DOCSLIB.ORG

Ebook Download Principles of Violin Playing and Teaching Pdf Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ebook Download Principles of Violin Playing and Teaching Pdf Free PRINCIPLES OF VIOLIN PLAYING AND TEACHING PDF, EPUB, EBOOK Ivan Galamian,Sally Thomas | 128 pages | 07 May 2013 | Dover Publications Inc. | 9780486498645 | English | New York, United States Principles of Violin Playing and Teaching PDF Book There's no index, but it's short enough for you to use the contents list at the front easily. From the off it is full of sensible advice This unity of mind and muscle needs new homework, rhythm homework and coordination homework: Since even if the book was properly aglamian init had to be re- registered the original bookwithin 28 years after the original registration. Write a customer review. Want more? Description: p. Very good. When Therese, a young sales clerk, meets Carol, a housewife in the midst of a bitter divorce, Types of technique. Carl Flesch. If you search for all of Ivan Galamian's works you will find no registration for this title in Members save with free shipping everyday! Frequently bought together. When the attack is too horizontal, then the attack is not precise. Previous page. This invaluable book New Matter: "additional chapters, introduction, and postscript. What other items do customers buy after viewing this item? Add both to Cart. There are 0 reviews and 0 ratings from Australia. Order now from our extensive selection of books coming soon with Pre-order Price Guarantee. Morihei Ueshiba — , the founder of Aikido—whose name means "abundant peace"—was undoubtedly the greatest martial artist who ever lived. Vibrato: types of vibrato; study of the vibrato; special problems in the vibrato. April 14, admin 0 Comments. Get to Know Us. Write a customer review. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyses reviews to verify trustworthiness. There are 0 reviews and 0 ratings from Australia. Copyright notice dated ; but no registration or renewal on record. Page 1 of 1 Start over Page 1 of 1. Advanced embedding details, examples, and help! Great book, came in great condition. Customers who bought this item also bought. Video Audio icon An illustration of an audio speaker. Uh-oh, it looks like your Internet Explorer is out of date. Uploaded by garthus1 on February 9, Copyright Claimant: Prentice-Hall, Inc. But when a new pup is OK but I forgot the beginning as I reached the end. Previous page. A groundbreaking American novel for its honest and sensitive portrayal of a lesbian couple in the s, Carol is a truly remarkable story. Are We There Yet? Shinichi Suzuki. Notes belonging to a solo voice should be kept well. If the Amazon. Related Searches. But when a new pup is added to the mix and starts getting all of the attention, he gets his dander up. Verified Purchase. Basis of Claim: New Matter: "additional chapters, introd. Principles of Violin Playing and Teaching Writer Focusing on place and Carl Flesch. Customer reviews. Finger tip vibrato This is a faked vibrato. Coming from the top of the bow merhod the position of the square up bow — when the up bow methood with the forearm, the upper arm begins folding and pulling back: Keeping longer the upper or the second upper note is no problem when the chord is broken from the bottom up. Read more Read less. Tell the Publisher! Javascript is not enabled in your browser. Advanced embedding details, examples, and help! This invaluable book This unity of mind and muscle needs new homework, rhythm homework and coordination homework: Since even if the book was properly aglamian init had to be re-registered the original bookwithin 28 years after the original registration. A groundbreaking American novel for its honest and sensitive portrayal of a lesbian couple in Top reviews from Australia. Get to Know Us. What the Authors have cleverly done is to file a copyright for a derivative work based upon the Prentice-Hall copyright notice which was never properly registered hence the creation date of ''. Previous page. Contemporary Violin Technique Vol. This is how complicated copyright laws have become. Pre-order Books. Edition: 2d ed. Technique and correlation. Notes belonging to a solo voice should be kept well. Page 1 of 1 Start over Page 1 of 1. User icon An illustration of a person's head and chest. Customers who bought this item also bought. If the Amazon. Frequently bought together. Abundant Peace. Great book, came in great condition. If the Amazon. A groundbreaking American novel for its honest and sensitive portrayal of a lesbian couple in the s, Carol is a truly remarkable story. Related Searches. Principles of Violin Playing and Teaching Reviews These items are shipped from and sold by different sellers. Woodson's African Heroes and Heroines delves into the rich and complex political, military, and economic history See all reviews. Customer reviews. Search icon An illustration of a magnifying glass. This invaluable book There are 0 reviews and 0 ratings from Australia. Special technical problems: shifting; double stops; trills; left hand pizzicato; harmonics; chromatic glissando. A celebrated instructor explains his philosophy of teaching and practice methods, including the appropriate combination of technique and interpretation. Readable and not too long. A groundbreaking American novel for its honest and sensitive portrayal of a lesbian couple in the s, Carol is a truly remarkable story. When you are a beginner, you need to analyse what you are doing constantly, so a quick and easy repository of answers is required, and Galamian hits the spot for me. It's time to show them what a smart cat The ear has to take the decision if the straight or little inclined