I hope that what this is the beginning of is music-blogging, wherein an excerpt from a score is published at an altogether too-small size in order to illustrate an altogether mysterious point.
Mind you, we can gather a fair bit from the above. Two simultaneous bass clefs! Big low chords, and dramatic rhythms with triple-semiquavers. Either an instruction or a title of “Doom”. This is pretty heavy stuff. What’s the instrumentation? Perhaps we’ll never know. We don’t need to know in order to be thoroughly spooked/shaken/whatever it is we’re meant to be.
Well Peter, i’ll put you out of your misery by telling you that it is in fact the ‘Schicksalsfrage’ or fate leitmotif from Wagner’s Ring Cycle. The orchestration is basically horns and lower brass on the top staff, timpani on the bottom. It even got plundered by Shostakovich in his 15th symphony….
Whilst it is now tempting to post a selection of increasingly obscure and illegible score excerpts, i think i’ll spare us all that pleasure. This one is just here to say that five months after almost starting this blog it may have in fact now started.
Aha! Doom! Crisis! That would be the perfect description of my mental state if forced to listen to Wagner.
Hurrah for the blog beginning :) I think every so often we should have a new and obscure score that can be interpreted by your readers in order to reveal your current mental state, or that of the world. A kind of scrying, hopefully accompanied by much gobbledygook.
Meanwhile, keep at it! (using words if you like, sure)
I wonder if anyone else hears the Negativland in the distance. Adrian? Does Wagner always seem to be the archetype held up when a film wants to denote something German “this way comes”?
Hopefully some can even hear it close up….
As for Wagner, I don’t think he had anything specific to say about the Germans that can’t be duplicated with a jaunty slab of oom-pah.
I couldn’t agree more (or less).
I hope that what this is the beginning of is music-blogging, wherein an excerpt from a score is published at an altogether too-small size in order to illustrate an altogether mysterious point.
Mind you, we can gather a fair bit from the above. Two simultaneous bass clefs! Big low chords, and dramatic rhythms with triple-semiquavers. Either an instruction or a title of “Doom”. This is pretty heavy stuff. What’s the instrumentation? Perhaps we’ll never know. We don’t need to know in order to be thoroughly spooked/shaken/whatever it is we’re meant to be.
Well Peter, i’ll put you out of your misery by telling you that it is in fact the ‘Schicksalsfrage’ or fate leitmotif from Wagner’s Ring Cycle. The orchestration is basically horns and lower brass on the top staff, timpani on the bottom. It even got plundered by Shostakovich in his 15th symphony….
Whilst it is now tempting to post a selection of increasingly obscure and illegible score excerpts, i think i’ll spare us all that pleasure. This one is just here to say that five months after almost starting this blog it may have in fact now started.
Aha! Doom! Crisis! That would be the perfect description of my mental state if forced to listen to Wagner.
Hurrah for the blog beginning :) I think every so often we should have a new and obscure score that can be interpreted by your readers in order to reveal your current mental state, or that of the world. A kind of scrying, hopefully accompanied by much gobbledygook.
Meanwhile, keep at it! (using words if you like, sure)
I like your idea of occasional score dumps, at this point i’ll give it an emphatic ‘maybe’.
Now go and listen to some Wagner, it’s good for you.
SNIGEB TI WON!
I can’t get no satisfaction…
Sock it to me!
gimme gimme what you got
I wonder if anyone else hears the Negativland in the distance. Adrian? Does Wagner always seem to be the archetype held up when a film wants to denote something German “this way comes”?
Hopefully some can even hear it close up….
As for Wagner, I don’t think he had anything specific to say about the Germans that can’t be duplicated with a jaunty slab of oom-pah.