CHOIR - VOCALJean, François-Xavier

Jean, François-Xavier: The Little Match Girl - not a single box of matches sold - Op.8, No.2
page 1
Jean, François-Xavier - The Little Match Girl - not a single box of matches sold - Op.8, No.2

SeePDF : Sheet music (9 pages - 68.02 Ko)
Composer :François-Xavier JeanJean, François-Xavier (1953 - )
Instrumentation :

Symphonic orchestra and choral Aahs

Style :

Early 20th century

Date :déc. 2011
Copyright :déc. 2011 © Sacem - Creative Commons by-nc-nd 3.0
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Comment posted the 12/18/2011, by francois-xavier-jean
Interest :
Skill level :
Hi Aaron, it's 7:00 and 13:00 in Maryland in Montpellier. I just read your text, a beautiful text. Of "chinoiserie consonantly" that you mention, I must admit that I did noticed that late. When I use the golden section in my intervals, I do not think that melody. I do not know, voluntarily, the level where I am. I let slip from voice to voice, often from top to bottom. the result is strangely you're right "pentatonic". The same goes for modulations: this is the song that decides who leads. He is the thread. Moreover, as in Guillaume Dufay, even if there is a dominant voice (the content), I'm all for it not be the case. No voice in the room dominates the others. The real content is the melody flowing in the meander of the vote. It's exciting. I always liked to do that. I feel so free. Sometimes the harmonies are released, sometimes they are in fact very dense. Thank you for your words, my friend Aaron, just as true and accurate, full of courtesy and finesse as well. François. Bonjour Aaron, il est 07:00 à Maryland et 13:00 à Montpellier. Je viens de lire ton texte, un très beau texte. Des ?chinoiserie consonantly" que tu évoques, je dois avouer que je ne m'en suis aperçu que tardivement. Lorsque j'utilise le nombre d'Or dans mes intervalles, je ne pense que mélodie. J'ignore, volontairement, l'échelle où je me trouve. Je la laisse glisser de voix en voix, souvent du haut vers le bas. Le résultat tu as raison est étrangement "pentatonique?. C'est la même chose pour les modulations: c'est le chant qui décide, qui conduit. C'est lui le fil conducteur. D'ailleurs, comme chez Guillaume Dufay, même s'il y a une voix dominante (la teneur), je fais tout pour qu'il n'en soit pas ainsi. Aucune voix dans cette pièce domine les autres. La teneur véritable est la mélodie qui circule dans le méandre des voix. C'est passionnant. J'ai toujours aimé faire ça. Je me sens plus libre ainsi. Parfois les harmonies sont relâchées, parfois elles sont au contraire très dense. Merci de tes propos, mon cher Aaron, toujours aussi justes et précis, pleins de courtoisie et de finesse aussi. François.

Comment posted the 12/18/2011, by aaron-cotton
Interest :
Skill level :
A wonderful intermediate to lead into the next in your collection; a much-needed breath to take from the barrage of sound from the 1st in "The Little Match Girl". The texture is so rich; your chinoiserie flattens emotionalism---but the work itself is maestoso, sparkling with a quiet inner turmoil. Yes the bells echo from the first movement. ---Have you thought of exploiting chinoiserie consonantly on the minor scale (for example: as you begin in fifths, to descend in blue notes on the bass and tenor; and arpeggiate your "Gold" over the dominant 7th of a that given key with SA; modulate a fifth, to that key's Major 7th, serially?)I am no music theorist; so I hope you can glean what you can of it.---Splendid nonetheless. Thank you for your wisdom, Francois! Bis!

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