Topic by Hugues Bedouelle

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  • Hugues Bedouelle
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Topic: The Twins (Two Part Invention)

"The Twins (Two Part Invention)" by Hugues Bedouelle is built around a call by one of the two voices and an answer by the other one, and thus around a dialog between them. However, each voice is also interesting in itself. The call is uttered by the top voice in the first half of the piece and by the bottom voice in the second half. The piece is entirely written in the octatonic scale [C, Db, Eb, E, F, G, Ab, Bb], which is invariant by inversion around E. It was divided into two non-equivalent all-interval tetrachords, either [C, Db, Eb, G] and [E, F, Ab, Bb], or [Ab, G, F, Db] and [E, Eb, C, Bb] after inversion, hence the title. The call and response are kept within one of the four tetrachords, which differ according to the section. When one voice speaks in a tetrachord, the other voice speaks in the complementary tetrachord. The form of the piece, in eight sections, derives from the above symmetries. The piece was recorded with Grand C. Bechtein DG Recording 2 and Pianoteq 7.
https://soundcloud.com/hugues-bedouelle/46hb15

Reply by Pianoteqenthusiast

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Re: The Twins (Two Part Invention)

Hugues Bedouelle wrote:

"The Twins (Two Part Invention)" by Hugues Bedouelle is built around a call by one of the two voices and an answer by the other one, and thus around a dialog between them. However, each voice is also interesting in itself. The call is uttered by the top voice in the first half of the piece and by the bottom voice in the second half. The piece is entirely written in the octatonic scale [C, Db, Eb, E, F, G, Ab, Bb], which is invariant by inversion around E. It was divided into two non-equivalent all-interval tetrachords, either [C, Db, Eb, G] and [E, F, Ab, Bb], or [Ab, G, F, Db] and [E, Eb, C, Bb] after inversion, hence the title. The call and response are kept within one of the four tetrachords, which differ according to the section. When one voice speaks in a tetrachord, the other voice speaks in the complementary tetrachord. The form of the piece, in eight sections, derives from the above symmetries. The piece was recorded with Grand C. Bechtein DG Recording 2 and Pianoteq 7.
https://soundcloud.com/hugues-bedouelle/46hb15


Very interesting and new style (genre) for me. First reaction was, this is mathematical, and the end came quickly and abruptly, but maybe that's part of the style ( not a negative thing but quite fun actually).
An unusual but interesting dialogue - for some reason I had to try to concentrate on the answer, second voice (I’m so used to Bach’s fugues.).

Some time ago jeff_harrington uploded a completely new type of music to the forum. Now I experience the same thing, a new music style, for me. I am glad I can broaden my taste in music at my age, I’m old and retired 16 years ago.

Thank you so much Hugues Bedouelle. Can we get some more? 

Best wishes,

Stig

Reply by Hugues Bedouelle

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Re: The Twins (Two Part Invention)

Pianoteqenthusiast wrote:
Hugues Bedouelle wrote:

"The Twins (Two Part Invention)" by Hugues Bedouelle is built around a call by one of the two voices and an answer by the other one, and thus around a dialog between them. However, each voice is also interesting in itself. The call is uttered by the top voice in the first half of the piece and by the bottom voice in the second half. The piece is entirely written in the octatonic scale [C, Db, Eb, E, F, G, Ab, Bb], which is invariant by inversion around E. It was divided into two non-equivalent all-interval tetrachords, either [C, Db, Eb, G] and [E, F, Ab, Bb], or [Ab, G, F, Db] and [E, Eb, C, Bb] after inversion, hence the title. The call and response are kept within one of the four tetrachords, which differ according to the section. When one voice speaks in a tetrachord, the other voice speaks in the complementary tetrachord. The form of the piece, in eight sections, derives from the above symmetries. The piece was recorded with Grand C. Bechtein DG Recording 2 and Pianoteq 7.
https://soundcloud.com/hugues-bedouelle/46hb15


Very interesting and new style (genre) for me. First reaction was, this is mathematical, and the end came quickly and abruptly, but maybe that's part of the style ( not a negative thing but quite fun actually).
An unusual but interesting dialogue - for some reason I had to try to concentrate on the answer, second voice (I’m so used to Bach’s fugues.).

Some time ago jeff_harrington uploded a completely new type of music to the forum. Now I experience the same thing, a new music style, for me. I am glad I can broaden my taste in music at my age, I’m old and retired 16 years ago.

Thank you so much Hugues Bedouelle. Can we get some more? 

Best wishes,

Stig

Dear Stig, Thank you for your encouraging comments. I shall certainly post other pieces of my composition in the future. You may be interested by a recently published article where I propose a new logic of the musical language: https://doi.org/10.1080/17459737.2023.2166136 Best wishes, Hugues Bedouelle.