Really! Who would think that composers from the renaissance period already tried to experiment with polyrythms. Such things make me think that complex issues like this one aren't that recent in music history...
I think it’s like those times when you learn a new word, suddenly it’s everywhere... our minds only notice things that are important to us at the moment...
Maybe this month as well? Phodon released polyriddim and everyone's talking about that 7/4 beat and 122.5 bpm but the part that goes back to 4/4 in 140 bpm actually makes a perfect 8:7 polyrhythm when combined with the old meter and thus making the transition several times easier, and the "drunk" part in the middle is actually a bunch of nested tuplets. See Shawn Crowder's video about this, it's really good
I always loved that passage in the 4th ballade, but never stopped to rationalise it as 9 against 8. Delighted to have stumbled upon your excellent content!
Same here. I have for a long time semi-consciously held this to be the most beautiful passage in all of Chopin's output. Also because it features the quintessential lush chord that could almost be called Ab9sus4 (I understand the chord, but I don't know its name).
It's brilliant how Chopin has an upward stem in every fourth note of those triplets in the right hand. That's what makes it playable. You just have to play a fairly simple 16th note triplets against 16th notes and simply remember which notes to isolate and bring to the foreground so that the 9 against 8 emerges over the course of the two measures. I love this passage too. Seeing the score demystifies it somewhat and shows a bit of Chopin's genius at work.
Some people consider all this contemporary, atonal crap, crap music. If you like beautiful, brilliant music, then chopin is obviously unmatched. If you dont like beautiful solo piano then you won't enjoy chopin.
NintendianaJones64 Definitely not overstatement. His contemporaries were simply in awe at his facility on the piano. Liszt also enjoyed near-worship for his technical mastery of the instrument.
Awesome video! The Ligeti stuff is reminds me of compositions I've heard from India where a rhythmic piece is repeated at multiple time cycles and in many cases those cycles are fractional, so a piece will repeat at 1/3 or 2/3 speed all while the pulse stays steady underneath. Practicing and writing with this sort of thing has left me frustrated with physically notating measured bars of music, but it looks I could learn a lot about making it readable just by studying Ligeti's scores. Thank you!
One of the most irritating things about notated music (and the constraints of traditional Western composition, which is so notation-based) is that it makes it really hard to quickly compose/read/interpret music that is based on patterns and altered repetition. There's music pieces that can be summed up as a couple melodic phrases and some simple instructions, but notating them is a time-consuming process that results in an ugly visual mess.
@@felixmarques On occasion, I have written pieces in which there is no way I could have gotten the desired result by indicating meter or relative note values in any typical way, yet my instructions were organized and detailed to produce a structured performance and coherent listening experience. I would like to see more composers employing innovative ways to convey their instructions to performers.
@@felixmarques You obviously never worked with a DAW (digital audio work station). Just make loops at different lengths and you are good to go! For live music, yes it is a lot harder, but it is also not really part of the western musical traditions afaik. Musical notation is also an important strength of western classical music. Other classical music can also be great and complex, but they are more about performance and less about composition, a bit like jazz and folk music.
I love that people are talking about polyrhythms and rhythm in general! It helps bring to light that there is more to music than just pitch content. Great video ^_^
Very interesting! That lift-off effect is clearly present in a lot of the music I listen to (e.g. Scriabin), but I never realized how it is done compositionally... will definitely be using that in my own (attempts at) compositions in future :)
It's videos like this that have made you my favorite music UA-camr. This is so interesting. I've experimented with polyrhythms a lot in my music but I've always sort of felt like my experiments were half baked. One thing you might be interested in, in electronic music, is the idea of crossfading between different speeds. So for example if you have one rhythm that is at 3/4s speed of another, you can find lots of notes in common and drift your way between the two speeds. Music software is still pretty awkward for doing this but it's do-able. Even something like the polyrhythms you explain in your videos are kind of awkward to work with in most daws, but that's part of what makes it fun. Thanks again for the inspiration!
Tbh I don't know any examples other than in my own music hahah but it's something my producer friends and I have talk about a lot. I've done it in a couple DJ mixes. It feels a lot like changing where the accent lands. Rob Clouth does this really beautifully in sifting through static. Another related and interesting technique is really gradually going from a strong swing groove to a straight rhythm, it gives the feeling of speeding up in a very very smooth way.
