After hearing Boulanger's orchestral music, I could help but wonder what she could have done if she had lived longer and tried her hand at film scoring.
I think Dutilleux may have been inspired by this piece in his piece Métaboles: ruclips.net/video/u2vgcxvb1K0/видео.html (only the beginning, the line of the chord's upper voice, and a bit of timing of the chords)
Does this style of music use, or even attempt to use or follow any of the fundamentals of music theory, such as voice leading and resolutions, no parallels between voices or movement, and so forth? Or is this pretty much a freestyle type of compositional writing? Even late romantics such as Rachmaninoff seemed to observe theory "laws" except when purposefully going for a different sound. I'm very unfamiliar with these more modern styles. Can anyone help explain this? Thanks a ton.
Modernist music, and French Impressionist music, generally presents more unconventional harmonic progressions than those seen in Romantic and late Romantic music. Composers of this style were more concerned with the ‘quality’ of a chord, or a tonality, rather than its functional purpose. Although the rules of traditional theory are largely absent, voice leading still remains relevant, but the music generally incorporates more non-diatonic chords and progressions. Anyone feel free to correct me if I am wrong or have missed anything!
Voice leading is followed - look at how nice the individual voices are. No parallels is a rule for keeping voices independent. These aren't independent voices - and you'll see some "blocks" are made independent by moving the other way. Resolutions are also only somewhat relevant with these harmonies. And again, based on the way the music is phrased, you can still see there is a kind of resolution at the end of parts of the music. Basically, they take some of the rules - the ones they can keep - and then adapt or ignore the ones that don't let them write the music they want. And because it's done with such confidence and knowledge, it doesn't come across as a mistake, but a stylistic choice.
@@user-zx5gg8od6l I'll simp for Lili the same way I'll simp for Claude and Maurice. That is to say, within reason (cos this is also far from my favourite style of music)
The "fundamentals of music theory" you refer to are only fundamentals for a specific kind of music. They don't apply to a lot of classical music, like Rachmaninoff (who broke traditional "rules" about as often as Boulanger), serialism (the Second Viennese School and beyond completely abandoned tonality), minimalism (Reich, Glass, Pärt, Cage, Feldman, Riley), and later music. Even many composers in the nineteenth century were beginning to develop new fundamental ideas. Here's my analogy. Traditional Euroclassical harmonic language is that, a language. Listening to this type of music requires learning a new vocabulary because the language is different. There are laws of grammar in Boulanger's music, they're just different laws than in Mozart - a lover of Mozart might perceive Boulanger as "freestyle," just as English speakers might initially interpret spoken French as nonsensical. But there is a great deal of concealed order in the French language, just as in this music.
Lily boulanger is so good at writing random noise 😍 I 🤮 music Boulanger restores my soul with random noise! I loce lili boulanger bububuhuhihsjhsjsiskslsl
why a piano reduced score tho... there is a clean full score on IMSLP, which (especially in case of L.Boulanger's music) is far better when making score-follow videos of any orchestral music. U literally ignore her very personal voice leading by putting a piano reduction to an orchestral recording
No, it isn't as much like modern film music harmonically, but the first composer who came to mind when I heard this piece a few months ago was David Raksin, the "grandfather" of film music. It sounds like a few of his scores, probably because of the +9 and +11 chords and the voicing, but Boulanger and Raksin definitely have their own distinct styles.
This in my opinion is not a piece for cluttering over with realtime commentary, being so somber and heart-centered. But that's just the way I like it. If it is cinematic, this is like a guy next to you going “look at the camerawork, look at the letterboxing, oh wow, the cast, the cast!” in a cool part.
Lili Boulanger is one of my favorite composers, but she died so young and her output is so small!
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After hearing Boulanger's orchestral music, I could help but wonder what she could have done if she had lived longer and tried her hand at film scoring.
Imagine if she wrote a symphony. I could only imagine how beautiful and grand it would sound.
Imagine if she wrote a symphony. I could only imagine how beautiful and grand it would sound.
Imagine if she wrote a symphony. I could only imagine how beautiful and grand it would sound.
Imagine if she wrote a symphony. I could only imagine how beautiful and grand it would sound.
Imagine if she wrote a symphony. I could only imagine how beautiful and grand it would sound.
Haha, late French Romantic music is indeed very cinematic at times -- and film music is the last refuge of great, brilliant Romantic composition.
@@coreylapinas1000 I've been boycotting new movies for 45 years but whenever I catch some of one the music score sounds great.
@@coreylapinas1000 Some scores of Hans Zimmer are also based on classical music, see for example Gladiator, one of the best classical soundtracks.
@@scronxbased boycotter
I saw Lili, immediatly clicked
Wow, what a chords!
