By Simon Fischer
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
University of Cincinnati
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ ViolinScaleBooks fromLateNineteenth-Centurytothe Present -FocusingonSevcik,Flesch,Galamian,andSassmannshaus Adocumentsubmittedtothe DivisionofGraduateStudiesandResearchofthe UniversityofCincinnati Inpartialfulfillmentoftherequirementsforthedegreeof DOCTORAL OFMUSICALARTS inViolinPerformance 2006 by HeejungKim B.M.,Seoul NationalUniversity,1995 M.M.,TheUniversityof Cincinnati,1999 Advisor:DavidAdams Readers:KurtSassmannshaus Won-BinYim ABSTRACT Violinists usuallystart practicesessionswithscale books,andtheyknowthe importanceofthem asatechnical grounding.However,performersandstudents generallyhavelittleinformation onhowscale bookshave beendevelopedandwhat detailsaredifferentamongmanyscale books.Anunderstanding ofsuchdifferences, gainedthroughtheidentificationandcomparisonofscale books,canhelp eachviolinist andteacherapproacheachscale bookmoreintelligently.Thisdocumentoffershistorical andpracticalinformationforsome ofthemorewidelyused basicscalestudiesinviolin playing. Pedagogicalmaterialsforviolin,respondingtothetechnicaldemands andmusical trendsoftheinstrument , haveincreasedinnumber.Amongthem,Iwillexamineand comparethe contributionstothescale -
The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
What Is the “Ševčík Method”?
Course: CA1004 Degree Project, Master, Classical, 30hp 2020 Master's Programme in Classical Music at Edsberg Manor | 120.0 hp Department of Classical Music Supervisor: Sven Åberg Angelika Kwiatkowska What is the “Ševčík Method”? Deeper understanding of Otakar Ševčík’s excercises for violin based on the example of his 40 Variations, op. 3 Written reflection within independent project The sounding part of the project is the following recordings: Mozart – Symphony no. 39 Finale – before Mozart – Symphony no. 39 Finale – after Rossini – Overture La Gazza Ladra - before Rossini – Overture La Gazza Ladra - after Abstract In this thesis I have studied the so-called “Ševčík method” based on the example of his 40 Variations, op. 3. I’ve tried to achieve a deeper understanding of what the exercises are good for and how they work. I took a closer look at Otakar Ševčík’s life and work history, I also investigated other’s opinions and judgements of the “method” that were appearing in press and literature during the last hundred years. The practical part of my project is the experiment that I’ve put myself through. I was diligently practicing 40 Variations every day, trying to improve my technique and learn by playing how to apply those exercises in real life. As a result of this process I’ve developed my bow technique and gained better understanding of how to use Ševčík’s exercises. Keywords: Violin, technique, exercises, bow technique, right-hand technique, Ševčík I Contents Introduction ...................................................................................................... -
“Playful Pizzicato” from Simple Symphony
“Playful Pizzicato” from Simple Symphony Benjamin Britten When the war was over, the biggest Born: November 22, 1913 opera company in England held a gala Died: December 4, 1976 reopening and commissioned Britten to write a new opera for the occasion. Benjamin Britten was an expert in Britten was also asked to compose an three different musical fields— opera when Elizabeth II was crowned conducting, composing and playing Queen of England. piano. Britten was born in Lowestoft, a town on the English seacoast. (His The Simple Symphony was written when birthday, November 22nd, happens to Britten was 20 years old. After graduating be the feast day of the patron saint of from the Royal Conservatory of Music, music, St. Cecilia.) Benjamin’s father he spent his Christmas vacation looking was a dentist; his mother loved to sing, through pieces of music he had composed and regularly held concerts in their years before. Some were written when home. he was just 10 years old. Britten thought that with a little work he could turn this From the moment he started playing early music into something that would be piano, Britten knew he wanted to earn fun for school orchestras to perform. his living as a composer. His first paying job was writing music for films. “Playful Pizzicato” is the second movement from Britten’s Simple Britten was a pacifist and didn’t believe Symphony. He instructed his players to in fighting wars, so when it became play as fast as possible and always obvious that England would go to pizzicato. Pizzicato means to pluck war with Germany in 1939, he left for the strings of the instrument with America. -
