• chrisdumigan

Lincoln Brady : Aphrodite Knidos : Bergmann



Lincoln Brady

Bergmann : 9 pages


Lincoln Brady’s other piece that I was sent is also a Suite (this time in 4 movements) again based on an ancient Greek statue. Created by Praxiteles of Athens around the 4th century BC, it is one of the first life-sized representations of the nude female form in Greek history.

The opening movement Knidos ( Knidou) is a 5/8 piece in Dm , but using throughout an Eb, thus creating that archaic sound that when you play this you immediately think of. The key signature is written throughout in 2 flats, although the movement is not in Bb, or Gm. This opening idea then changes from a one or two voiced melody to a 5 string chord section that continues the D/Eb harmony work, whilst using some index finger strumming sequences. These two ideas then repeat until a final Open 5th Dm chord brings this movement to a close

Evening Procession (Braiden Parelase) continues the harmonic sparsity, this time on an A bass with either an E a fifth above, or an F a sixth above, over which a little three note sequence site. This quickly develops however into a percussion idea that sits atop the chords struck underneath, before continuing solo at the very end, and closing on a three note chord built up on fourths, with 2 harmonics interwoven.

Stargazing (Asteria) is now in three flats, but with the G / Ab now providing the gentle clashing, topped by a sparse melody and eventually a number of accented chords still with clashing G and Ab. A brief middle section of repeated quavers continues the clashing idea, before the opening returns and becomes the coda.

The final movement Goddess (E Thea) continues in the same key with the G/Ab idea still prevalent throughout. A mixture of slightly off – beat rhythms and some mordents and harmonics lead to a tremolo – like section before the opening sparse fourths and fifths return and the whole suite finishes on a Gm chord built up largely of harmonics.

The character of this suite is largely one of bare harmonies that definitely give the illusion of Ancient Greece in its sound world, but I wonder whether it is too similar all the way through? It is not very difficult, and therefore if the style sounds like you might like it then please give this unusual little suite a go.


Chris Dumigan


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