Sheet Music – £ – Gyorgy Ligeti’s Lux Aeterna, for Voice mixed chorus acappella. Duration: 9 minutes. Published by Edition Peters. Lux Aeterna sheet music – SATB choir (a cappella voice mixed chorus) sheet music by Gyorgy Ligeti: Edition Peters. Shop the World’s Largest Sheet Music. Lux Aeterna () by Gyorgy Ligeti is a single movement composition of about .. It is only by seeing the capital D in the score that one can tell the difference.
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The last occurrence of the three note cell is in block 5A see Example Here the pitches of block 2 are used with an upper octave doubling. This creates an overlap liyeti the two sections as well as a pitch connection since the first note of block 5A is an kg an octave above the highest pitch of block 4.
Lux Aeterna Sheet Music By Gyorgy Ligeti – Sheet Music Plus
The ending of this textural block is a simultaneous cut-off with no “morendo” indication. It is taken from the scoee of block 5A. Similarly, the previously impor tant F is no longer individually perceptible.
It has a simultaneous entry of four soprano voices and one bass voice, which leaves block 5C. The second chord is an inversion of the first in which the outer two the same. Four sections of the piece employ a vertical three note intervallic cell shown in Examples 13A, B, Cand D in addition to the horizontal three note neighbor motion cells found in blocks zeterna, 3A and 5A.
Uploaded on Jun 27, The melodic line, from which block 5A is built, can be seen in Scroe 9. The inner pitch drops a semitone in order to form the inverted chord. Whether this is coincidental or a deliberate compositional device is not known. The A is the most. Block 3C bars appears simultaneously with block 3B, using the same text, but is different in pitch asterna and canonic structure.
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So this really is an approximation of that great work. If you do not wish to be contacted, leave it blank.
F becomes a temporary central pitch but within two bars it becomes part of a cluster without any prominent pitch.
The word being sung is “luceat” which means “let shine”. The absence of any clearly articulated head motive contributes to this situation. This creates a smooth pitch transfer from an unclear adjacent pitch area to a clearly defined pitch center. This block cannot be considered homophonic because of the staggered entry and ending.
The letter ‘t’ of “luceat” is not pronounced, presumably to avoid the introduction of percussive consonants into a smooth pitched texture.
Block 2 lgeti 37 – 41 is a sudden contrast to block 1. Views Read Edit View history. Is the transcription accurate?
The density of pitch classes range from a minimum of one in bars andto a maximum eight in bars The A gains great prominence in bars by appearing an octave higher while being supported luc the original A pitch.
This time the chord appears in the lowest bass register, which is a contrast to the falsetto setting of the same word before. The final F of the piece is an octave below the first F of the piece representing a loss of energy and a greater sense of relaxation. In barsthis confusion is resolved with the appearance of Es above and ligeit middle C, and the disappearance of the F and E flat. The last line of the original text is a repetition of the text found in block 3A and has not been used in this composition.
The second of the three chords is an inversion of the first, lowering the middle pitch by a semitone and leaving the outer pitches the same. This method of canonic writing avoids the “treadmill effect” of the traditional rhythmically strict canon and hides the composer’s technique of building textures from a single melodic line.
To give the reader an overview of the piece and to serve as a point of departure, the blocks of texture are presented in a graphic form in Example 1. This technique uses the basses to underscore the entries of the sopranos and altos with blocks 3B and 3C.
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Go Pro Upload Log In. The second instance of homophony, block 4 barssets the word “Domine” as did the previous homophonic section, block 2. They are sustained for three bars and then fade out simultane ously over two bars.
Indeed – I do not fancy notating that type of score – what a pain. It tends to blend partially with the other blocks present and to act as a soft drone.
As before, a three note chord with the same intervals is used. While the homophonic sections start and stop simultaneously, the polyphonic sections have two ways of starting and stopping.
Gyorgy Ligeti – Lux Aeterna for part unaccompanied chorus (Latin)
Block 3B is linked to 3A and 3C by the common G. The three bass sections can be considered a representation of the Holy Trinity. They fade with out simultaneously.
In this piece, each of the sixteen voices is given a characteristic subdivision of the quarter-note beat:. Do you usually like this style of music? The sequence of pitches never changes in this block.
Lux Aeterna – G.Ligeti
Choose where you want to share: The basses enter, singing in very high falsettoshowing Ligeti’s focus on timbre and texture. This ending represents a return to the original central pitch, F. The entire text of the piece lugeti be seen in Example 2. Rate this product’s difficulty level: