Saturday, December 10, 2011

Ah, si Haydn vivait aujourd'hui ...

... le pianiste qui détourne ses Sept Paroles du Seigneur sur la Croix ne pourrait pas faire impunément!
 
Horreur des horreurs! Et ce brave homme - sauvé de la francmaçonnerié pendant ses derniers années par une bonne législation de François I - qui priait le chapelet avant de composer! Coûtume très louable pour les compositeurs, et un compositeur qui le pratiquait, c'est très peu probable, non ce n'est pas probable du tout par rapport des ses oeuves, qu'il en aurait apprécié l'usage fait aujourd'hui dans le Théâtre du Rond-Point!*
 
Hans-Georg Lundahl
Audoux/Paris
11-XII-2011
 
*D'ailleurs il est créationniste aussi, il l'était pendant sa vie et doit le rester dans le ciel, et il le reste dans des oeuvres comme La Création! http://www.youtube.com/watch?v=YgZ3VlDu938 - le lien va vers la partie 1 d'une série des youtubes sur cette oeuvre.

Friday, December 9, 2011

Bien sûr, mes morceaux ne doivent pas être joués avec des blasphèmes ....

.... comme Golgotha Picnic ou Sul Concetto.
 
Ceci reste vrai pour ceux que je n'ai pas pu publier ici, ainsi que pour ceux dont on détient des manuscripts indépendamment de mon site.
 
Hans-Georg Lundahl
 
 

Sonatine Pompidolienne

Sonata de Platea Quadrata et deux autres



Saturday, December 3, 2011

Cherubino inoubliable - pourquoi?

Non so più?
Voi che sapete?
 
Non, il y a un, juste un morceaux que je fredonne par mémoire:
 
Non più andrai, farfallone amoroso ...
(Säg farväl, lilla fjeril till nöjen ... en suédois).
 
Il n'y dit rien, strictement rien. Mais on voit l'effort qu'il pose pour qu'on en se débarasse. Depuis que les aristocrats n'ont plus le droit de conscription militaire arbitraire, d'autres arbitraires ont pris la place. Richelieu n'y est pas pour rien. (Qui dit Richelieu dit le diable, disait-on dans les TroisMousquetaires ...)
 
Hans-Georg Lundahl
 
PS: J'aime d'ailleurs très bien la mélodie, mais pas d'être le Chérubino auquel on chante ça.

Thursday, October 20, 2011

I erased one message. Here is why:

I was yesterday evening looking into the overtone implications of suggested (non-conventional) scale. And oh, what many overtones from diverse chord tones that were just one or two or four apart in the proportion. Not really a good idea, as there were fewer overtone coincidences.

Wednesday, September 28, 2011

Quatre Exercises Bellovaques pour guitares (TAB)

La première pourrait être jouée par un duo, à moins de la varier comme indiqué en bas, la deuxième est normale

Encore deux, dont la deuxième en tonalité modale:

Wednesday, September 21, 2011

Utilité accessoire de ce blog:

Chaque scan - jusqu'à maintenant - est un manuscrit par moi, qui comporte normalement ma signature, parfois d'autres choses en mon écriture à main. On peut donc identifier ma personne comme identique à moi-même sur wordpress, où j'ai ouvert un blog, dont les scans relève d'écriture jusqu'à maintenant en essayistique, comme mes autres blogs mais écrits en main:

http://hglwrites.wordpress.org

L'original pour Den första gång jag såg dig (link/lien)

page sida Seite 1
page sida Seite 2

"rättigheter" (rights, Rechte, droits)


Birger Sjöberg est effectivement décédé en 1929, donc son œuvre est dans le domaine commun depuis 1999. Par contre mon arr. n'est pas très original, juste question de remettre la mélodie et la basse du piano sur la guitare, le plus simplement possible./HGL

Thursday, September 8, 2011

Den första gång jag såg dig - Sjöberg (arr. H G Lundahl)

Chaque note est soit une croche, soit marquée de valeur en dessus.

Sonata Regalis et Dunhilliana

Pour un bon guitarriste ou un duo de guitarristes bien accordés ensemble.

Sur la troisième mésure de la seconde reprise, j'ai noté les tablatures comme pour deux guitarristes, c à d 0 et 4 sur la même chorde, mais si c'est un seul, au lieu de Re, chorde libre, il prendra La, frette 5.

