DOCSLIB.ORG

Ballade for Viola Sextet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ballade for Viola Sextet The American Viola Society ballade for viola sextet Paul A. Pisk (1893-1990) AVS Publications 043 Preface The composer, pianist, and musicologist Paul Amadeus Pisk (1893–1990) had a distinguished career in his native Austria before immigrating to the United States in 1936. During his time in America, he held major teaching posts at University of Redlands, University of Texas, and Washington University. Pisk completed more than 130 compositions during his career, covering a wide variety of genres, forms, and styles. The Ballade for Viola Sextet was written at the request of violist Albert Gillis for the University of Texas Viola Ensemble. The score bears a completion date of February 24, 1958, and the piece was premiered by the ensemble at the University of Texas on March 16, 1958. In a program note for that concert, the composer wrote: The Ballade for Viola Sextet has been written to explore, besides musical content, the specific technical and sound possibilities of this string group. Rhythmic devices, pizzicatos, double stops, harmonics, trills and so forth, have been incorporated. The form is sectional. An Andante introduction, a faster, vigorous main theme and a lyrical contrast appear. They are repeated in reversed order after the center section, the real “story” of the Ballade, told as a recitative with two quotations of a chorale melody. The principle of tonality is never abandoned in this piece. Its writing was suggested for a performance in Carnegie Hall, New York, in April of this year.1 The ensemble performed the work on several more occasions, culminating in a recital at Carnegie Hall for which the Musical Courier wrote: “The pièce de résistance was Paul Pisk’s ‘Ballade for an Ensemble of Violas,’ a highly romantic and extremely effective exploration of the potentials of the medium.”2 The Ballade was published in 1958 in a Composers Facsimile Edition (CFE) by the American Composers Alliance (ACA), an edition that is still available for purchase. Publication of this new AVS edition has been made possible by kind permission of American Composers Alliance Inc. (BMI). Performers and ensembles should be aware that sending concert programs to BMI when this work is performed will generate performance royalties for ACA and for the Estate of Paul Pisk. Notes about the Sources This edition is based on the CFE (score and parts) from the American Composers Alliance. The editor consulted several copies of this edition as well as a copy of the score housed in the Paul Amadeus Pisk Papers, University of Texas Archives, Harry Ransom Center. (That score is not an original manuscript but a facsimile that comes from the same source as the CFE.) In both the score and parts, Pisk used an atypical notational system with two instrumental lines sharing one staff (Violas 1/2, Violas 3/4, and Violas 5/6), with some instances where individual lines are redistributed onto another staff. While this periodically creates confusion as to which notes belong to which instrumental line, a more problematic issue is the placement of diminuendo and crescendo markings throughout, which often appear haphazardly notated based on space constraints. There are numerous other problematic areas, including many discrepancies among the score and parts. This edition represents the