bowing has got galxmian sense or is useful. If the Amazon. Report abuse. Vibrato: types of vibrato; study of the vibrato; special problems in the vibrato. Temporarily out of stock. Hi-resolution images included. Customers who bought this item also bought. Glissando and Portato should be used as a mean of expression only. Sally Thomas was among Galamian's prized pupils at Juilliard. The basis of the copyright is new material see below , so it is a different work and not a reregistration of an original work. This is not uncommon and it is more common for individuals to pull stunts like this to 'backstop' a missed copyright by making it look like an original one. Special problems of bowings 7. Just been delivered and couldn't wait to start reading. Basis of Claim: New Matter: "additional chapters, introd. I will not tolerate this and will endeavor to 'root' out such behavior wherever I find it and expose it for the corrupt behavior that it is. Order now from our extensive selection of books coming soon with Pre-order Price Guarantee. There was a copyright registration filed in for a book with the same title. I bought this book as a gift for my wife, she is a music teacher. I am delighted that this book is being reissued, not only for the benefit of countless violin students, but also because it is a fitting tribute to Mr. This is the level of corruption and debauchery which our society has lowered it self to when it not only allows such behavior, but encourages it through the incessant brainwashing of the unthinking minions throughout academia Tactics of the teaching person with pubertal girls: In these situations heart is not wanted but juridical knowledge, steadiness, diplomacy and galaian according to the law is wanted. Morihei Ueshiba — , the founder of Aikido—whose name means "abundant peace"—was undoubtedly the greatest martial artist who ever lived. Pre-order Books. Learn how to enable JavaScript on your browser. Special bowing problems: bow attack; change of bow; alternating fast and slow bows; harmonics; chords. Principles of Violin Playing and Teaching Read Online Speed of the vibrato When the amplitude is reduced the vibrato speed can be higher with more swings. See all reviews. Don't have a Kindle? Glissando and Portato should be used as a mean of expression only. Ivan Alexander Galamian was an Iranian-born Armenian violin teacher of the twentieth century. One person found this helpful. Customers who viewed this item also viewed. Pre-order Books. African Heroes and Heroines. Video Audio icon An illustration of an audio speaker. This is not uncommon and it is more common for individuals to pull stunts like this to 'backstop' a missed copyright by making it look like an original one. Buy Ads Here. Shop now. Top reviews Most recent Top reviews. Home 1 Books 2. If you look carefully the information indicates that Prentice-hall was the original claimant, which means that they had to file the re- registration for it to be valid, since they did not the book is in the Public Domain. Contemporary Violin Technique Vol. At least re-write the entire work if you intend to 'rape' unsuspecting students and customers for a book. Henry Schradieck. High-Wire Henry. When a music peace is worked out a jethod time, old fingerings can be changed without problem because music never should be stiff and traditional. Learn how to enable JavaScript on your browser. Edition: 2d ed. OK but I forgot the beginning as I reached the end. Sally Thomas was among Galamian's prized pupils at Juilliard. His tutelage has produced astonishing results with students, many of whom rank among the world's most acclaimed concert artists and orchestral concertmasters. Excellent content, but the hardback is useless - the text is scammed in the middle, rest of pages goes empty. The book analyzes what has By Ivan Galamian, pages. Customer reviews. Top reviews Most recent Top reviews.
Load more

Recommended publications
  • Articulation from Wikipedia, the Free Encyclopedia
    Articulation From Wikipedia, the free encyclopedia Examples of Articulations: staccato, staccatissimo,martellato, marcato, tenuto. In music, articulation refers to the musical performance technique that affects the transition or continuity on a single note, or between multiple notes or sounds. Types of articulations There are many types of articulation, each with a different effect on how the note is played. In music notation articulation marks include the slur, phrase mark, staccato, staccatissimo, accent, sforzando, rinforzando, and legato. A different symbol, placed above or below the note (depending on its position on the staff), represents each articulation. Tenuto Hold the note in question its full length (or longer, with slight rubato), or play the note slightly louder. Marcato Indicates a short note, long chord, or medium passage to be played louder or more forcefully than surrounding music. Staccato Signifies a note of shortened duration Legato Indicates musical notes are to be played or sung smoothly and connected. Martelato Hammered or strongly marked Compound articulations[edit] Occasionally, articulations can be combined to create stylistically or technically correct sounds. For example, when staccato marks are combined with a slur, the result is portato, also known as articulated legato. Tenuto markings under a slur are called (for bowed strings) hook bows. This name is also less commonly applied to staccato or martellato (martelé) markings. Apagados (from the Spanish verb apagar, "to mute") refers to notes that are played dampened or "muted," without sustain. The term is written above or below the notes with a dotted or dashed line drawn to the end of the group of notes that are to be played dampened.
