Entrevista realizada el 14 de Marzo de 2016 , a raíz del reciente estreno(8 de Marzo)del DVD "Mujer. rock y poesía", en el programa Zona 3.1416 de loboradio.mx de Radio BUAP, a cargo de DJ Cuervo. Entrevistador invitado: Luis Diego Peralta.

6. Sonido envolvente 5.1. Formatos de audio en el DVD. Sitio en la red. Gastos de envío

5. Estancamiento del gusto musical. Amor social. Difusión  e instituciones. COMPAÑERA

4. Influencias. Encuentro con ELP. Apertura de ciertos medios. ESCUELA-DIOS SALVE A LA REINA

3. Arte comprometido. Represión. Alternativas y obstáculos de difusión. Crisis. EN EL JARDÍN

2. Fundamento de la obra. Incremento de la violencia de género. Neoliberalismo. RECEPCIÓN II

1. Keith Emerson, músicos fallecidos. Temática y estructura de la obra. ALBORADA-RECEPCIÓN I

"Polimorfia" is a work of about 54 minutes lenght, with several proposals that, as far as I know, have not been explored in rock music, as Polytempo and Heptamicrotonalism of this excerpt.

Story
The work was created by myself between 1993 and 1996, at the initiative of music fan Arturo Guerra, who provided several ideas, while the contrabassist Antonio Cedeño donated to the proyect four separated composition fragments which I reworked to make them fit in the context of the work.
The rest, most part of the work, is a creation of mine only.

Polytempo
Usually the musicians play in sync with each other at certain speed, even when they play different simultaneous rhythms (polyrhythms) or in different overlapping bars (polymetrics).
If the speed changes during the song, the musicians change their speed of execution; so they perform at the same tempo, although it suffers variations.

The polytempo –different simultaneous tempi– is a concept designed in the last century by the composer Conlon Nancarrow, who proposed that the musicians perform at their own tempi, independent of each other, sometimes fixed and sometimes varying them during the performance.

Arturo proposed to apply polytempo on a heavy-metal ensemble formed by two guitars, bass and drums, varying their speed independently.
For materializing his idea I composed the correspondant passage with a structure that would make easy to the listener to understand the concept.

Heptamicrotonalism
While in traditional Western music the octave is divided into 12 semitones, in the various types of microtonalism it is divided into more parts, called microtones.
All these systems divide the octave into equal parts, either in the 12 mentioned semitones or in microtones.
Unlike those systems, heptamicrotonalism (name that I put provisionally to this invention) is not based on dividing the octave, but its notes rise in 7/8 of semitone, without using octaves, not even as reference.
The resulting sonority is different from the other microtonal systems.

Jorge Alveláis
Summer of 2016
___________________

Polytempo
Music by Jorge Alveláis
Ideas by Arturo Guerra and Jorge Alveláis

a) Exposition of the theme, without polytempo (minute 0:00).

b) Drums section play snare, hihat and bass drum simultaneously at its own variable tempo, accelerating and dicelerating, while guitars and bass play at the initial tempo (0:59).

c) Bass play at its own variable tempo, accelerating and dicelerating independently, while drums and guitars play at the initial tempo (1:25).

d) Bass and drums play at their own variable tempo, accelerating and dicelerating independently, while guitars play at the initial tempo (1:39).

e) Left guitar and bass play at their own variable tempo, accelerating and dicelerating independently, while drums and right guitar play at the initial tempo (1:52).

f)  Left guitar, bass and drums play at their own variable tempo, accelerating and dicelerating independently, while right guitar plays at the initial tempo (2:05).

g) All instruments play at their own variable tempo, accelerating and dicelerating independently (2:18).

h) All instruments return to the initial tempo (2:46).

Heptamicrotonalism
Music and idea by Jorge Alveláis

a) The piano is tuned in the aforementioned heptamicrotonal scale (3:02).
b) Both pianos and bass are tuned in the heptamicrotonal scale (3:17).

© 1996-2006-2016 Jorge Alveláis P.

Jorge Alveláis

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