editor’s best attempt to reconcile all of these issues; substantial editorial decisions have been noted in the Editorial Comments section at the end of this edition, while other editorial decisions have been made without comment. The editor is grateful to Tom Tatton—who has conducted the work on multiple occasions—for his assistance in resolving the editorial challenges. David M. Bynog, editor January 2016 Notes 1. P[aul] A. P[isk], program note to Albert Gillis and Verna Harder recital, March 16, 1958, University of Texas Recital Hall. 2. “Violin, Viola, Violoncello Teachers Guild Concert,” Musical Courier, May 1958, 21. Ballade for Viola Sextet Paul A. Pisk For Albert Gillis and His Viola Ensemble Edited by David M. Bynog Andante œb . œ œ œb œ œ. œb œb . œ. œ# œ# œ. Viola I œ. œb œ œb œ. œn œb B 86 ∑ Œ. J J p Viola II œ. œ. œ. œ. B 86 ∑ ˙b . œb œ œb œb . œn œ œ# œ# p ˙b . ˙b . Viola III B 6 . œ œ. œ. œb . œ. œ œb ˙b . 8 Œ Œ J p Viola IV 6 œb . œ. œ œb ˙b B 8 Œ. œb . œ. œb . ˙b . œb . p œn . œ# œ# Viola V 6 j B 8 Œ œ œ. ˙. ˙b . ˙b . œb . œ. œ œb ˙b . p Viola VI 6 B 8 j œb j ˙. ˙. ˙b . œ œb œ ˙. ˙b . p 7 molto rit. Allegro . œn . œ œ œ œ# . œ# œ œn œ U œb œ œ œ œn œ J J 9 œ# . œ œ# œ. œ# œ œ# 6 œ œ# œ B & 8 8 œ# œ œ F œb œ ˙# . œn œ 9 œ# . œ œ œ. œ# œ œ œ œ 6 ˙n . B œn . œ. œn œ# . œ# œ J 8 8 F j . B œb œb œ. œ œb œ œ# . œ. œ# œ œn œn . œ œ 89 œ# . œ# . œ 86 ˙n . F j . B œb œb œ. œ œb œ œ# . œ. œ# œ œn œn . œ œ 89 œ# . œ. œ 86 ˙. F B ˙b . ˙# . œn . œb . 89 ˙. œ# œn œ 86 ˙. F B 9 6 ˙n . ˙# . ˙. 8 ˙# . œ. 8 ˙. u F ©American Viola Society 2106, AVS 043 2 12 œ œ œ œ œ# œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œn œ# œ œ œ œ œ œ# œ œ œ œ œ œ œ & ‰ œ J ‰ œ# œ f œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ B ‰ J & œ# œ œ œ# ‰ œ œ œ œ œ ‰ Œ œ œ œ œ# œ œ œ œ f J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ# œ œ œ œ œ œ œ œ B ‰ J ‰ Œ œ ‰Œ J œ f œ œ œ œ œ œ œ œ œ œ œ B œ œ œ ‰ œ œ œ œ œ œ ‰ Œ œ œ œ œ œ œ œ ‰Œ œ# œ œ# œ œ J J f j œ œ œ B ‰ ‰ ŒŒ ‰ Œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ f œ œ œ œ œ œ B ‰ j ‰ ŒŒ ‰ Œ j œ œ œ# œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ f 17 œ œ œ œ œ œ œ œb œ œ 4 œ œ œ œ œ œ 3 4 & ‰ œn œ œb œ œ# œ œ œb œ œ œ œ œ œ œ œ œ 8 8 œ œ œb œ œ œ 8 œ œ œ œ œ œ œ œ œ œ œ œ p œ œb œ œ œ œ œb œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ 3 œ œ œb œ œ œ 4 & œ œ œ œ œ œ ‰ œn œ œb œ œ# B 8 œ œ œ œ œ œ 8 8 œ œ œ œ œ œ p œ œ œ œ œ œ ˙. œ œ œ œ œ œ B œ# œ# œ œ œ œ œ œ œ œ œ œ 48 83 œ# œ# œ œ œ œ 48 S p 3 B œ œ œ œ œ œ ˙. œ# œ# œ œ œ œ œ œ œ œ œ œ 48 œ œ œ œ œ œ 8 œ# œ# œ œ œ œ 48 S p œ œ œ œ œ œ œ# œ œ œ œ œ œ œ 4 3 œ# œ œ œ 4 B œ œ œ œ œ œ ˙. œ# œ œ œ 8 œn œ œ œ œ œ 8 œ# œ 8 S p œ œ œ œ 4 3 œ œ 4 B œ œ œ œ œ œ œ# œ# œ œ œ œ œ œ 8 œ œ œ œ œ œ 8 œ# œ# œ œ 8 œ œ œ œ œ œ ˙. œn œ œ œ œ œ S p Pisk - Ballade 3 22 espress. 4 œ œ œ œ œ œ 3 6 œ# œ œ œ. œ œ. œ œ œ œ# œ œ œ œ œ œ 9 & 8 8 œ œ œb œ œ œ ∑ œ œ œb œ œ œ 8 J œ# J œ# 8 f p π p espress. œ œ œ œ œ œ œb œ œb œ œ 4 3 œ œ œ œ œ œ œ œ 6 œ# œ œ œ. œ œ. œ œ œ œ# œ œ œ œ œ 9 B 8 8 ∑ & 8 J œ# J œ# 8 f p π p pizz. œ œ œ œ œ œ œ œ 3 œ œ œ œ 6 œ# œ œ œ# œ œ 9 B 48 8 œ# œ# œ œ ∑ œ# œ# œ œ 8 ∑ œ œ œ œ 8 f p π p pizz. œ œ œ œ œ œ 3 œ œ œ œ 6 œ# œ œ œ œ œ# œ œ 9 B 48 8 œ# œ# œ œ ∑ œ# œ# œ œ 8 ∑ œ œ œ œ 8 f p π p œ# œ œ œ œ œ# œ B 48 œb œ œ œ œ œ 83 œ# œ# œ œ œ œ ∑ œ# œ# œ œ œ œ 86 ∑ œ œ œ œ œ 89 f p π p B 4 3 œ# œ# œ œ œ œ ∑ œ# œ# œ œ œ œ 6 ∑ 9 8 œ œ œ œ œ œ 8 8 œ.