    [Show full text]
  • Glissando Harp Manual
    C A Glissando Harps Manual v 2.0 rev 2.0.0 - Nov. 12th, 2018 Welcome Thank you very much for purchasing Glissando Harps for Kontakt! We hope you’ll make the best out of these carefully crafted Virtual Instruments. A Few Words on the Sounds of Glissando Harps The two harps making up Glissando Harps, Concert and Orchestral, were sampled in two very different venues, with different instruments, players, microphone and preamp setups. This was done on purpose. To put in your hands two complementary instruments, allowing for the best sound to fit many different composing scenarios. For Concert Harp we chose a small live room. For this reason when we set up for the next chapter, Glissando Orchestral Harp, we chose a studio, Sotto Il Mare Recording Studios (near Verona in Italy), famous for their wonderful analog equipment and a resounding live room. This setup allowed us to capture more microphone perspectives than we had for Glissando Concert Harp. So, to sum up: Glissando Harps Glissando Concert Harp Small recording venue, best fit for intimate or in-your-face kind of parts; also good for characterization with additional reverbs and Efx. Three microphone channels: an AB stereo setup with a Schoeps CMC64 matched pair and a Mid-Side setup with Neumann M140 as mid and Royer R121 as side. Glissando Orchestral Harp Large recording venue, perfect when you need to position the harp in an orchestral scenario, both as accompanist and as a soloist. Eight microphone channels, combined in five “movie-city-named” nki instruments. An LCR (wide AB + central mono) with Schopes CMC64 and Soundelux U195, the mono Soundelux U195 by itself, another wide AB with ribbon AEA N22 matched pair.
    [Show full text]
  • Music Braille Code, 2015
    MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................
    [Show full text]
  • Music Is Made up of Many Different Things Called Elements. They Are the “I Feel Like My Kind Building Bricks of Music
    SECONDARY/KEY STAGE 3 MUSIC – BUILDING BRICKS 5 MINUTES READING #1 Music is made up of many different things called elements. They are the “I feel like my kind building bricks of music. When you compose a piece of music, you use the of music is a big pot elements of music to build it, just like a builder uses bricks to build a house. If of different spices. the piece of music is to sound right, then you have to use the elements of It’s a soup with all kinds of ingredients music correctly. in it.” - Abigail Washburn What are the Elements of Music? PITCH means the highness or lowness of the sound. Some pieces need high sounds and some need low, deep sounds. Some have sounds that are in the middle. Most pieces use a mixture of pitches. TEMPO means the fastness or slowness of the music. Sometimes this is called the speed or pace of the music. A piece might be at a moderate tempo, or even change its tempo part-way through. DYNAMICS means the loudness or softness of the music. Sometimes this is called the volume. Music often changes volume gradually, and goes from loud to soft or soft to loud. Questions to think about: 1. Think about your DURATION means the length of each sound. Some sounds or notes are long, favourite piece of some are short. Sometimes composers combine long sounds with short music – it could be a song or a piece of sounds to get a good effect. instrumental music. How have the TEXTURE – if all the instruments are playing at once, the texture is thick.
