CHOIR - VOCALJean, François-Xavier

Jean, François-Xavier: Poulpican debrin uhelvarr, op. 22, No.15
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Jean, François-Xavier - Poulpican debrin uhelvarr, op. 22, No.15

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Composer :François-Xavier JeanJean, François-Xavier (1953 - )
Instrumentation :

Choral and Strings

Style :

Early 20th century

Date :15 juin 2012
Copyright :juin 2012 © Sacem - creative commons by-nc-nd 3.0
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Comment posted the 06/16/2012, by francois-xavier-jean
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Skill level :
Oh! How many compliments! Thank you! Anyone can invent methods and follow them. It is more enriching than digest treaties going around in circles. One of my teachers, one day, said in the classroom: "take  di-tonic or tritonic scale and compose. There will never harmony mistakes!" This phrase has always trotted in my head. There is a explanation for that. Reason is , of course, that the original scales followed  circle of fifths: CG CGD CGDA CGDAE CGDAEB. Always starting from  ideas of others, but then reconsider it on a more personal as taught phylosophe Descartes. I hope to hear from you soon. Friendships. François.Oh ! Que de compliments. Merci ! Tout le monde peut inventer des méthodes et les suivre. C'est plus enrichissant que de digérer des traités qui tournent en rond. Un de mes maîtres, un jour, nous dit en cours: " prenez une échelle di-tonique ou tritonique et composez. Il n'y aura jamais de fautes d'harmonie? ! Cette phrase a toujours trotté dans ma tête. Il y a une explication à ça. C'est, bien sûr, que les échelles primitives suivaient le cycle des quintes: do/sol - do/sol/re - do/sol/re/la - do/sol/re/la/mi etc. Il faut toujours partir des idées des autres, mais ensuite, repenser ça de façon plus personnelle comme l'enseigne le phylosophe Descartes. J'espère avoir bientôt de tes nouvelles. Amitiés. François.


Comment posted the 06/16/2012, by aaron-alexander-cotton
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You are well ahead of your time. There IS talent behind your mathematical methods---the sensitivities of a true artist and researcher. I am gladdened to know you as friend and associate. Together we grow and flourish. I recently picked up an original copy of Orem's Harmony Book for Beginners. While rudimentary, it is so clearly stated; as you so expertly expound complex theory with simplicity and conciseness. Bravo, mon ami!


Comment posted the 06/16/2012, by francois-xavier-jean
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Golden Number allows wandering. Wonderful! I replaced the 154 rules of the Theodore Dubois "Treaty of Harmony" by only three rules. (1) the five golden intervals: min and maj 2nd, min 3rd, 4th & min 6th. (2) a golden melody within each measure, asc. or desc. (3) an horizontal or vertical counterpoint. Thank you for all your encouragement. Oh, I forgot, my dear Aaron, the Golden Ratio can produce every style. If the inner melody that flows through all voices is atonal, result will be atonal. If the inner scale is modal, the piece will be so too. All these explanations figures in the preface to each of my partitions. Writing a list of one's discoveries, it helps to advance. Friendly. François. Le Nombre d'Or permet l'errance. Magnifique ! J'ai remplacé les 154 règle du traité d'harmonie de Théodore Dubois par 3 règles seulements. (1) les 5 intervalles dorés: 2de min et maj, 3ce min, 4te juste, 6te min. (2) une mélodie dorée à l'intérieur de chaque mesure, asc. ou desc. (3) un contrepoint horizontal ou vertical. Merci pour tous tes encouragements. Ah, j'oubliais, mon cher Aaron, le Nombre d'Or permet d'écrire dans tous les style. Si la mélodie intérieure qui circule dans toutes les voix est atonale, le résultat le sera. Si le chant intérieur est modal, le morceau le sera également. Toutes ces explications figures dans la préface de chacune de mes partitions. Ecrire un cahier de ses découvertes, ça aide à progresser. Amicalement. François.


Comment posted the 06/16/2012, by aaron-alexander-cotton
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The light glows simply. Entries elegant. Early piccolo is piquant. A faerie's funeral. Delightful. Nuances and transient modulations make for a smooth, wandering masterwork. A delicate meditation. Bravo, Francois.


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