Every time I hear someone says that I remember my piano teacher from 35-ish years ago: "It's not four against three, it's four WITH three!"llawrence wrote:The polyrhythms of three against two are something I dabble in myself quite a bit,
True that - though that makes me think more of polymeter than polyrhythm.oski79 wrote:Every time I hear someone says that I remember my piano teacher from 35-ish years ago: "It's not four against three, it's four WITH three!"
No, a friend did that off a picture I sent him. We moved to Sebastopol three years ago from Seattle when I retired. Far and away the smallest town I've ever lived in (New York, Oakland, Berkeley, Seattle) which has taken some getting used to, but the town has a nice mellow vibe, and we live on about an acre of land.llawrence wrote:I noticed your avatar, oski: are you a painter? Sebastopol is a nice little town, my mother used to live up there.
Great piece of music.Could you elaborate on the developmental section and perhaps the contrast too and how it would differ from the variation.michael karmon wrote:Sometimes when you're stuck during composing it's useful to think of the structure of the piece. An ABACA form is really versatile and lets you get a lot of mileage out of your ideas. In the example below A is the main theme, B is developmental, C is a contrast, and the last A is a variation. I really like working with this form.
https://www.youtube.com/watch?v=RswBfSu ... e=youtu.be