Το μετέδωσα μιά φορά στην εκπομπή και παρά το ότι είναι δύσκολο κομμάτι μουσικής, εξαιρετικά phycho και σκοτεινό, την επομένη βρέθηκε ένας ακροατής να το ζητήσει..
Εντυπωσιακό..
Το video αποτελείται απο επεξεργασμένα πλάνα που έχω τραβήξει οδηγώντας, χαωτικά, έτοιμα να δέσουν με την μουσική.
Το τρίτονο το συνοδεύει μια πάρα πολύ ενδιαφέρουσα ιστορία, περί της “διαβολικότητας” του. Διαβάστε παρακάτω, την πορεία του στην ιστορία, όπως αναφέρεται στην Wikipedia.
The tritone is traditionally defined as a musical interval that spans three whole tones, or six semitones, while the augmented fourth and diminished fifth are defined as the intervals produced by widening and narrowing by one chromatic semitone the perfect fourth and fifth, respectively.
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The tritone is a restless interval, classed as a dissonance in Western music from the early Middle Ages through to the end of the common practice period. This interval was frequently avoided in medieval ecclesiastical singing because of its dissonant quality. The first explicit prohibition of it seems to occur with
The development of Guido of Arezzo’s hexachordal system, which made B♭ a diatonic note, namely as the fourth degree of the hexachord on F. From then until the end of the Renaissance the tritone, nicknamed the diabolus in musica, was regarded as an unstable interval and rejected as a consonance by most theorists.
The name diabolus in musica (“the Devil in music”) has been applied to the interval from at least the early 18th century. Johann Joseph Fux cites the phrase in his seminal 1725 work Gradus ad Parnassum, Georg Philipp Telemann in 1733 notes, “mi against fa, which the ancients called “Satan in music”, and Johann Mattheson in 1739 writes that the “older singers with solmization called this pleasant interval ‘mi contra fa’ or ‘the devil in music'”.[14] Although the latter two of these authors cite the association with the devil as from the past, there are no known citations of this term from the Middle Ages, as is commonly asserted. However Denis Arnold, in the The New Oxford Companion to Music, suggests that the nickname was already applied early in the medieval music itself:
It seems first to have been designated as a “dangerous” interval when Guido of Arezzo developed his system of hexachords and with the introduction of B flat as a diatonic note, at much the same time acquiring its nickname of “Diabolus in Musica” (“the devil in music”).
Because of that original symbolic association with the devil and its avoidance, this interval came to be heard in Western cultural convention as suggesting an “evil” connotative meaning in music. Today the interval continues to suggest an “oppressive”, “scary”, or “evil” sound. However, suggestions that singers were excommunicated or otherwise punished by the Church for invoking this interval are likely fanciful. At any rate, avoidance of the interval for musical reasons has a long history, stretching back to the parallel organum of the Musica Enchiriadis. In all these expressions, including the commonly cited “mi contra fa est diabolus in musica”, the “mi” and “fa” refer to notes from two adjacent hexachords. For instance, in the tritone B-F, B would be “mi”, that is the third scale degree in the “hard” hexachord beginning on G, while F would be “fa”, that is the fourth scale degree in the “natural” hexachord beginning on C.
http://en.wikipedia.org/wiki/Tritone
