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Sodom And Gomorrah [in FEBRUARY!]
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Re: Sodom And Gomorrah [in FEBRUARY!]
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William D McCrum
Re: Once again
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Mar 6 07 7:24 PM
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Foxfire, I have great difficulty attaining the heights of both your altruistic sanctity AND your towering logic. Could you explain it again to me? I fear perhaps the sheer Zarathustra-esque (Oh there's those pesky Chaldeans again....) cleanness of your logic may be too much for my decadent labyrinthine wooliness.
Here's the mechanism. Dr. Rozsa finds an ancient fragment associated with Syria. He thinks of it as ASSyrian. He writes a nifty little oriental dance on that basis for a pretty lady at Nero's court. Then later he finds he needs a few oriental party-pieces for 'Sodom'. He goes to work on this piece, looks at the intervals, develops those intervals into appropriate derivative chords. He adapts it into what he can present as an 'authentic' Canaanite court dance. He then adapts the SECOND dance into a new melody for some cheeky girl dancers who seem to be twins.
Now because he has the TUNE from a fragment, and the MODE from the orient, he can find the INTERVALS and from those, the CHORDS. From the chords he can build HARMONY too. But those Sodomites were a little warped, so he thinks, 'I do believe a few dissonant seconds are in order...'
Then he does his historical research. He reckons that Syrian melodies may have had their origins in Mesopotamian music, which may in turn have influenced the Canaanites along the Fertile Crescent. So he can make a stab at creating an ancient style even though no such (or rather very little .... there is SOME) Chaldean music exists.
Then he turns to orchestration and colour. (he doesn't need to worry about rhythm because the choreographers have already decided that, on the basis of THEIR researches into Middle Eastern music.) Intuition now comes in. In the same way that visual cues like big red plumes and cloaks suggest certain tone-colours for the Ben Hur march music, so he thinks about the purples and golds of Assyria and Persia and produces chords of similar FEEL. And he uses modern equivalents of the ancient instruments. Why is a cymbal Roman and a gong Assyrian? I don't know. But it SOUNDS just right. The links are made, a world is conjured up, and WE ARE THERE.
Now do YOU understand the intuitive deductions a composer makes? He got it right. It feels right in something uncannily beyond the subjective. Real logic can see beyond logic.
By all means drop your peppermint, but not on the carpet.
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