It really depends on how comfortable you are with polyrhythms. FI is not really a good place to start getting comfortable with them.
What about Etude Op.25 No.2?
Also not a good starting point.
You're probably gonna say something by Bach aren't you?
mm.. definitely not a starting point..I actually got into a bit of a short argument here on the forum with someone who insisted that that piece contains no poly-rhythmic element whatsoever :-/the fellow then proceeded to tell me that I didn't know what I was talking about, purely because he'd studied the piece (didnt even think for a second I might have too, or that he may possibly not know everything in the world).. you know, as opposed to explaining his argument. obviously he didn't study it too closely.
Perhaps he played it in such a way as to do away with the polyrhythms?
I believe so, but he really seemed to believe that they were not there.. asserting that I was reading into the score in such a way as that I was just making things up and over complicating it..
I never actually wanted to start one of 'these' threads.
LOL, he may be right. Maybe those extra tunes we're seeing in a fugue are also a figment of a febrile imagination?
So hijacking another one is better?
Okay I take it back. I'm sorry everyone.*hides head in shame in corner*
I can see the music theory text book..Counterpoint: The Amateur Pianist's Illusion.
Also please do not call masterpieces "songs"
I'd consider it a bit of a stretch to call Fantaisie Impromptu a masterpiece
Uh, how could you play a piece with polyrhythms without polyrhythms? Would one hand end the measure sooner than the other or what? Like, triplets over 8th notes, for instance, would you play the first 2 notes in unison and then the third note by itself?Maybe the guy was confused by the definition of polyrhythm, but was playing the piece correctly?
Uh, how could you play a piece with polyrhythms without polyrhythms?
and destroyed half of what makes the piece an "etude"
It's actually a great idea for an etude, because just doing the timings won't get you anywhere at all, you need to be able to deal with multiple rhythms, ie actually feel the two lines not just fake it.
Quite easily in 25/2.Look at the score. Everything lines up like its a straight rhythm, the polyrhythm is in the feel of the beats, or groups of notes - not individual notes.
I'd consider it a bit of a stretch to call Fantaisie Impromptu a masterpiece Uh, how could you play a piece with polyrhythms without polyrhythms? Would one hand end the measure sooner than the other or what? Like, triplets over 8th notes, for instance, would you play the first 2 notes in unison and then the third note by itself?Maybe the guy was confused by the definition of polyrhythm, but was playing the piece correctly?
You have to be joking ! The arrogance that you have is unreal ! What an amateur. Before you start criticising Chopin here, I am certain that you could not compose anything like a Chopin piece. Never mind fantasie impromptu. If you were any sort of pianist or enjoy piano, then you should be respectful to (controversially) the greatest composers! :/
greart
On a brief lighter note:Is this the new contraction of great and art? If so, well done!
Glad you approve. My neologising normally goes unnoticed (or is dismissed as bad typing).
I don't do contractions, but I often omit the last syllable(s) of any word with more than 2 syllables. Especially words that end with "-tion" or alternate spellings of the same sound. "Tradition" becomes "tradish", for instance. My English teachers hate me, except one, who also does the same thing.
Took another year to get 3 and 4. And then another year to be able to look at any polyrhythm and laugh at it.
I'm quite comfortable with polyrhythyms, but I really didn't laugh.
There's a lovely sonata by Weber that has a full page of 3/4 polyrhythm all in the right hand (left hand being otherwise occupied). I'm quite comfortable with polyrhythyms, but I really didn't laugh.
That's one thing I'm not used to yet. Polyrhythms in one freaking hand. Shouldn't even be legal...
There's plenty of them about.Also, there is a lovely piece by Medtner (Op1 No 1) that has a triple polyrhythm (two in one hand and a third in the other). Rachfan has a recording of it posted in the Audition room which is well worth giving a listen.