    [Show full text]
  • A Guide to Extended Techniques for the Violoncello - By
    Where will it END? -Or- A guide to extended techniques for the Violoncello - By Dylan Messina 1 Table of Contents Part I. Techniques 1. Harmonics……………………………………………………….....6 “Artificial” or “false” harmonics Harmonic trills 2. Bowing Techniques………………………………………………..16 Ricochet Bowing beyond the bridge Bowing the tailpiece Two-handed bowing Bowing on string wrapping “Ugubu” or “point-tap” effect Bowing underneath the bridge Scratch tone Two-bow technique 3. Col Legno............................................................................................................21 Col legno battuto Col legno tratto 4. Pizzicato...............................................................................................................22 “Bartok” Dead Thumb-Stopped Tremolo Fingernail Quasi chitarra Beyond bridge 5. Percussion………………………………………………………….25 Fingerschlag Body percussion 6. Scordatura…………………………………………………….….28 2 Part II. Documentation Bibliography………………………………………………………..29 3 Introduction My intent in creating this project was to provide composers of today with a new resource; a technical yet pragmatic guide to writing with extended techniques on the cello. The cello has a wondrously broad spectrum of sonic possibility, yet must be approached in a different way than other string instruments, owing to its construction, playing orientation, and physical mass. Throughout the history of the cello, many resources regarding the core technique of the cello have been published; this book makes no attempt to expand on those sources. Divers resources are also available regarding the cello’s role in orchestration; these books, however, revolve mostly around the use of the instrument as part of a sonically traditional sensibility. The techniques discussed in this book, rather, are the so-called “extended” techniques; those that are comparatively rare in music of the common practice, and usually not involved within the elemental skills of cello playing, save as fringe oddities or practice techniques.
    [Show full text]
  • Essay-Do You Hear Me.Pdf
    Do you hear me? Handbook for violin contemporary music notation by Dejana Sekulić Author’s Note: This might be a work with no end, as it is almost impossible to think of there could be an end of this research, and of this essay. Every new sign, sonority, color, timbre... experience in reading and playing becomes additional material. With (almost) each new piece, there will be new additions, especially to the segment “Notation: see me-hear me-make me”. It is, as well, very likely that new chapters will arise, both on left and right hand technique, as well as marks on other sonority and timbre remarks. This publication captures this research at this point in time, and should not be considered as the ultimate statement, but the base on which the future findings will be added on. Special thank you to Marc Danel and Bart Bouckaert. Table of contents: Introduction 07 Beautiful noise and sound of silence 11 Notation: see me-hear me-make me 15 ●Pitch 16 *Microtones alterations 17 *Highest (and lowest) pitch 18 *Indeterminate pitch 19 ●Special note-heads 20 ●Time/Rhythm 21 ●Left hand 21 *Muting, muffing and damping 23 *Chords and double stops 24 *Glissando 25 *Triller 26 *Harmonics, half harmonics and subharmonics 27 *Vibrato 28 ●Right hand 31 *Timbre 31 *Pizzicato 35 *Irregular bow directions 41 *Arpeggio tremolo 43 *Tailpiece 44 Percussive techniques 44 Helmut Lachenmann 47 ●Bridge hey 47 ●Bow technique dabbing with the 48 screw of the bow Be practical: 50 ●Arranging you score 50 ●Color coding 51 Bibliography 55 Scores 57 Introduction “Experimenting, that’s the only way to find out – by trying things.” “Nobody has enough technique, you could never have enough.
    [Show full text]
  • Relative Pitch and the Song of Black-Capped Chickadees
    Relative Pitch and the Song of Black-Capped Chickadees Chickadees, like people, have a strong sense of relative pitch. These birds use skillful, precise pitch changes to advertise their quality and attract mates Ronald Weisman and Laurene Ratcliffe ore than 2,000 years ago, the acer- descriptions of birdsongs. Donald Bor- Music and Relative Pitch Mbic philosopher Marcus Tullius ror, a master bioacoustician and field Relative pitch is the ability to produce Cicero observed that Roman songbirds biologist, found many of the song de- or recognize a note based on a refer- compose more excellent melodies than scriptions inadequate by modern stan- ence note. The ability to hum a simple any musician. He certainly doesn’t dards, as he wrote in his foreword to tune when given a set note with which stand alone in history on that count; it the 1967 reprinting of Mathews’s book. to start, as most people can, shows is a nearly universal human experience Borror acknowledged that Mathews relative pitch in action. A sense of to find joy and wonder in birdsong— lacked modern electronic equipment relative pitch is common among non- and to compare the songs to human and that his primary interest was in musicians even if they never use the music. People have been transcribing the musical content of birdsongs. To- term, but musical training develops melodies of birds into the notation of day, however, Mathews’s approach this knack. Trained singers have an ad- music since at least the 18th century; seems dated and quaint. Musical no- vanced appreciation of pitch change: Vivaldi’s Goldfinch concerto and Han- tation is simply unable to provide the They can produce precise relative fre- del’s Cuckoo and the Nightingale organ detailed, accurate and reproducible quency changes from one note to the concerto include musical notation for descriptions required in modern bio- next in a melody.