Great! So informative and a hilarious nod/bop at the end, to Adam. This is a great youtube time when a group of you are having this excellent youtube conversation! Thanks to Adam for starting it!
Fascinating and useful to me as a composer. The history was a real eye opener. I would be interested in seeing you do a comparison of Ligeti's polyrhythms with Zappa's. Kudos!
Hugely enjoyed this video. I'm going to use some ligeti for drum practice now! I have always found it super interesting about how time is felt in a more elastic way in classical music than contemporary. Thanks so much for making the vids!
Bless your heart. Can you imagine that I've been trying to teach myself Opus No. 9 without ever thinking about it as a polyrhythm? I just thought of the crazy runs as what I called "dotted quarter note 11-tuples". Facepalm... thanks David Bruce.
Thank you, Mr. Bruce. You were brilliant in shedding light with your exhaustive knowledge of music from all eras. Admire your use of poetic terms, shimmering, etc., coupled with technical analysis. You are marvelous!
Great video! Question for the performers among you guys: Does anybody else also experience these polyrhythmic lift-off moments as a performer? When practicing Chopin polyrhythms I've often felt the lift-off effect on a very physical level as a sense of sudden freedom or flying over the piano keys. Another note: For a contemporary take on the mensuration canon check out Knut Nystedt's "Immortal Bach".
Awesome, I love this video. I never made the connection between polyrhythms and rubato in Chopin’s music the way you explained it. It makes perfect sense. Thanks!
Dear Mr. Bruce: I work as a pipe organ builder in Virginia (in the US!), and your channel is one of our most favorite to watch during our lunch break. Thank you for being such a wonderful teacher!
This was very interesting. A new view and appreciation towards classical music. I’ve never actually liked classical but as a composer. I understand it more. Thank you very much for the insight!
David, have you considered doing a video about the rhythmic components of afro-cuban music? Its such a rich style in terms of rhythm while remaining an incredibly easy style to listen to, even for someone who knows nothing about music, that it might be worth unpacking. Love the video!
thank you, very informative and inspiring.... I have studied and performed polyrhythmic compositions of my own but had let go of it for a while. You gave me the desire to et back to work on this
David, have you heard the song 'frame by frame' by king crimson? Both guitars play in harmony in 7/16, but then, one of the guitars removes one note from the pattern, thus making it 6/16, while the other one remains in 7/16, which makes for a great effect, you'd probably love it!
Thanks for explaining it. In Jazz, Errol Garner was right into it. He could make a simple phrase exciting by engaging our ears in that tension. Dave Brubeck would play in 3/4 (with Joe Morello Drs. laying down a 4/4), and it swings like mad. Thanks again for a great theory lesson. The principles apply to every scene.
Could you do a video on The Shaggs? I've listened to African polyrhythms, I've listened to Ligeti, but I still can't wrap my head around what those young ladies were doing. It would be one thing if they were just all playing their own tempo, but they sync up at key points in the songs! They hit the cues! How does their music work? Their sense of melody, harmony, and form is also strange and wonderful.
Excellent explanation of a complex musical procedure, and lovely to have some focus on Ligeti. I was actually expecting you to cite his Musica ricercata #7, which seems to me one which really embodies that "floating" quality Chopin creates. But then, speaking of Ligeti, he's practically ALL polyrhythms. Anyway, thanks for shining a light on him.
As someone who plays mostly folk and early classical pieces, and is now more often tackling pieces composed much more recently, I found this as potentially insightful. It's given me at least a new window into the music I work with, and that's a Good Thing.
Fascinating, and inspiring. I really like the example from Ligeti's Etude 6. I can imagine that repeating four-note cycle working quite nicely as a sequenced synth part.
Thank you for this Episode. As a Drummer and Pole i am twice happy you bring the topic polyrhythms and polish national treasure together. Its fun to see one topic almost simultaneously from your perspective, and the other UA-camrs like A.Neely or his Drummer Shawn. I had to laugh a lot about your meme. We europeans are excluded from Adam Neelys 7/11 challenge.
Love it, David Bruce!!!!! So many different ways to do polyrhythms! There's so much value to get from this video. ...way better than me saying , "strike every 11th note of 7lets in 11/4 ... every 11th note of 7lets in 11/4 ... just do it already 🙄🙄🙄🙄🙄" for most of the video. Hahaha. (Though honestly I did love Adam's funky composition)
Great and fascinating video. I am just practicing Chopin Fantaisie Impromptu and Ballade 4 and I had a hard time to be good. The other polyrhythms mentioned in the video seems go above my head...) - but they are very attractive too.