Call it cinematic, Romantic, French post-Impressionist, or whatever you want, I wish I could write music like that!
Love this!
Thanks for watching!
Thanks for watching!
Liliは好きな作曲家で日常生活では一番聴いている気がします。
解説のように和音がやるせない感じがいいですよね。
ご清覧ありがとうございました！あなたの仕事の幸運を祈ります
Very interesting writing.
I think Dutilleux may have been inspired by this piece in his piece Métaboles: ruclips.net/video/u2vgcxvb1K0/видео.html (only the beginning, the line of the chord's upper voice, and a bit of timing of the chords)
Moments in Lineaire feel far more in her soundworld
Babytron and piano duet
where did you find the piano arrangement? can’t find it online
So jazzy I love it ❤️❤️❤️❤️❤️
Wow I had to…unclench myself there whew
Sounds star-warsy, or indiana-jonesy.
yum
Does this style of music use, or even attempt to use or follow any of the fundamentals of music theory, such as voice leading and resolutions, no parallels between voices or movement, and so forth? Or is this pretty much a freestyle type of compositional writing? Even late romantics such as Rachmaninoff seemed to observe theory "laws" except when purposefully going for a different sound. I'm very unfamiliar with these more modern styles. Can anyone help explain this? Thanks a ton.
Modernist music, and French Impressionist music, generally presents more unconventional harmonic progressions than those seen in Romantic and late Romantic music. Composers of this style were more concerned with the ‘quality’ of a chord, or a tonality, rather than its functional purpose. Although the rules of traditional theory are largely absent, voice leading still remains relevant, but the music generally incorporates more non-diatonic chords and progressions. Anyone feel free to correct me if I am wrong or have missed anything!
Voice leading is followed - look at how nice the individual voices are.
No parallels is a rule for keeping voices independent. These aren't independent voices - and you'll see some "blocks" are made independent by moving the other way.
Resolutions are also only somewhat relevant with these harmonies. And again, based on the way the music is phrased, you can still see there is a kind of resolution at the end of parts of the music.
Basically, they take some of the rules - the ones they can keep - and then adapt or ignore the ones that don't let them write the music they want. And because it's done with such confidence and knowledge, it doesn't come across as a mistake, but a stylistic choice.
The rule is: If you break the rules, at least do it consistently. Doubling a part in parallel fifths creates an effect in itself.
@@user-zx5gg8od6l I'll simp for Lili the same way I'll simp for Claude and Maurice. That is to say, within reason (cos this is also far from my favourite style of music)
The "fundamentals of music theory" you refer to are only fundamentals for a specific kind of music. They don't apply to a lot of classical music, like Rachmaninoff (who broke traditional "rules" about as often as Boulanger), serialism (the Second Viennese School and beyond completely abandoned tonality), minimalism (Reich, Glass, Pärt, Cage, Feldman, Riley), and later music. Even many composers in the nineteenth century were beginning to develop new fundamental ideas.
Here's my analogy. Traditional Euroclassical harmonic language is that, a language. Listening to this type of music requires learning a new vocabulary because the language is different. There are laws of grammar in Boulanger's music, they're just different laws than in Mozart - a lover of Mozart might perceive Boulanger as "freestyle," just as English speakers might initially interpret spoken French as nonsensical. But there is a great deal of concealed order in the French language, just as in this music.
Lily boulanger is so good at writing random noise 😍
I 🤮 music
Boulanger restores my soul with random noise! I loce lili boulanger bububuhuhihsjhsjsiskslsl
oh I found wim's alternative account
@@DomFileoreumlmao
Orchestra?
London Symphony Orchestra conducted by John Eliot Gardiner
@@joshua_warner(Put in the description :-)
Can cinematic music be less boulangerian?
why a piano reduced score tho... there is a clean full score on IMSLP, which (especially in case of L.Boulanger's music) is far better when making score-follow videos of any orchestral music. U literally ignore her very personal voice leading by putting a piano reduction to an orchestral recording
Chill
Wouldn’t even call this particularly cinematic
Ok jon
It’s really depends on your perception of cinematic music… it’s not James Horner or Jerry goldsmith
No, it isn't as much like modern film music harmonically, but the first composer who came to mind when I heard this piece a few months ago was David Raksin, the "grandfather" of film music. It sounds like a few of his scores, probably because of the +9 and +11 chords and the voicing, but Boulanger and Raksin definitely have their own distinct styles.
This in my opinion is not a piece for cluttering over with realtime commentary, being so somber and heart-centered. But that's just the way I like it. If it is cinematic, this is like a guy next to you going “look at the camerawork, look at the letterboxing, oh wow, the cast, the cast!” in a cool part.