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. -
Color in Your Own Cello! Worksheet 1
Color in your own Cello! Worksheet 1 Circle the answer! This instrument is the: Violin Viola Cello Bass Which way is this instrument played? On the shoulder On the ground Is this instrument bigger or smaller than the violin? Bigger Smaller BONUS: In the video, Will said when musicians use their fingers to pluck the strings instead of using a bow, it is called: Piano Pizazz Pizzicato Potato Worksheet 2 ALL ABOUT THE CELLO Below are a Violin, Viola, Cello, and Bass. Circle the Cello! How did you know this was the Cello? In his video, Will talked about a smooth, connected style of playing when he played the melody in The Swan. What is this style with long, flowing notes called? When musicians pluck the strings on their instrument, does it make the sounds very short or very long? What is it called when musicians pluck the strings? What does the Cello sound like to you? How does that sound make you feel? Use the back of this sheet to write or draw what the sound of the Cello makes you think of! Worksheet 1 - ANSWERS Circle the answer! This instrument is the: Violin Viola Cello Bass Which way is this instrument played? On the shoulder On the ground Is this instrument bigger or smaller than the violin? Bigger Smaller BONUS: In the video, Will said when musicians use their fingers to pluck the strings instead of using a bow, it is called: Piano Pizazz Pizzicato Potato Worksheet 2 - ANSWERS ALL ABOUT THE CELLO Below are a violin, viola, cello, and bass. -
A Handbook of Cello Technique for Performers
CELLO MAP: A HANDBOOK OF CELLO TECHNIQUE FOR PERFORMERS AND COMPOSERS By Ellen Fallowfield A Thesis Submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music College of Arts and Law The University of Birmingham October 2009 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Many new sounds and new instrumental techniques have been introduced into music literature since 1950. The popular approach to support developments in modern instrumental technique is the catalogue or notation guide, which has led to isolated special effects. Several authors of handbooks of technique have pointed to an alternative, strategic, scientific approach to technique as an ideological ideal. I have adopted this approach more fully than before and applied it to the cello for the first time. This handbook provides a structure for further research. In this handbook, new techniques are presented alongside traditional methods and a ‘global technique’ is defined, within which every possible sound-modifying action is considered as a continuous scale, upon which as yet undiscovered techniques can also be slotted. -
BRITTEN Playful Pizzicato from Simple Symphony, Op
Tasmanian Symphony Orchestra BRITTEN Playful Pizzicato from Simple Symphony, Op. 4 Teacher Resource Booklet Prepared by Suzi Gillespie & Dianne O’Toole ©2017 Tasmanian Symphony Orchestra Pty Ltd https://creativecommons.org/licenses/by-nc/3.0/au/ Contents ABOUT THE MUSIC ................................................................................................................................................. 1 TEACHING IDEAS .................................................................................................................................................... 2 MUSICAL FORM .................................................................................................................................................... 2 LEARNING INTENTIONS ............................................................................................................................. 2 LISTEN FOR THE FORM ................................................................................................................................ 3 TIMBRE ACTIVITIES ............................................................................................................................................. 5 LEARNING INTENTIONS ............................................................................................................................. 5 LISTEN TO PLAYFUL PIZZICATO ............................................................................................................. 6 PLAY PLAYFUL PIZZICATO ON YOUR OWN INSTRUMENT ....................................................... -
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. -
Violin Pizzicato Exercises 1
