D - Eb - E - F - F sharp - G - Ab - A - Bb - B
Melodies could be developed and transformed in novel ways through diatonic extention and chromatic compression, while still having coherent links to their original forms. Bartók described this as a new means to develop a melody.
Bartók started to superimpose all possible diatonic modes on each other in order to extend and compress melodies in ways that suited him, unrestricted by Baroque-Romantic tonality as well as strict serial methods such as the twelve-tone technique.
In 1941, Bartók's ethnomusicological studies brought him into contact with the music of Dalmatia and he realised that the Dalmatian folk-music used techniques that resembled polymodal chromaticism. Bartók had defined and used polymodal chromaticism in his own music before this. The discovery inspired him to continue to develop the technique.
rooftop show was sweet; thank you. i had to skip out early for a couch to sleep on in town, so i couldn't get your album or give you mine. perhaps next time..
hahahaha holy shit, i was at vassar when you guys played, and i walked past the show, but some shitty metal band was playing so i didn't go inside. wtfff haha
Online!