    [Show full text]
  • Hmm-Based Glissando Detection for Recordings of Chinese Bamboo Flute
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queen Mary Research Online HMM-BASED GLISSANDO DETECTION FOR RECORDINGS OF CHINESE BAMBOO FLUTE Changhong Wang1, Emmanouil Benetos1, Xiaojie Meng2, Elaine Chew1 1Centre for Digital Music, Queen Mary University of London, UK fchanghong.wang,emmanouil.benetos,[email protected] 2Department of Chinese Music, China Conservatory of Music, China [email protected] ABSTRACT Playing techniques in non-Western instruments, while sim- ilarly important, are often overlooked. Take for example, Playing techniques such as ornamentations and articula- one of the world’s most ancient instruments, the Chinese tion effects constitute important aspects of music perfor- bamboo flute (also known as the Dizi or Zhudi, thereafter mance. However, their computational analysis is still at referred to as CBF): many listeners are most often cap- an early stage due to a lack of instrument diversity, estab- tivated by its unique timbre, which belies the twenty or lished methodologies and informative data. Focusing on more playing techniques invoked when performing on the the Chinese bamboo flute, we introduce a two-stage glis- instrument. To our knowledge, only Ayers [15, 16] has sando detection system based on hidden Markov models done some analysis of CBF playing techniques through (HMMs) with Gaussian mixtures. A rule-based segmen- synthesis. This work focused only on trills, tremolos and tation process extracts glissando candidates that are con- flutter-tongue. But many other techniques remain to be ex- secutive note changes in the same direction. Glissandi are plored. For the case of other non-Western instruments, lim- then identified by two HMMs.
    [Show full text]
  • Pitch Bending and Glissandi on the Clarinet: Roles of the Vocal Tract and Partial Tone Hole Closure
    Pitch bending and glissandi on the clarinet: Roles of the vocal tract and partial tone hole closure ͒ Jer-Ming Chen,a John Smith, and Joe Wolfe School of Physics, The University of New South Wales, Sydney, New South Wales 2052, Australia ͑Received 9 March 2009; revised 15 June 2009; accepted 17 June 2009͒ Clarinettists combine non-standard fingerings with particular vocal tract configurations to achieve pitch bending, i.e., sounding pitches that can deviate substantially from those of standard fingerings. Impedance spectra were measured in the mouth of expert clarinettists while they played normally and during pitch bending, using a measurement head incorporated within a functioning clarinet mouthpiece. These were compared with the input impedance spectra of the clarinet for the fingerings used. Partially uncovering a tone hole by sliding a finger raises the frequency of clarinet impedance peaks, thereby allowing smooth increases in sounding pitch over some of the range. To bend notes in the second register and higher, however, clarinettists produce vocal tract resonances whose impedance maxima have magnitudes comparable with those of the bore resonance, which then may influence or determine the sounding frequency. It is much easier to bend notes down than up because of the phase relations of the bore and tract resonances, and the compliance of the reed. Expert clarinettists performed the glissando opening of Gershwin’s Rhapsody in Blue. Here, players coordinate the two effects: They slide their fingers gradually over open tone holes, while simultaneously adjusting a strong vocal tract resonance to the desired pitch. © 2009 Acoustical Society of America. ͓DOI: 10.1121/1.3177269͔ PACS number͑s͒: 43.75.Pq, 43.75.St ͓NHF͔ Pages: 1511–1520 I.
    [Show full text]
  • Articulation Worksheet Draw Lines to Link the Following Images to the Correct Term and Definition
    Name: Date: !"#$%&'"%()$*+,-$./%*! Articulation Worksheet Draw lines to link the following images to the correct term and definition. The first term has been done for you. Use the Articulation page on www.musiceducationwhiz.com to help you. silence, break hold note as long as you like accent indicates the start and end of caesura a phrase short, detached choked cymbals drum should be hit in the drum centre or edge centre or on the edge fermata play note with sudden, strong sfz emphasis glissando slightly longer notes than half the value harmonic , grab cymbal immediately after it has been struck marcato play smoothly mezzo staccato slide between two notes phrase mark string player pushes bow upwards rim shot extremely short staccato sforzando play the beginning of the note with force slur // light, feathery sounding note staccatissimo hold each note for as long as possible staccato v play passage with force at start of each note tenuto trembling, rolling, rapidly tremolo plucking or alternating striking the head and rim of up bow the drum together By Paula Downes, Copyright © 2014 musiceducationwhiz.com !"#$%&'"%()$*+,-$./%*! Class Presentations Write definitions for at least ten of the following articulation terms (or any others you know), explaining which instrument or group of instruments they are used for. Find pieces of music that use these techniques and talk about them. If you don’t know any, do some internet research. Present your work to the class, performing the various articulations if possible. martellato, sticking, stopped drums, ghost notes, cross stick, prepared piano, una corda, sostenuto pedal, damper pedal, col legno, martelé, barricolage, ricochet, sautille, spiccato, portato, détaché, sul tasto, sul ponticello, point of contact, arco, pizzicato, snap pizzicato, dampening, L.V., legato slide, strumming patterns, flutter-tonguing, double and triple tonguing, tonguing, mute By Paula Downes, Copyright © 2014 musiceducationwhiz.com .