Load more

Recommended publications
  • Hamilton's Celebrated Dictionary, Comprising an Explanation of 3,500
    B ornia lal y * :v^><< Ex Libris C. K. OGDEN THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES i4 ^}^^^D^ /^Ic J- HAMILTON'S DICTIONAIiY 3,500 MUSICAL TERMS. JOHN BISHOP. 130th EDITION. Price One Shilling. ROBERT COCKS & CO., 6, NEW BURLNGTON ST. JiJuxic Publishers to Her Most Gracious Majesty Queen Victoria, and H.R.H. the Prince of Wales. ^ P^ fHB TIME TABLE. or ^ O is e:iual to 2 or 4 P or 8 or 1 6 or 3 1 64 fi 0| j^ f 2 •°lT=2,«...4f,.8^..16|..52j si: 2?... 4* HAMILTON 8s CELEBRATED DICTIONARY, ooMrkiRiKo XM izpLAKATioa or 3,500 ITALIAN, FRENCH, GERMAN, ENGLISH, AMJ> OTHBK ALSO A COPIOUS LIST OF MT7SICAL CHARACTERS, 8U0H AS ARB FOUND IN THB WOWS OT Adam, Aguado, AlbreehUberger Auber, Baeh (J. S.), Baillot, Betthoven, Bellini, JJerbiguier, Bertini, Burgmuller, Biikop (John), Boehia-, Brunntr, Brieeialdi, Campagnoli, Candli, Chopin, Choron, Chaidieu, Cherubini, Cl<irke (J.y dementi, Cramer, Croisez, Cxemy, De Beriot, Diatedi, Dcehler, Donizetti, Dotzauer, Dreytehoek, Drouec, Dutsek. Fetis, Fidd, Fordt, Gabrieltky, Oivliani, Ooria, Haydn, Handd, Herald, Hert, Herzog, Hartley, Hummel, Hunt^n, Haentel, Htntelt, Kalkbrenner, Kuhe, Kuhlau, Kreutzer, Koeh, Lanner, Lafoitzky, Lafont, Ltmke, Lemoine, Liszt, l^barre, Marpurg, Mareailhou, Shyteder, Meyerbeer, Mereadante, MendeUtohn, Mosehelet. Matart, Musard, NichoUon, Nixon, Osborne, Onslow, Pacini, Pixis, Plachy. Rar'^o, Reicha, Rinck, Rosellen, Romberg (A. and B.), Rossini, Rode. 6st iau, Rieci, Reistiger, SehmiU (A.), Schubert (C), Sehulhoff. Sar, Spohr. 8f, .jss, Santo$ (D J. Dot), Thalberg, Tulou, ViotU, WMaet (W. F.). W«^ ren, WcOdtier, Webtr, Wetley (S. S.), Ac. WITH AN APPENDIX, OOKSISTIMO OF A RBPRIKT OF /OHH TIKCTOR'S " TERMINORUM MUSIC^E DIFFIlTlTORIUlh,- The First Kusical Dictionary known.
    [Show full text]
  • Instruments of the Orchestra
    INSTRUMENTS OF THE ORCHESTRA String Family WHAT: Wooden, hollow-bodied instruments strung with metal strings across a bridge. WHERE: Find this family in the front of the orchestra and along the right side. HOW: Sound is produced by a vibrating string that is bowed with a bow made of horse tail hair. The air then resonates in the hollow body. Other playing techniques include pizzicato (plucking the strings), col legno (playing with the wooden part of the bow), and double-stopping (bowing two strings at once). WHY: Composers use these instruments for their singing quality and depth of sound. HOW MANY: There are four sizes of stringed instruments: violin, viola, cello and bass. A total of forty-four are used in full orchestras. The string family is the largest family in the orchestra, accounting for over half of the total number of musicians on stage. The string instruments all have carved, hollow, wooden bodies with four strings running from top to bottom. The instruments have basically the same shape but vary in size, from the smaller VIOLINS and VIOLAS, which are played by being held firmly under the chin and either bowed or plucked, to the larger CELLOS and BASSES, which stand on the floor, supported by a long rod called an end pin. The cello is always played in a seated position, while the bass is so large that a musician must stand or sit on a very high stool in order to play it. These stringed instruments developed from an older instrument called the viol, which had six strings.
