Exploring "Prelude to a Foreboding"

Prelude to a Foreboding: The static use of the arpeggio motive creates tension; “trailer music” vibes.

(Note to reader: these are my earlier blogposts heavy in music theory and meandering in thought. I’ll slowly revisit and backlink posts to clarify things.)

This could be called an etude or exercise for creating tension with slow voice leading. The harmonies could perhaps be traced to Opeth or Bossa Nova. In other words, the tropes are more reminiscent of more modern music than I usually focus on in this blog.

To peek into this ‘audio dungeon exploration’ before shopping it in the Bandcamp market (for name your gold coins):

I might be able to come back and dissect this better after writing on Gabriel Faure’s use of Rule of The Octave. If you got curious, I recommend an article named Reimagining Fauré’s Harmony (Rabinovitch 2023)

(LilyPond code)

#(ly:set-option 'resolution 200)
\version "2.24.4"
\language "english"
\pointAndClickOff
\header { tagline = "" }
melody = \relative e' { e8 a, b c e c b a }
\score {
  <<
    \time 4/4
    \new Staff { \clef "treble" \melody }
    \new TabStaff \with {} <<
      \new TabVoice { \melody }
    >>
  >>
}

Here’s the recording session video of the piece:

References

References

Rabinovitch, Gilad. 2023. “Reimagining Fauré’s Harmony.” Intégral: The Journal of Applied Musical Thought 36. https://www.esm.rochester.edu/integral/36-2023/rabinovitch/.

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