The text on top of the mensuration canon makes me think it was a compositional way of expresing the divine trinity 3 in 1. It is actually a very precise metaphore.
A few weeks ago I started creating a little passage in my daw with a 13/8 beat and a 6/8 rhythm part underneath. You get lost between the two patterns and your brain tends to cling on to either one until they come together eventually. Its very confusing but in a good way. My approach for the melodies is to slowly bring them in one by one as repeating "layers", strictly attached to either one or multiple bars of the 13/8 or the 6/8 and I try to make sure they all harmonically work together, creating a canon-like structure. It sounds very different from what I would normally write and I'm very happy how it broke up my writing habits. It's a great inspirational tool to "restrict" yourself with weird rhythms and then see how they evolve and create patterns by themselves you would never have found on your own.
Cool Video! I've found, when back in the day, I learned the fantasie impromptu, it didn't even feel "akward" to play that 3:4 Polyrithm, because it matched kindoff the handposition aand the fingers. You know like "Ok left hand, you may start with the right one, but you'll be going different paths, but be sure, you'll meet again", and it somehow makes it feel quite enjoyable to play polyrithms on piano. In comparison It feels way less natural on for example the guitar, since you cannot simply say: "Left hand, this is what you do, and this is what you do right hand". Its that both hands do need to think simultanously about those two measurments. Very interesting topic!
Thank you very much for opening the door into this interesting music, formerly known as cat music to me, but after this video it has changed. Great show !
Great to see a video where the polyrhythms are discussed in the context of music, and not just as a technique separate from music. It's also great too see someone who appears to really knows what he's talking about, take the listener on a journey of musical discovery which is as fun and moving to watch as it is informative. Listening to the Ligety selections, I immediately thought of Zappa's Synclavier music, he must have copied a lick or to two from Ligety!
aaaaand from Conlon Nancarrow, who was a pioneer of non-human playable music; i love frank's civilization phaze 3 and the other synclavier works, (i was actually searching the comments for a zappa related one!!)
In my opinion, the two measures from Chopin’s ballade you analyzed constitute the greatest five seconds of music ever written. By itself, that phrase is incredibly beautiful, and in the context of the whole piece, they are transcendent. I don’t even know what other moment of music would compete with that.
Just love polyrythmics. Great video, but need to comment one off topic. The pop group pic in beginning of this video is actually a finnish pop group Bogart co. from 80's
There is also a 1/4/6 polyrhythm in Chopin's ballade no 1 in g minor. The 4 part is a quadruplet played over 8th note sextuplets in the left hand and regular quarternotes in the right (the last note of the quadruplet also falls on a held 8th note triplet tied to the last quarter note the right hand plays, just to add to the rhythmic complexity)
From one of the younger youtubers' videos (Neely, etc.), I like the idea of polyrhythms being ultra slow intervals, and intervals being super sped-up polyrhythms.
The more you study Chopin, the more you realise it's not just pretty harmonic progressions and dazzling piano effects. You begin to see the underlying genius. I suggest reading the analysis of his E minor prelude by Carl Schachter. This prelude is often associated with the elegy, but Schachter unearths a skillfully crafted work hidden behind its expression. (Note: In the second half of Schachter's analysis he drifts into the dubious world of Schenkarianism). Thanks for talking about Chopin. He's in my top 4 with Bach, Beethoven and Scott Joplin.
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
I was expecting an 1845/1985 polyrhythm.
I'll let you play that..... that's too much for me lol
I think at that point, it's basically harmony
Well that would just be a 369/397.
Underrated comment.
I read the title wrong, so I was expecting 11th century polyrhythm.
Fascinating video! So interesting to get perspective and hear these concepts in a historical context.
Really! Who would think that composers from the renaissance period already tried to experiment with polyrythms. Such things make me think that complex issues like this one aren't that recent in music history...
Thanks Shawn. I loved your video too. Hope to see more from you!
How does it feel to be introduced as Adam Neely's bandmate?
Joao Carvalho those aren’t really polyrhythms, to my ear, just an awkward notation
I love you Shawn
Wow! This is Polyrhythm Week for UA-cam haha 👌
This week should go down in history as Polyrhythm Week. :)))
Haha what is UP with that
I think it’s like those times when you learn a new word, suddenly it’s everywhere... our minds only notice things that are important to us at the moment...