    [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]
  • The Use of Scordatura in Heinrich Biber's Harmonia Artificioso-Ariosa
    RICE UNIVERSITY TUE USE OF SCORDATURA IN HEINRICH BIBER'S HARMONIA ARTIFICIOSO-ARIOSA by MARGARET KEHL MITCHELL A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC APPROVED, THESIS COMMITTEE aÆMl Dr. Anne Schnoebelen, Professor of Music Chairman C<c g>'A. Dr. Paul Cooper, Professor of- Music and Composer in Ldence Professor of Music ABSTRACT The Use of Scordatura in Heinrich Biber*s Harmonia Artificioso-Ariosa by Margaret Kehl Mitchell Violin scordatura, the alteration of the normal g-d'-a'-e" tuning of the instrument, originated from the spirit of musical experimentation in the early seventeenth century. Closely tied to the construction and fittings of the baroque violin, scordatura was used to expand the technical and coloristlc resources of the instrument. Each country used scordatura within its own musical style. Al¬ though scordatura was relatively unappreciated in seventeenth-century Italy, the technique was occasionally used to aid chordal playing. Germany and Austria exploited the technical and coloristlc benefits of scordatura to produce chords, Imitative passages, and special effects. England used scordatura primarily to alter the tone color of the violin, while the technique does not appear to have been used in seventeenth- century France. Scordatura was used for possibly the most effective results in the works of Heinrich Ignaz Franz von Biber (1644-1704), a virtuoso violin¬ ist and composer. Scordatura appears in three of Biber*s works—the "Mystery Sonatas", Sonatae violino solo, and Harmonia Artificioso- Ariosa—although the technique was used for fundamentally different reasons in each set. In the "Mystery Sonatas", scordatura was used to produce various tone colors and to facilitate certain technical feats.
    [Show full text]
  • Crini: with Bow Hair; Cancels Col Legno
    UCLA Contemporary Music Score Collection Title Vurtruvurt Permalink https://escholarship.org/uc/item/330781tg Author Sigman, Alexander Publication Date 2020 License https://creativecommons.org/licenses/by-nc-sa/4.0/ 4.0 eScholarship.org Powered by the California Digital Library University of California alexander sigman VURTRUVURT for solo violin and live electronics (2011) VURTRUVURT (2011) performance notes: general remarks: I. Performance context: This piece may be programmed in the context of an evening-length performance of the VURT cycle, as a member o of a subset of VURT pieces, or as an autonomous work. II. VURT sections: There are four types of sections (labeled accordingly in the score): V: The two V sections consist of pre-recorded electronic material. V is for vehicle and volume, but NOT violin. U: In the three U sections, the violin and electronics interact as “equal partners” throughout. U is for union. R: The three R sections are effectively composed-out fermatas, during which the violin plays against and filters immediately preceding material. R is for resonance, recording, reflection, etc… T: During the two T sections, varying degrees of reverberation are applied to primarily (but not exclusively) impulsive violin sounds. T is for trigger. Pauses between sections should be avoided, to the extent possible. III. Violin Preparation: The electronics are to be projected through 2 small transducers: 1 attached to the violin (preferably on or near the bridge), the other on the upper left-hand corner of the left-most music stand. As such, the distance between transducers increases (slightly) over the course of the piece.
    [Show full text]
  • Developing a Personal Vocabulary for Solo Double Bass Through Assimilation of Extended Techniques and Preparations
    Developing a Personal Vocabulary for Solo Double Bass Through Assimilation of Extended Techniques and Preparations Thomas Botting This thesis is submitted in partial requirement for the degree of Doctor of Philosophy. Sydney Conservatorium of Music The University of Sydney 2019 i Statement of Originality This is to certify that, to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Thomas Botting November 8th, 2018 ii Abstract This research focuses on the development of a personal musical idiolect for solo double bass through the assimilation of extended techniques and preparations. The research documents the process from inception to creative output. Through an emergent, practice-led initial research phase, I fashion a developmental framework for assimilating new techniques and preparations into my musical vocabulary.The developmental framework has the potential to be linear, reflexive or flexible depending on context, and as such the tangible outcomes can be either finished creative works, development of new techniques, or knowledge about organisational aspects of placing the techniques in musical settings. Analysis of creative works is an integral part of the developmental framework and forms the bulk of this dissertation. The analytical essays within contain new knowledge about extended techniques, their potential and limitations, and realities inherent in their use in both compositional and improvisational contexts. Video, audio, notation and photos are embedded throughout the dissertation and form an integral part of the research project.
