Ramifications for string orchestra or 12 solo strings 李蓋悌 分岐弦樂團 弦樂器 總譜 朔特版

Ramifications 代表了我的複雜音樂網格式作曲方法的進一步發展；可以說，它是從密集和靜態發展到破碎和流動的終點。標題指的是複調的聲部寫作技巧；在一條線上，纏繞在一起的各個聲部向不同的方向移動，從而使聲音的鏈條逐漸變得支離破碎。總的形式是由各部分的分支和統一的交替，以及由此產生的網狀結構的租金或束縛構成的。除此以外，這首作品中還出現了微調和諧的新方面。甚至在更早之前，我偶爾也會使用偏離平均律的調式（《安魂曲》、《Volumina》、《和聲》、《第二絃樂四重奏》）。但這首曲子的新穎之處在於始終如一地運用了超色調和聲的理念。由於一半絃樂器的音調比其他樂器高四分之一個音調，這一點成為可能。樂器演奏時自動產生的音調差異導致音高波動，人們幾乎聽不到精確的四分之一音程。只有在少數密集的地方，才會產生近似四分之一音的音群；除此之外，我們還發現了一種全新的不確定和聲，就好像和聲已經腐爛了一樣：這種和聲有一種強烈的味道，腐朽已經滲透到音樂之中

作曲家: Ligeti, György
樂器: string orchestra or 12 solo-strings
出版社: Schott Music
原文簡介:
Ramifications represents a further development of my method of composition with complex musical net-formations; it is, as it were, a terminus in the development from dense and static to broken-up and mobile. The title refers to the polyphonic technique of the part-writing; in one skein, individual parts that are twisted together move in divergent directions so that the strand of the voice gradually become disentangled. The total form is made up of the alternation of ramification and unification of the parts and of the rents or bunching together of the net-formation that ensues from this. And as well as that, there are in this piece new aspects of a micro-tonal harmony. Even earlier I was occasionally working with deviations from the equal temperament (Requiem, Volumina, Harmonies, Second String Quartet). But what is new here is the consistent application of an idea of hyperchromatic harmony. This is made possible by one half of the string instruments being tuned a quarter-tone higher than the others. From the automatically ensuing differences in intonation when the instruments are played, arises a fluctuation in pitch such that one can hardly ever hear exact quarter-tone intervals. In only a few dense places approximative quarter-tone clusters result; apart from that we find a totally new kind of uncertain harmony, as though the harmonies had rotted: thex have a strong taste and decay has permeated the music.- György Ligeti