Maybe this month as well? Phodon released polyriddim and everyone's talking about that 7/4 beat and 122.5 bpm but the part that goes back to 4/4 in 140 bpm actually makes a perfect 8:7 polyrhythm when combined with the old meter and thus making the transition several times easier, and the "drunk" part in the middle is actually a bunch of nested tuplets. See Shawn Crowder's video about this, it's really good
I always loved that passage in the 4th ballade, but never stopped to rationalise it as 9 against 8. Delighted to have stumbled upon your excellent content!
Same here. I have for a long time semi-consciously held this to be the most beautiful passage in all of Chopin's output. Also because it features the quintessential lush chord that could almost be called Ab9sus4 (I understand the chord, but I don't know its name).
It's brilliant how Chopin has an upward stem in every fourth note of those triplets in the right hand. That's what makes it playable. You just have to play a fairly simple 16th note triplets against 16th notes and simply remember which notes to isolate and bring to the foreground so that the 9 against 8 emerges over the course of the two measures. I love this passage too. Seeing the score demystifies it somewhat and shows a bit of Chopin's genius at work.
"Chopin is the greatest of them all, for with the piano alone he discovered everything."
Claude Debussy
Wow..Claude said that?! That carries a lot of weight in my book.
Some people consider all this contemporary, atonal crap, crap music. If you like beautiful, brilliant music, then chopin is obviously unmatched. If you dont like beautiful solo piano then you won't enjoy chopin.
What a claude.
@@waynedombrowski7568 I know him as Claudey Baby
NintendianaJones64 Definitely not overstatement. His contemporaries were simply in awe at his facility on the piano. Liszt also enjoyed near-worship for his technical mastery of the instrument.
Awesome video! The Ligeti stuff is reminds me of compositions I've heard from India where a rhythmic piece is repeated at multiple time cycles and in many cases those cycles are fractional, so a piece will repeat at 1/3 or 2/3 speed all while the pulse stays steady underneath. Practicing and writing with this sort of thing has left me frustrated with physically notating measured bars of music, but it looks I could learn a lot about making it readable just by studying Ligeti's scores. Thank you!
These are called tihais and they are usually used to finish pieces.
Signals Music That's your turn now!
One of the most irritating things about notated music (and the constraints of traditional Western composition, which is so notation-based) is that it makes it really hard to quickly compose/read/interpret music that is based on patterns and altered repetition. There's music pieces that can be summed up as a couple melodic phrases and some simple instructions, but notating them is a time-consuming process that results in an ugly visual mess.
@@felixmarques On occasion, I have written pieces in which there is no way I could have gotten the desired result by indicating meter or relative note values in any typical way, yet my instructions were organized and detailed to produce a structured performance and coherent listening experience. I would like to see more composers employing innovative ways to convey their instructions to performers.
@@felixmarques You obviously never worked with a DAW (digital audio work station). Just make loops at different lengths and you are good to go! For live music, yes it is a lot harder, but it is also not really part of the western musical traditions afaik. Musical notation is also an important strength of western classical music. Other classical music can also be great and complex, but they are more about performance and less about composition, a bit like jazz and folk music.
Seems like polyrhythms are the talk of the town right now!
Next time I'm flying I'll get in on the memes with a 7/47 rhythm performed with airline cutlery.
Boeing boom tschak.
@@get-the-joke Niiiiiice!
I was planning on doing a 6/66 rhythm on tormented souls in hell but now I'll just look like a copycat.
Perform a 9/11 Rhythm to celebrate what Karlheinz Stockhausen called “the greatest work of art imaginable for the whole cosmos”.
How far can this go? I really I hope no one tries playing a 9/11 polyrhythm at the World Trade Center memorial.
Edit: late to the joke.
I love that people are talking about polyrhythms and rhythm in general! It helps bring to light that there is more to music than just pitch content. Great video ^_^
I had some nine bars, but I eight them.
That would be a polymeter though ;)
@John Verne No you see, seven needs to eat three squared meals a day
@@IgnatRemizov John got the answer, you got the equation. What a team!
I imagine some slick rapper being quite pleased with himself after coming up with this
@@timluyten8660 Did you mean a polyeater?