Friday, August 26, 2011

Un rhytme très populaire

http://www.youtube.com/watch?v=eK7a8qGNTNI - Viens au pays des schtroumpfs!
http://www.youtube.com/watch?v=vL8FZjMYuLY - Blancheneige et les nains, la tyrolienne (0:50 et suivants)
http://www.youtube.com/watch?v=7TC1xAnigX0 - Slade: Run Run Away

noire - quatre crochets - noire ...

Ça serait interessant de comparer les notes entre les trois partitions sur ce rhytme ...

Chanteuse et compositrice Sandrine Dubois!

http://www.youtube.com/watch?v=xrdwdDLiraY

Thursday, July 28, 2011

(and we sang:) Kum ba ya, ma Lor, kum ba ya!

There are Traditional or Byzantine Catholics of English origin who seem to have been shocked by this song. OK, it translates as:
 
"Come by here, my Lord, come by here! Come by here! Come by here!"
 
Gullah happens to be a dialect of English, or of a West African language using its own grammar but English words (and some Portuguese). In Gullah "Come by here" comes out as "kum ba ya".
 
Gullah is not a Liturgic language, and Kum ba ya is not a strictly Liturgic song. But people outside the Church have used Gullah as a worship language and have worshipped God with the song Kum ba ya. Is it a sin to sing it, because it was first used outside the Church? How about "I am the Lord of the dance", then?
 
Of course, kum ba ya should not replace strictly liturgic words. But singing kum ba ya after mass or sacraments on occasions like baptism, marriage, funerals, or singing it at home or on occasions when one might sing "Laudate si, o mi signore" (praise of God through the creatures, "and first of all through mylord our brother sun", by St Francis) seems no problem at all, morally.
 
It does not replace liturgy, it does not replace theology, but it is a prayer. A prayer for God's tender presence, thus a confession one believes, basically, in the Sacred Heart of Jesus.
 
It also has a touch of Liturgy. It could be used by a choir not knowing the liturgic songs, between the benedictus and the consecration, because of the words "kum ba ya"="come by here". It has a series of human life situations, that is a miniature of the Byzantine Liturgy's lithanies in mass (for the clergy ... for the rulers of our nations ... for the sinners ... for the sick ... for the people on voyage ... in danger ... under persecution ...), and I think some Novus Ordo services with kum ba ya may have used it on offertory re-introduced litanies (I happen to think that "ad utilitatem quoque nostram" was a shortened version of the prayers as of Byzantine Liturgy).
 
This does not mean I favour the Liturgic change of 1969 as such (I paid my "tithes" - much less than ten % in France - to St Nicolas du Chardonnet today), but it means that to me "kum ba ya" does not qualify as a criterium of a mass being said in an unworthy manner. I want the priest to turn to the east though. And at least priest and mass servant to master the words of the Liturgy. And I want my priests to have ordinations from bishops consecrated under old form, if I can chose. But unlike some English trads, I am not against kum ba ya.
 
To me that song is a fond memory of the Lutheran services of Sweden. If they have no real sacramental presence of Our Lord, they do have - long after the reformation and along with many half-atheists without any faith (I seem to recall a Nietzsche admiring masonic "cultural Christian" from Norwegian news) - some devotion. And in the High Church/Broad Church parish I practised for a short while before deciding on conversion, borrowings from Catholic Mass and kum ba ya were both ok. To Swedes of course, there is another song which is also not written by "a Roman", but which also expresses the trust in the Sacred Heart of Jesus. If you ever meet a Swede who came from "Free Church" (Nonconformist) congregations, do ask about "Perleporten". And ask him to translate the first stanza - in Latin it would start "sicut fons divinitatis" for the first line.
 
Both songs are in melodies that some describe as tender (as I do, and find in context appropriate) and some find "musically not interesting" (as professional singers would say). Some would call them sentimental. Then again some would call much Catholic devotion sentimental - see the kind of protestantism that watered down to "free thought", for example. Or the kind of anticatholic argumentation of 17th C. and 18th C. devines (excepting methodists) that became the antichristian argumentation of "we understand the emotional value of religion, but we think it has nothing to do with objective truth" - quite what some Calvinists would say about Catholic religion. One can say that 18th C Viennese Classicism (a later term, some critics described Haydn and Mozart as the first Romantics, as did E T A Hoffmann) has a penchant for two things known from liturgy and devotional music: the repetition and then repetition with longer notes, as in the Greek liturgy on kyrie, and the cadence system and sequences one sees in miniature in - kum ba ya.
 
