With this publication, the Triptych is finally complete. It features the wide palette of sounds of guest musician José Luis Espejo at the clarinet. In futures publications I may include an analysis of the Triptych to show how the different themes and motifs have been used across the three pieces. There is a lot of that going on, so I invite you to listen and discover the numerous developments.
Here’s an excerpt:
Starless uses a couple of harmonic resources that are very common in progressive rock (and in classical music as well): harmonic pedals and a couple of cadences known as “deceptive” and “suspended”. But before we describe how these resources are used in the piece, we need first to make a crash course in basic principles of tonality and harmony.
Here’s and excerpt of the audio program
The ideas I present in this article are based on some of the concepts that the philosopher Walter Benjamin (Berlin 1892 – Portbou, Spain 1940) develops in his essay “The Work of Art in the Age of its Technological Reproducibility” (1936).[…] In addition to the concept of “aura” and its relation to the “ritual,” another element of Benjamin’s essay that sparked my attention is his description of the relationship between art and the masses. His essay, written in 1936, explores the characteristics of a new art – movies – to describe the transformation process affecting the arts.
Test your progressive rock knowledge with this ProgWord Puzzle!!
This article presents a detailed musical analysis of Ouroboros, written in a form known as “Theme and Variations”. It includes the original MIDI template just as Carlos Plaza conceived the piece and also a video with a live performance of Ouroboros.
We return to the United States with a well-known artist whose career has been developed mainly within the domains of AOR (Adult Oriented Rock). However, hidden in his catalogue is a small progressive rock jewel that maybe many of you know, but not with the attention that it merits.