Very interesting! That lift-off effect is clearly present in a lot of the music I listen to (e.g. Scriabin), but I never realized how it is done compositionally... will definitely be using that in my own (attempts at) compositions in future :)
It's videos like this that have made you my favorite music UA-camr. This is so interesting. I've experimented with polyrhythms a lot in my music but I've always sort of felt like my experiments were half baked. One thing you might be interested in, in electronic music, is the idea of crossfading between different speeds. So for example if you have one rhythm that is at 3/4s speed of another, you can find lots of notes in common and drift your way between the two speeds. Music software is still pretty awkward for doing this but it's do-able. Even something like the polyrhythms you explain in your videos are kind of awkward to work with in most daws, but that's part of what makes it fun.
Thanks again for the inspiration!
Could you link some examples of this crossfading? :)
I'd also be interested in hearing examples of this!
Just ignore the bar lines ; )
@@crono303i imagine that crossfade would be like some polyrithmic pitch shift for the tempo ! ? :)
Tbh I don't know any examples other than in my own music hahah but it's something my producer friends and I have talk about a lot. I've done it in a couple DJ mixes. It feels a lot like changing where the accent lands. Rob Clouth does this really beautifully in sifting through static. Another related and interesting technique is really gradually going from a strong swing groove to a straight rhythm, it gives the feeling of speeding up in a very very smooth way.
Thank you UA-cam for the masterclass in polyrhythms
David Dieffenderfer seriously. 3 fantastic videos from 3 genius perspectives
Fascinating analysis. I shall be far more aware of the polyrhythms in Chopin from now on.
Great! So informative and a hilarious nod/bop at the end, to Adam. This is a great youtube time when a group of you are having this excellent youtube conversation! Thanks to Adam for starting it!
Absolutely fantastic video. Thank you so very much for making this one.
really wonderful and well-constructed guides. music and its theory unfolds most vividly with your descriptions!
Fascinating and useful to me as a composer. The history was a real eye opener. I would be interested in seeing you do a comparison of Ligeti's polyrhythms with Zappa's.
Kudos!
Hugely enjoyed this video. I'm going to use some ligeti for drum practice now! I have always found it super interesting about how time is felt in a more elastic way in classical music than contemporary. Thanks so much for making the vids!
David, this is mindblowing... Thank you.
I have been looking for clear explanation of polyrhythm and its musical use... finally found. Thanks so much.
Stumbled upon polyrythm vids and I get this one! Great explanation plus some humor on top. Thanks.
Thank you very much, this video was hugely heplful, greetings from Dominican Republic.
Bless your heart. Can you imagine that I've been trying to teach myself Opus No. 9 without ever thinking about it as a polyrhythm? I just thought of the crazy runs as what I called "dotted quarter note 11-tuples". Facepalm... thanks David Bruce.
Thank you, Mr. Bruce. You were brilliant in shedding light with your exhaustive knowledge of music from all eras. Admire your use of poetic terms, shimmering, etc., coupled with technical analysis.
You are marvelous!
Great video! Question for the performers among you guys: Does anybody else also experience these polyrhythmic lift-off moments as a performer? When practicing Chopin polyrhythms I've often felt the lift-off effect on a very physical level as a sense of sudden freedom or flying over the piano keys.
Another note: For a contemporary take on the mensuration canon check out Knut Nystedt's "Immortal Bach".
I only had played the 11:6 and 22:12 polyrhythms in his Nocturne, and only for fun, so no for me, didn't lift off once. Fun though it was
Awesome, I love this video. I never made the connection between polyrhythms and rubato in Chopin’s music the way you explained it. It makes perfect sense. Thanks!
This is really an outstanding series. Thanks so much for being so thorough.
Oh god ! What an amazing and passionating work you did on these polyrhythms technics....!. Thanxxx U so much
Dear Mr. Bruce: I work as a pipe organ builder in Virginia (in the US!), and your channel is one of our most favorite to watch during our lunch break. Thank you for being such a wonderful teacher!
Bravissimo! Thank you, David Bruce.
Amazing video!! I'm keen on this channel, thanks!
you, Sean and Adam keep me sane. thank you thank you thank you.
This was very interesting. A new view and appreciation towards classical music. I’ve never actually liked classical but as a composer. I understand it more. Thank you very much for the insight!
David, have you considered doing a video about the rhythmic components of afro-cuban music? Its such a rich style in terms of rhythm while remaining an incredibly easy style to listen to, even for someone who knows nothing about music, that it might be worth unpacking. Love the video!
Awesome video! Truly inspiring. Thanks!