    [Show full text]
  • The Augmented String Quartet: Experiments and Gesture Following Frédéric Bevilacqua, Florence Baschet, Serge Lemouton
    The Augmented String Quartet: Experiments and Gesture Following Frédéric Bevilacqua, Florence Baschet, Serge Lemouton To cite this version: Frédéric Bevilacqua, Florence Baschet, Serge Lemouton. The Augmented String Quartet: Experi- ments and Gesture Following. Journal of New Music Research, Taylor & Francis (Routledge), 2012, 1 (41), pp.103-119. hal-01161437 HAL Id: hal-01161437 https://hal.archives-ouvertes.fr/hal-01161437 Submitted on 8 Jun 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. The augmented string quartet: experiments and gesture following Fr´ed´eric Bevilacqua , Florence Baschet, Serge Lemouton STMS Ircam-CNRS-UPMC 1 Place Igor Stravinsky, 75004 PARIS, France frederic.bevilacqua @ircam.fr { } February 7, 2012 Abstract We present interdisciplinary research undertaken for the develop- ment of an ”augmented” string quartet. Hardware and software com- ponents were especially designed to enable mixed acoustic/electronic music where bow gestures drive digital sound processes. Precisely, inertial motion sensors and a bow force sensor were added to each musician’s bow, and dedicated modules allowed for the wireless data transmission to an on-line gesture analysis system. Prior to the perfor- mance, a research phase was performed to evaluate qualitatively the variability of the gesture data.
    [Show full text]
  • Violin, I the Instrument, Its Technique and Its Repertory in Oxford Music Online
    14.3.2011 Violin, §I: The instrument, its techniq… Oxford Music Online Grove Music Online Violin, §I: The instrument, its technique and its repertory article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/41161pg1 Violin, §I: The instrument, its technique and its repertory I. The instrument, its technique and its repertory 1. Introduction. The violin is one of the most perfect instruments acoustically and has extraordinary musical versatility. In beauty and emotional appeal its tone rivals that of its model, the human voice, but at the same time the violin is capable of particular agility and brilliant figuration, making possible in one instrument the expression of moods and effects that may range, depending on the will and skill of the player, from the lyric and tender to the brilliant and dramatic. Its capacity for sustained tone is remarkable, and scarcely another instrument can produce so many nuances of expression and intensity. The violin can play all the chromatic semitones or even microtones over a four-octave range, and, to a limited extent, the playing of chords is within its powers. In short, the violin represents one of the greatest triumphs of instrument making. From its earliest development in Italy the violin was adopted in all kinds of music and by all strata of society, and has since been disseminated to many cultures across the globe (see §II below). Composers, inspired by its potential, have written extensively for it as a solo instrument, accompanied and unaccompanied, and also in connection with the genres of orchestral and chamber music. Possibly no other instrument can boast a larger and musically more distinguished repertory, if one takes into account all forms of solo and ensemble music in which the violin has been assigned a part.
    [Show full text]
  • A Folk Music for the Double Bass Håkon Thelin
    A Folk Music for the Double Bass Håkon Thelin During the past years, I have come closer to discovering my own musical voice, as it speaks through the double bass. Though my musical training might have followed a line of rather conventional musical practice, it was continually ensued by an evolving thought regarding the contextualization of this instrument-specific language of music, which I have come to call a folk music for the double bass – an approach that strongly relates to the aspirations of the great Italian double bass player and composer Stefano Scodanibbio who says that he wants “to allow the contrabass to sing with its own voice”.1 During the 1980s Scodanibbio discovered this voice, that comes from the instrument itself, as being based on the possibilities the instrument offers. The main discovery that furthered the establishment and refining of such a language was the expansion of flageolet techniques, the most evident of these being the interchanging of ordinary tones and flageolets. This conception of a music that is in a sense rooted in the instruments very own qualities and characteristics, a folk music for the double bass, so to speak, has been the main goal in creating my own music, and my aspiration in publishing the sounding results of my works for double bass on my CD Light.2 To create a composed music, bound by intricate fixed rhythms, melodic shapes and forms, but yet to evince the sounding impressions of improvisation. My music thus follows a tradition that is based upon the exploration of those sounds that can be particularly well expressed through the double bass.