So, no, I do not require them two songs at mass, but I am not allergic to them either. In their proper place. And among protestants I have more hope for people singing that than for say - Dean Inge. I suppose readers of Chesterton know whom I mean.
 
Hope I have not offended too many English trads, but that is how it is. My Catholic Conversion was not about getting away from Avec vous toujours, avec vous ... (French song among Salvationists, one of first two songs I learnt in French, when taken to US to learn English and complaining about it not being French I was about to learn, melodically somewhat more miltary than other two), but of adding meaning to it, understanding that Matthew 28:18-20 - to which it refers - means that Our Lord Jesus Christ founded his Church as a people with a hierarchy, not as only individual plus individual. And of adding devotions such as Ave Maris Stella or Salve Regina. I learnt some basics of Christian Catechism by Bible and Mother in Vienna, and there was a Mary with Child in our apartment there. And a book where people who had said too much - one even sold his soul to the devil another treated with him - tended to get saved when confessing to Holy Hermits or by using the Sign of the Cross.
 
Hans-Georg Lundahl
Bibliothèque Audoux, Paris
28-VII-2011

Wednesday, July 6, 2011

Wednesday, June 22, 2011

A warning about some musical connections

 
God preserve anyone playing my music from that connection!
Amen, amen, amen!

Wednesday, April 6, 2011

Ah, bonjour Iran?

Vous voulez jouer ma musique, c'est ça?

Thursday, March 31, 2011

Is rock music "staccato lyrics" and more fun than profound?

Now, that would rather be Gilbert and Sullivan. They often put six to eight syllables in a measure, I got the impression, and they are more fun than profound.

Let us take the staccato lyrics first. There is one part or set of parts which obviously is staccato in rock, that is the drummer's instruments, the battery. Battery cannot well be legato, it has to be staccato. And in rock mostly one or other instrument of the battery is beating on each of the eight crotchets per measure.

But lyrics are often enough legato: "I can't believe the news todaaaaaayyyy" or "for I am your laaaadyyyy, and you are my maaaaaaaan: whenever you neeeeed for meee, I'll be there if I caaaaaaan" or "you can't start a fiiiiire, without a spaaark" though the latter also has "Booooorn in ! the ! U ! S ! A !" ...

All of above examples are trying to be more profound than Pirates of Penzance. Some of them succeed with me even now, some do not. As you know, I am no fan of Rolling Stones, but "I can't get ! no ! satisfac ! tion !" is not funny or superficial. Neither is the much better though very similar "We don't neeed no ! educaaation !"

If you want superficial, go Gilbert and Sullivan. Three Little Girls from School is as superficial as Cindy Lauper (I would not be surprised if she had heard and liked it) and the blessing of the soldiers in Pirates of Penzance is farcical pacifism just as much as Sunday Bloody Sunday is serious pacifism (if it is true that "This is not a rebel song").

So, I am not criticizing rock for being superficial. Indeed some rock I am condemning for not being superficial, but instead being seriously anti-Christian or hateful - but that is not what I listen to, even when it comes to rock. But if there is rock I do not criticize but appreciate, why am I not writing rock?

  • a) its rythmical complexity is beyond my sense of exact rythmical notation;
  • b) when I improvise melodies, I cannot write them down from hearing, when I write melodies, I do not know exactly how they sound, only if they are dissonant or consonant, major or minor or modal, fifth of chord or third of chord, homophone or polyphone style et c. and what exact rythm: rock as much as Church Music is vocal, and one does not fit just any melody to any words;
  • c) I feel that classical as in Baroque or close on and partly folk too has been neglected, not by listeners and musicians (or it would not pay to write any) but by composers after Ravel and Britten,
  • d) and one could make - I have been making - short classical forms adapted to the three minute format.


Now, if my work as on this blog interests you, conditions are on http://shrt.st/ui2 and main index linking to that page and also to different instrument categories on http://o-x.fr/z5k and if you want to know what piece has been viewed most, it is the Ninth Guitar Sonatina, also known as Sonata Nemetodurica. It is written in tablature for the convenience of guitar players who do not master ordinary scores. Those who do usually master tablature too.