Thanks! That was a lot of fun. I now see both composers in an entirely new light.
thank you, very informative and inspiring.... I have studied and performed polyrhythmic compositions of my own but had let go of it for a while. You gave me the desire to et back to work on this
David, have you heard the song 'frame by frame' by king crimson? Both guitars play in harmony in 7/16, but then, one of the guitars removes one note from the pattern, thus making it 6/16, while the other one remains in 7/16, which makes for a great effect, you'd probably love it!
actually there is one guitar playing in 14/8 and the other one playing in 13/8.
@@wojciechdraminski3035 My bad, cheers for the clarification!
"Discipline" from the same album has even more complicated polyrhythms.
Found you through Adam Neely and I’m very glad I did! I always learn something new from your vids.
Very enjoyable, particularly as this features two of my favorite composers who I’d never thought were similar, quite brilliant.
Thanks for explaining it. In Jazz, Errol Garner was right into it. He could make a simple phrase exciting by engaging our ears in that tension. Dave Brubeck would play in 3/4 (with Joe Morello Drs. laying down a 4/4), and it swings like mad. Thanks again for a great theory lesson. The principles apply to every scene.
Could you do a video on The Shaggs? I've listened to African polyrhythms, I've listened to Ligeti, but I still can't wrap my head around what those young ladies were doing. It would be one thing if they were just all playing their own tempo, but they sync up at key points in the songs! They hit the cues! How does their music work? Their sense of melody, harmony, and form is also strange and wonderful.
Excellent explanation of a complex musical procedure, and lovely to have some focus on Ligeti. I was actually expecting you to cite his Musica ricercata #7, which seems to me one which really embodies that "floating" quality Chopin creates. But then, speaking of Ligeti, he's practically ALL polyrhythms. Anyway, thanks for shining a light on him.
Wow, lot's of new old music to dive into! Thanks a lot David.
As someone who plays mostly folk and early classical pieces, and is now more often tackling pieces composed much more recently, I found this as potentially insightful. It's given me at least a new window into the music I work with, and that's a Good Thing.
Thank You...another great video....takes me back to my Music School days!!
Nice! This is really interesting. Music youtubers make it an awesome place.
Thank you so much for this incredibly awesome video!
As all your videos, very interesting. Big thanks.
Very nice video, i love the fact that you put the score
Fascinating, and inspiring. I really like the example from Ligeti's Etude 6. I can imagine that repeating four-note cycle working quite nicely as a sequenced synth part.
Videos like this make me fall in love with youtube all over again
Rubinstein recordings of Chopin are my favorite - love the fact that we seem to gravitate to the same ones!
Thanks for the video =)
Nice addition in the end =D
Thank you for this Episode. As a Drummer and Pole i am twice happy you bring the topic polyrhythms and polish national treasure together. Its fun to see one topic almost simultaneously from your perspective, and the other UA-camrs like A.Neely or his Drummer Shawn. I had to laugh a lot about your meme. We europeans are excluded from Adam Neelys 7/11 challenge.
The Ligetti bottom-up layering approach made me immediately think of King Crimson's music, especially on the Discipline album.
yeah, same! i was thinking of the 7/8 against 13/8 polymeter in frame by frame;
Love it, David Bruce!!!!! So many different ways to do polyrhythms! There's so much value to get from this video.
...way better than me saying , "strike every 11th note of 7lets in 11/4 ... every 11th note of 7lets in 11/4 ... just do it already 🙄🙄🙄🙄🙄" for most of the video. Hahaha. (Though honestly I did love Adam's funky composition)
The Ligeti #6 is one of my favourite solo piano works ever. The polyrhythms give it a really "cold" feel
Fantastic stuff. Thanks !
Great video. You deserve more views. ❤️
Great video! Makes greater connection with academic music. There is great application called Polygonome, good way to listen into “pure” polyrhythms .
At 2:43 that's actually Chopin's Nouvelle Etude No.1 in f minor (one of my favorite Chopin's pieces). Great video!
Thanks for the knowledge Bruce!
This is probably my favorite music channel.
Great and fascinating video. I am just practicing Chopin Fantaisie Impromptu and Ballade 4 and I had a hard time to be good. The other polyrhythms mentioned in the video seems go above my head...) - but they are very attractive too.
Great ! Thanks for video 👍
thank you, very interesting
More like this! Love it.
