Ojos brujos gonzalo roig biography

It was a great exposition. The older generation was also represented: Karol Szymanowski and the great Jewish composer Ernest Bloch. It was a kind of panorama from which I took the latest elements, like Cage and Berio. I brought back the scores of my new friends - Penderecki, Tadeusz Baird, and Bussotti - and held a conference in Cuba. You mean that music evolves historically through the use of intervals?

LB: Yes. I think, as a crazy theory of my own, that history develops out of sound itself: the discovery and development of sound. In medieval times, only incomplete chords were used, just the octave and fifth. The Renaissance introduced the third, major and minor. Then came Baroque and the seventh. Then a bit more development brought the augmented eleventh, the whole tone scale, Debussy and Impressionism, and so on.

Then came the high overtones and microtones. I believe this theory, and it helps to understand my own music. Eternal Spiral is a compendium of the last elements. And in this way I orchestrate. About national features in music:. This is not true. This is an inner contradiction of ideas, because the universal and the particular are never separated.

This is not understood by people who aren't involved with art. They preserved tradition; they didn't develop tradition because they were so far from the source. They had to preserve it as an historical background, a foundation. Today, Africans come to Cuba to discover this. In Africa evolution continues, but not in Cuba. About officials:. This has existed since the Romans.

When the Roman emperors pushed out the philosophers, Roman decadence followed. This is history; it happens all over. Bureaucracy is a way of dealing with power. Two sorcerer eyes who were staring at me. At this moment, the music almost begins to be scaring. This sounds like a nice anomaly and must sound like this! Moreover, maybe the AbM chord is preparing the C minor key that is coming in measure 23, since it is the sixth degree of the C natural minor key.

Measure 21 and A nice chromatic motion between F -7b5 the sixth degree of the A melodic minor key and F7 11 the substitute of the dominant of the dominant of the A minor keys. Notice the melodic pedal of C, and remark that those two chords are without third. Measures 23 to the climax as if a sapphire sea was tearing off my soul and my heart.

The main melodic pattern of the first measure is back, but this time it goes from A to G, and follow the C minor scale s first melodic and then natural. What is interesting is that Brouwer chose the C minor key instead of C major the relative major key of A minor. The sound of C minor adds more dark and tragic feeling. As you can hear or see on the score, the main melody from measure 23 to 26 is not the exact transposition of measure 1 to 4, only the shape of the pattern is similar.

Measure 27 to The melody and also the intermediate voice in measure 27 is the exact transposition of measure five but the accompaniment differs in measure Measures 25 and This is the same remark as between measures 24 and 25, but this time we must hear the GM dominant chord rather than G-, so as to bring the great C natural minor downward motion in measure Measure 27 to It has been said that the beginning of measure 27 was the exact transposition of measure 5 in C minor.

Measure this Db7 chord is a substitute of G7b9, the dominant chord. But, as the first part must be played again in A minor to keep coherence between a beginning in A minor, and an end in A minor too , this Db7 chord leads to a C7 chord to have a natural E, mi, instead of C- and Eb, mib. This one brings the first part again in the main tone A minor.

Ojos brujos gonzalo roig biography

But this time the main melody appears in the bass line! Measures There is a V th to VI th degree well-known and efficient progression that boosts again the interest of the music and the tragic feeling of it. Notice that the natural fifth of E7 the B, si is written under the b5 the Bb, sib so as to avoid a b9 between Bb and B! Measure 38 to the B part again Two eyes I saw yesterday.

Unlike the first B part, this one appears after the climax, and maybe this time sounds like an element of regret. After all, modernity in this piece can be compared to the Bela Bartok approach of arranging folk songs. Here it consists in:. Accidental or real chromatism measure 1, 2, 3, 4, 17, 18, 19, 21, 22, 27 28, 29, Unusual uses of chords progressions , , , and the unexpected arpeggio of CM in 34, a tonic chord, which plays a dominant role!

Incomplete chords without the third: 6, 7, 8, 19, 21, 22, Hybrid chords , or mix of chords, or chords with tensions and fourth voicing 2, 3, 4, 7, Unusual use of chord inversion measure 24, Unusual transposition of the main melody C minor instead of C major, the usual major relative. Rameau - JS. Bach - SL. Weiss - D. Scarlatti - Classical music - F.

Carulli - F. Sor - M. Giuliani - A. Diabelli - N. Paganini - D. Aguado - M. Carcassi - N. Coste - JK. Mertz - G. Arcas - J. Ferrer - F. Weidt - E. Granados - E. Shand - M. Turina - M. Llobet - JS.