    [Show full text]
  • Contemporary Music Score Collection
    UCLA Contemporary Music Score Collection Title Otto Lamenti Permalink https://escholarship.org/uc/item/73z9g148 Author Boccuzzi, Benedetto Publication Date 2020 eScholarship.org Powered by the California Digital Library University of California Benedetto Boccuzzi Otto Lamenti (2019) for solo violin and ensemble Preface Otto Lamenti is a cycle (in panels) for solo violin and ensemble in which both the musicians and the audience take a journey trough different emotional contexts and states of mind. From the profound pain of the praying mother to the (very serious!) barking of a dog that wants to go out; from a deep discomfort to the "electric bill complaining". A clash of contrasting meanings and atmospheres. The music is fragmented, theatrical and minimalistic at times, the panels are bonded by the silence. The musical breathing changes very sharply between powerful ensemble passages, and the loneliness of the solo violin. Dramatic cadenzas dissolve into static moments where melodies emerge. The music material echoes in different places throughout the piece. Formal Overview Solo violin and Ensemble Lamento 4 solo violin and ensemble accompanied by soft piano sounds [flute, oboe, clarinet in b flat, cello and piano] B - Cadenza, pesante ed apocalittico: the piano opens A - Semplice e religioso (introduction) solo violin with a sharp chord, the solo violin performs a cadenza Lamento 1 solo violin and ensemble B - Con eleganza, solo violin pizzicato melody and passage that ends with a flute flatterzung ensemble shorp gesture (x) C - Perdendosi:
    [Show full text]
  • Theory of Musical Instruments
    “GHEORGHE DIMA” MUSIC ACADEMY Cluj-Napoca T u d o r F e r a r u THEORY OF MUSICAL INSTRUMENTS TEXTBOOK FOR THE MUSIC GENERAL STUDIES IN ENGLISH 2016 CONTENTS page Introduction ……………5 1st Semester Lesson 1. Classification of instruments ……………5 Lesson 2. Aerophone instruments / Winds. Classification ……………5 Lesson 3. Reedless woodwind instruments / Flutes ……………6 Lesson 4. Double-reed woodwind instruments ……………8 Lesson 5. Double-reed woodwind instruments (continued) …………..10 Lesson 6. Single-reed woodwind instruments …………..11 Lesson 7. Brass instruments with mouthpiece …………..15 Lesson 8. Brass instruments with mouthpiece (continued) …………..16 Lesson 9. Polyphonic wind instruments …………..18 Lesson 10. Chordophone instruments / Strings. Classification …………..18 Lesson 11. Bowed string instruments …………..19 Lesson 12. Bowed string instruments (continued) …………..20 Lesson 13. Plucked string instruments …………..22 Lesson 14. Struck and plucked strings / Keyboards …………..23 2nd Semester Lesson 1. Electrophone instruments …………..25 Lesson 2. Percussion. Idiophone instruments. Classification …………..26 Lesson 3. Pitched metal idiophone instruments …………..26 Lesson 4. Pitched metal idiophone instruments (continued – part 1) …………..27 Lesson 5. Pitched metal idiophone instruments (continued – part 2) …………..28 Lesson 6. Pitched wood idiophone instruments …………..29 Lesson 7. Pitched wood idiophone instruments (continued) …………..30 Lesson 8. Pitched glass idiophone instruments …………..30 Lesson 9. Unpitched metal idiophone instruments …………..31 Lesson 10. Unpitched wood idiophone instruments …………..33 Lesson 11. Membranophone instruments / Skins. Classification …………..34 Lesson 12. Pitched membranophone instruments …………..35 Lesson 13. Unpitched membranophone instruments / Drums …………..36 Lesson 14. Various traditional percussion instruments …………..38 Reading List …………..40 3 INTRODUCTION The aim of the Theory of Musical Instruments textbook is to describe the construction elements and technical abilities of various musical instruments.
    [Show full text]