The text on top of the mensuration canon makes me think it was a compositional way of expresing the divine trinity 3 in 1. It is actually a very precise metaphore.
could well be I agree
Great video, i'm going to use it for my next seminar
One of the best video. Thank you
A few weeks ago I started creating a little passage in my daw with a 13/8 beat and a 6/8 rhythm part underneath. You get lost between the two patterns and your brain tends to cling on to either one until they come together eventually. Its very confusing but in a good way.
My approach for the melodies is to slowly bring them in one by one as repeating "layers", strictly attached to either one or multiple bars of the 13/8 or the 6/8 and I try to make sure they all harmonically work together, creating a canon-like structure.
It sounds very different from what I would normally write and I'm very happy how it broke up my writing habits. It's a great inspirational tool to "restrict" yourself with weird rhythms and then see how they evolve and create patterns by themselves you would never have found on your own.
Cool Video! I've found, when back in the day, I learned the fantasie impromptu, it didn't even feel "akward" to play that 3:4 Polyrithm, because it matched kindoff the handposition aand the fingers. You know like "Ok left hand, you may start with the right one, but you'll be going different paths, but be sure, you'll meet again", and it somehow makes it feel quite enjoyable to play polyrithms on piano. In comparison It feels way less natural on for example the guitar, since you cannot simply say: "Left hand, this is what you do, and this is what you do right hand". Its that both hands do need to think simultanously about those two measurments. Very interesting topic!
Amazing research and work
Thanks for the deep insights!
Incredible analysis.
Great video, thanks!
Thank you very much for opening the door into this interesting music, formerly known as cat music to me, but after this video it has changed.
Great show !
Great content! Excellent example Chopin vs. Ligeti. I wonder if there are other pairings in that way.
very interesting and very useful, thank you
Love it! THANK YOU!
Thank you for sharing you insights.
love these vids please never stop
As someone that likes to improv with polyrhythms, this was amazing.
Youve quantified what I do naturally in my head and make sense of it!
Excellent, thank you.
beatiful and interesting, thanks.
Great to see a video where the polyrhythms are discussed in the context of music, and not just as a technique separate from music. It's also great too see someone who appears to really knows what he's talking about, take the listener on a journey of musical discovery which is as fun and moving to watch as it is informative. Listening to the Ligety selections, I immediately thought of Zappa's Synclavier music, he must have copied a lick or to two from Ligety!
aaaaand from Conlon Nancarrow, who was a pioneer of non-human playable music; i love frank's civilization phaze 3 and the other synclavier works, (i was actually searching the comments for a zappa related one!!)
In my opinion, the two measures from Chopin’s ballade you analyzed constitute the greatest five seconds of music ever written. By itself, that phrase is incredibly beautiful, and in the context of the whole piece, they are transcendent. I don’t even know what other moment of music would compete with that.
7:29 i thought he said "menstruation canon" which sounds like a much more unpleasant thing
uh oh!
Cannon* 😬
4:38 you’ll notice there that the penis there doesn’t stick .
really greats videos!! thank you!!
Do a video on isorhythms. Ligeti is my favorite. I met him in my 20s in Los Angeles. We discussed Antheil
Just love polyrythmics. Great video, but need to comment one off topic. The pop group pic in beginning of this video is actually a finnish pop group Bogart co. from 80's
Ligeti's Musica Ricercata no. 7 is also cool for this, as you get some great rhythmic coincidences by how both hands are played!
Wow, excellent video.
The cycle idea from ligeti was pretty cool!
There is also a 1/4/6 polyrhythm in Chopin's ballade no 1 in g minor. The 4 part is a quadruplet played over 8th note sextuplets in the left hand and regular quarternotes in the right (the last note of the quadruplet also falls on a held 8th note triplet tied to the last quarter note the right hand plays, just to add to the rhythmic complexity)
From one of the younger youtubers' videos (Neely, etc.), I like the idea of polyrhythms being ultra slow intervals, and intervals being super sped-up polyrhythms.
Great video!!
The more you study Chopin, the more you realise it's not just pretty harmonic progressions and dazzling piano effects. You begin to see the underlying genius. I suggest reading the analysis of his E minor prelude by Carl Schachter. This prelude is often associated with the elegy, but Schachter unearths a skillfully crafted work hidden behind its expression. (Note: In the second half of Schachter's analysis he drifts into the dubious world of Schenkarianism). Thanks for talking about Chopin. He's in my top 4 with Bach, Beethoven and Scott Joplin.