VIOLIN PIZZICATO EXERCISES 1 OPEN A Exercise Locate the OPEN A STRING. Set the Metronome to 72 BPM. Keep a steady tempo. Here we go! [1-2-3-4 Begin] OPEN D Exercise Remember to emphasize Down-Beats. Keep a steady tempo. Follow the conductor! OPEN G Exercise © Copyright 2013 Reg. #18-36Q-18Q “The Quest for String Playing Mastery” VIOLIN PIZZICATO EXERCISES 2 OPEN E Exercise STRING CROSSING EXERCISES I am floating against the edge of the fingerboard in order to encourage everyone to remain loose. Feel as though you are floating into playing-position to perform pizzicato motions. While in playing-position, strive to achieve a controlled-looseness in your playing motions. The distance from one string to the next is quite small. The range of motion needed to perform string-crossings efficiently is equal to the curve of the top arch of the bridge. OPEN D and OPEN A OPEN G and OPEN D © Copyright 2013 Reg. #18-36Q-18Q “The Quest for String Playing Mastery” VIOLIN PIZZICATO EXERCISES 3 ALL OPEN STRINGS DYNAMIC CHANGE EXERCISES Hi! I am going to appear above your music in order to bring your attention to dynamic changes. When the music is louder, I will appear bigger and when the music is softer, I will appear smaller. Soft Dynamics = Play Over the Fingerboard Loud Dynamics = Play Closer to the Bridge Always be kind to your instrument and pizzicato away from the bridge. PIZZICATO DYNAMIC CHANGE EXERCISE © Copyright 2013 Reg. #18-36Q-18Q “The Quest for String Playing Mastery” VIOLIN PIZZICATO EXERCISES 4 CRESCENDO EXERCISE DECRESCENDO EXERCISE Come and Play Your Part! www.stringquest.com © Copyright 2013 Reg. -
The Application of Ivan Galamian's Violin Pedagogy to T
UNIVERSITY OF CALIFORNIA SAN DIEGO An Adaptable Approach to Expertise: The Application of Ivan Galamian’s Violin Pedagogy to Trumpet Practice and Teaching A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts in Contemporary Music Performance by Rachel Allen Committee in charge: Professor Stephanie Richards, Chair Professor Amy Cimini Professor Gedeon Deák Professor Mark Dresser Professor Wilfrido Terrazas 2020 The dissertation of Rachel Allen is approved, and it is acceptable in quality and form for publication on microfilm and electronically: _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ Chair University of California San Diego 2020 iii Dedication To my teachers and students, past and present, who inspired my interest in learning about learning. iv Table of Contents Signature Page…………………………………………………………………….…………..iii Dedication……………………………………………………………………………………..iv Table of Contents………………………………………………………………………………v List of Figures…………………………………………………………………………………vi Acknowledgements…………………………………………………………………………..vii Vita…………………………………………………………………………………………..viii Abstract of the Dissertation…………………………………………………………………...ix Chapter 1 Introduction………………...……………………………………………...………..1 Chapter 2 Development of Expertise…………………………………………………………12 -
1002775354-Alcorn.Pdf
3119 A STUDY OF STYLE AND INFLUENCE IN THE EARLY SCHOOLS OF VIOLIN MAKING CIRCA 1540 TO CIRCA 1800 THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Allison A. Alcorn, B.Mus. Denton, Texas December, 1987 Alcorn, Allison A., A Study of Style and Influence in the Ear School of Violin Making circa 1540 to circa 1800. Master of Music (Musicology), December 1987, 172 pp., 2 tables, 31 figures, bibliography, 52 titles. Chapter I of this thesis details contemporary historical views on the origins of the violin and its terminology. Chapters II through VI study the methodologies of makers from Italy, the Germanic Countries, the Low Countries, France, and England, and highlights the aspects of these methodologies that show influence from one maker to another. Chapter VII deals with matters of imitation, copying, violin forgery and the differences between these categories. Chapter VIII presents a discussion of the manner in which various violin experts identify the maker of a violin. It briefly discusses a new movement that questions the current methods of authenti- cation, proposing that the dual role of "expert/dealer" does not lend itself to sufficient objectivity. The conclusion suggests that dealers, experts, curators, and musicologists alike must return to placing the first emphasis on the tra- dition of the craft rather than on the individual maker. o Copyright by Allison A. Alcorn TABLE OF CONTENTS Page LIST OF FIGURES.... ............. ........viii LIST OF TABLES. ................ ... x Chapter I. INTRODUCTION . .............. *.. 1 Problems in Descriptive Terminology 3 The Origin of the Violin.......