    [Show full text]
  • Contemporary Violin Techniques: the Timbral Revolution
    CONTEMPORARY VIOLIN TECHNIQUES: THE TIMBRAL REVOLUTION By Michael Vincent December 17th, 2003 TABLE OF CONTENTS Introduction .......................................................................................................................................................................1 From the Renaissance to the Dadaists.............................................................................................................................1 Bowing..................................................................................................................................................................................2 Sul Ponticello........................................................................................................................................................................2 Col Legno..............................................................................................................................................................................3 Col legno tratto....................................................................................................................................................................3 Subharmonics and ALF’s...................................................................................................................................................4 Percussive Techniques...................................................................................................................................................5 The Fingertips......................................................................................................................................................................5
    [Show full text]
  • Stringspeak for the Non-String Player
    StringSpeak for the Non- String Player David F. Eccles, A.B.D. Director of String Music Education VanderCook College of Music, Chicago, Illinois Florida Music Educators Association Conference Thursday, January 10, 2013, 2:45 p.m. -3:45 p.m., TCC 3-4 Different Foundations Beginning band and string students are taught similar concepts in a different order from day 1. The goal of the beginning band class is... Players must play with characteristic tone. Technique is internal (except Percussion) The goal of the beginning string class is... Players must play with correct mechanics and visual setup. Technique is external. Different Foundations Band Strings • Note values-order • Note values-order • Keys-Bb, Eb, F, Ab • Keys-D, G, C • Embouchure • Left hand Right hand Fingerings • Together Flute Violin Flute Violin Flute Violin Flute Violin Flute Violin Violin (Bow) Violin (Both Hands) Violin (Rhythm) Violin (Whole Note) Left Hand Concepts • Violin & Viola - Bornoff finger spacing • Carl Flesch and Ivan Galamian scale patterns • Cello - Each finger represents a 1/2 step Extended position Thumb position • Double Bass - Shifting from day 1 – Span of the hand is a whole step Sitting vs. Standing Simandl vs. Rabboth Right Hand Concepts – The Bow • Violin, Viola, & Cello - French Bow • Double Bass - French & German Bow • The violin frog has a square end. • All others have rounded ends. • Stick = Pernambuco or carbon fiber • Hair = Horsehair The Physics of Bowing The Physics of Bowing The Physics of Bowing Applied • Contact point = Travel Lanes • Bow Speed = mph • Arm Weight = ounces & pounds Bowing Terms *On the string* *Special Effect Bowings* Détaché Ricochet Accented Détaché Bariolage Hooked/Linked Bowing (space) Tremolo Portato or Louré (pulse) Col Legno Martelé Ponticello Staccato (hair stays on the string) Sul Tasto *Off the string* (sur la touché, sulla tastiera or flautando) Spiccato (hair leaves the string) Bowing Principles • Bow direction is the foundation for musical and rhythmical accent.
    [Show full text]
  • String Technique
    String Technique Introduction Note: this document introduces string techniques and gives examples from String Quartets. There is a separate document with supplementary examples for orchestral writing below. String instruments are played with a horsehair bow drawn across the strings by the right hand to make them vibrate. The left hand, meanwhile, ‘stops’ the strings in order to create different notes. This handout documents some of the effects that can be created on string instruments using a variety of techniques As with any instrument, simply using a mixture of slurs and staccato can make a huge difference to the character of a melodic idea as in this example by Mozart: Example 1: Mozart String Quartet KV 157 I: bb. 1-8 String Techniques – Page 1 In this example from a Schubert string quartet the choice of articulation and dynamics creates the character of the music: the fz markings add energy and emphasize the phrases the slurring in small groups of two and three in the second line create a more legato effect but create a more energetic delivery than longer slurs would the semiquavers in the inner parts have no articulation and therefore are quite neutral Example 2: Schubert Op. 125/1 Allegro In music before the twentieth century, dynamics were most often used either to determine the general character of melodies or shape them. You will find lots of these type of dynamic markings in the examples of string quartets elsewhere on Moodle. In this handout, the focus is mostly on special playing techniques, but even dynamics and ordinary articulations alone can create quite striking effects when used creatively.
    [Show full text]