Hans-Georg Lundahl
III Arrondissement
Town Hall of Paris
31-III-2011

Tuesday, March 8, 2011

Comment traduire Ursatz en français?

Bien, le terminus technicus de Schenker est déjà traduit, j'y reviens.

J'ai entendu la traduction "phrase originelle". Bien, non.

"Ur-" se traduit parfois "original" mais le sens exacte est plutôt "primordial".

Satz? Il y a phrase, il y a mouvement. Vorsatz, Nachsatz - première et seconde phrases d'un thème. Erster Satz, Allegro-Satz, Andante-Satz, Zweiter Satz, Dritter Satz, Rondo-Satz ... il s'agit des mouvements d'une sonate.

Mais il y a aussi autre chose, structure!

Freier Satz, strenger Satz (structure de contrepoint libre ou stricte), Fugensatz, Choralsatz (ou Choralsetzung s'il s'agit d'une adaptation), Homophoner Satz ... et c'est ici qu'on retrouve aussi Ursatz.

La traduction de l'œuvre de Schenker le traduit par "Structure Fondamentale" ce qui me semble assez exacte. On pourrait aussi l'appeler Structure Staffage - c'est un peu le staffage dans le cadre duquel on élabore la structure finale de la phrase, du thème, du mouvement même (Schenker va si loin que ça) et la mélodie avec. Elle est bien-sûr donc antérieur à même la mélodie.

En aucune mésure ne peut on prétendre que cette méthode reposerait sur plagiat ou donnerait une voie simple à l'ignorant de l'harmonie. Pour la première chose, elle est trop peu spécifique, il y a par chaque Ursatz normalement plusieurs thèmes déjà existants, élaborer à partir de leur Structure Fondamentale commune n'est donc pas plagier un d'entre eux. Pour la seconde chose, il faut savoir l'harmonie ou le contrepoint suffisamment bien pour arriver à son résultat.

Hans-Georg Lundahl
Mairie du III/Paris
8-III-2011

Sunday, February 6, 2011

Judarne Czys, Muddy Waters, Rolling Stones ...

Kan bara meddela att mellan Rolling Stones och Beatles är jag snarast Presley, derefter McCartney*. Att judar äro bra på musik är ingen hemlighet, men smakmässigt är det ibland ngt ... jag kan intet klaga på Heinrich Schenker eller Georg Riedel, men Czys och vissa typer klezmer äro ngt annat. Se förresten citatet från SVD Kultur/Nöje:

sparad länk = http://o-x.fr/2i7l

–Både judar och svarta ville samma sak, skaffa ett bättre liv och tjäna pengar. Pappa insåg snabbt att de svarta var som svenskar. De ville kunna ta en drink.

I mitten av 1940-talet startade Leonard Chess nattklubben Macomba Lounge på South side. Här hängde konstnärer, hallickar, prostituerade och jazzmusiker. Det dröjde inte länge förrän han fick frågan om det gick bra att spela in jazzgrupperna live.

Tillsammans med sin bror Philip köpte han 1947 skivbolaget Aristocrat, som hade kontrakt med blueslegenden Muddy Waters. Tre år senare döpte de om bolaget till Chess Records. Vänskapen mellan Leonard Chess och Muddy Waters blev själva stommen i den musikaliska inriktningen som via elektrisk blues ledde till rock’n’roll.

Blueslåten Rollin’ Stone med Muddy Waters 1950 blev ingen hit men med den tongivande elgitarren och den starka rösten var Chicagobluesen född. Rolling Stones skulle något decennium senare ta sitt namn från den låten.


Hvad var sednare Rolling Stones' stora hit? "I can get no ... satisfaction ..." (rythmiskt icke helt olikt den mkt bättre "We don't need no ... education ..." af Pink Floyd) och från dem kan jag knappast få ngn "satisfaction", nej.

Var det ngn som sade att rocken som judiskt fenomen var ett högerspöke? Och var det ngn som sade att kyskhet och anständighet vore en dygd praktiserad af judiska män - se då efter hvad historien berättar, jag tänker intet citera det.

Hans-Georg Lundahl
6-II-2011
BpI, Paris

*Mull of Kintyre ... men icke vegetarianism, får be!