Brecht Valckenaers | Rhythmical Study No. 1: Distorting Time | Score

Описание: Composition and performance: Brecht Valckenaers.

This piano study is an exploration of quintuplets and polyrhythms within a quintuplet-feel.

Analysis:
The structure of the piece follows a simple ABA form. The main motif, introduced in the second measure (A-G-F-Bb-G#-A), acts as the cohesive element throughout the composition, forming the foundation of the tonal scheme. The tonalities of the main sections outline the main motif: F at 0:00, Eb at 0:22, Db at 0:38, F# (or Gb) at 0:52, Em at 1:19, and a return to F at 1:45 and beyond. The A-part consists of three sections (0:00, 0:22, 0:38), each following the same structure. In each section, a steady beat is introduced twice, followed by the main motif played in polyrhythm (with subtle variations on the second occurrence). This is followed by a slower, misleading beat (5:6) and a conclusive section that anticipates the upcoming polyrhythm. In the first section, the main polyrhythm is 5:4, in the second 5:3, and in the third 5:2.As the main motif transforms into a 16th-note figure, the piece transitions into the B-part. The B- part consists of two sections (0:52 and 1:19), both sharing the same structure. A melody is presented twice, with a third voice joining in imitation during the second presentation.The reprise of the A-part closely mirrors the original, with a notable change being the relocation of the beat to a higher register. Additionally, the beat persists during the polyrhythmic sections, creating a distinctive rhythmic layer. A brief coda at 2:18 features the head of the B-part theme placed above the main motif, gradually accelerating, providing a conclusion to the composition.

What are your thoughts on the notation of the polyrhythm with beam grouping that follows the groupings instead of the subdivision and using dotted lines to show the intended subdivision? The more conventional notation with beams grouped per quintuplet – the subdivision – appeared visually unappealing, but perhaps it would offer greater clarity in the end?

I sincerely hope you enjoy the music! If you'd like the score, please email [email protected] or send a message via Facebook/Instagram.

Many thanks to Nicolas Callot for the recording!