DOCSLIB.ORG

Analysis of Igor Stravinsky's Piece 2 from “3 Pieces For

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Analysis of Igor Stravinsky's Piece 2 from “3 Pieces For ANALYSIS OF IGOR STRAVINSKY’S PIECE 2 FROM “3 PIECES FOR STRING QUARTET” Gonzalo Varela Original language: Spanish. English translation by the author. Finish date: 24 June 2013. Revision: 14 May 2020. [email protected] / www.gonzalovarela.com Study done for the course “Análisis 1” (“Analysis 1”), lectured by prof. Marcelo Rilla at the Escuela Universitaria de Música (University School of Music) of the Universidad de la República (University of the Republic), in Montevideo, Uruguay. It is recommended to read the analysis while also reading the original score. Form of the composition The form of this piece can be considered A - B - A’, such that: A (mm1-25) alternates between a variety of well differentiated and recurring behaviors, mostly monophonic or heterophonic, which are almost always articulated by juxtaposition. For this analysis I have named these behaviors Aa, Ab, Ac, Ad and Ae. The different appearances of these are not exactly alike, and have different duration, maybe as if these layers were developing without interruption throughout the whole section but the composer almost always allowed us to listen to only one of them at any particular moment. B (mm25-45) also includes different behaviors, which for this analysis I have named Ba, Bb and Bc, but these are developed more freely than those in A. This section also makes much greater use of polyphony (overlap of clearly distinguishable strata). A’ (mm45-61) consists of reappearances of all the behaviors heard in A, with some changes. The following diagram shows the different sections and behaviors identified throughout the composition, considering as measure 1 the first complete (not pickup) measure of the piece. 1 2 Behaviors inside sections A and A’ Aa: Appearances Aa1 in mm0-3: Aa2 in mm6-12, excluding the viola: Aa3 in mm48-51 (viola and violoncello are in treble clef): 3 Aa4 in mm56-58: Aa: Description It is a strictly periodic behavior, which is repeated after each quarter note. Consists essentially of a version of the pitch-class set [0,1,5,6] and its transposition to a semitone below, but this quality is “hidden” because the voices perform oblique, similar and parallel motions, instead of presenting all of them descending parallel motion (which would motivate a more monophonic way of listening than the heterophonic one here favored). Another factor that adds complexity has to do with the accents, because upbows are used in the gravitatory metric places, and vice versa. In Aa1 the movement of each voice is: Violin 1: F4 - E4 Violin 2: Bb3 - Ab3 Viola: E3 - Eb3 Violoncello: A2 - A2 4 In Aa2 the only change is that the cello plays not only the notes that it already played in Aa1, but also the notes that in that section were played by the viola (this is a necessity, because here the viola will be busy with a different behavior). However, in Aa3 the change is more perceptible, because it consists of the same pitches but played an 8ve higher. Once again, this is in some way hidden, because the roles of the instrument are mixed so that they don’t each simply play what they played before an 8ve higher. The voice motions in Aa3 are: Violin 1: E4 - D#4 Violin 2: A3 - A3 Viola: F5 - E5 Violoncello: Bb4 - Ab4 Aa4 is a return to the behavior of Aa1, only changing the ending. Ab: Appearances Ab1 in mm4-5: 5 Ab2 in mm9-10, only the viola (which is in treble clef): Ab3 in mm45-46, viola and violoncello: Ab: Description Ab1 shows a melodic motif E | A-E-E-A (eighth notes). In spite of all the instruments playing the same pitch classes at each moment, the result is heterophonic because of the overlap of different articulations (arco, pizzicato, near the frog, harmonic, upbow and downbow), different octaves, different relative motions, and the fact that some of the instruments articulate the notes in sixteenth notes. In Ab2 the motif is done only by the viola (who superimposes it over Aa2), because of which it lacks the heterophonic character. In Ab3 the motif is transposed a descending major 6th, resulting in G | C-G-G-C. Ac: Appearances Ac1 in mm13-14: 6 Ac2 in mm17-19 (viola and violoncello begin in treble clef): Ac3 in m52: Ac4 in mm54-55: 7 Ac: Description Of the behaviors present in A, this is probably the most monophonic one. Ac1 is a melodic sul tasto motif in piano dynamic and mostly in eighth notes: C-E-B-Eb- | Db (quarter note)-Bb, which is doubled two octaves higher. In Ac2 the motif is expanded with the addition of material in the middle of it, most of which is a repetition of the beginning measure of the same motif. In addition, the violin 2 and viola double at the unison the violin 1 and violoncello respectively. The motif is also preceded by a pizzicato sforzando attack of a harmonic at unison (played by the viola and the violoncello). Ac3 is composed of the middle measure of Ac2 and the resolution measure from Ac1 (or, said in a different way, it is the same as Ac1 but with an eighth note of the note A preceding it). Ac4 is a small variation with permutations of the notes in the previous appearances: C- B-Eb-F- | Db (quarter note)-Bb. Ad: Appearances Ad1 in mm15-16: 8 Ad2 in mm20-21: Ad3 in m23: Ad4 in mm60-61: 9 Ad: Description Ad1 can be seen as a succession of accented attacks of the 4th F-Bb, to which “roughness” (heterophony) is added through rhythmic displacements and the presence of notes near Bb (C y Cb). These notes nearby tend to be in more of a background (which difficults a polyphonic way of listening) because of them being played at less intensity, lasting less time and/or being played pizzicato, which makes their pitch stand out less. The rhythmic (and sometimes pitch) characteristics vary in the successive appearances, but what stays the same is that the last of Bb of the motif generates a sort of simulation of resonance, played arco on the violin 2. Ae: Appearances Ae1 in m22: Ae2 in mm24-25: 10 Ae3 in m53 (viola and violoncello are in treble clef): Ae: Description Simultaneous or almost simultaneous forte attack(s) articulated by separation, of the pitches: (pitch-class set [0,1,2,4,7,8]) The violin plays arco and always performs a double stop acciaccatura before each attack, while the other instruments play their notes pizzicato and thus stand out less. 11 Behaviors inside section B Section B of the piece is articulated with the preceding A through elision at m25 (end of Ae2). As was mentioned, it goes through a less systematic process in which different behaviors continuously overlap, not only juxtapose, and I think it can be divided in the following sections. Ba (mm25-28): This section presents a sort of three-voice polyphony. The last attack of Ae2 derives in a spiccato descending chromatic movement of (violin 1) interfered by another descending movement (violin 2), and after traveling different distances these arrive at the same time to a same place (in the first verticality of the second measure shown above). Here, the behavior is continued by the violin 2 and the viola, which always perform different motions (a sort of ascending trill in sixteenth notes in violin 2, and a continuous alternation between steps and skips of 3rd in the pentachord A4-E5 in the viola). Perceptively, these instruments are fused in a same heterophonic stratum because of their closeness in range and due to sharing the same rhythm and type of articulation. Above the violin 2 and viola the violin 1 overlaps a descending slur motif of a major 7th in the high register, which involves both arco and pizzicato, and that inevitably reminds of the ones produced by that same instrument in that same register in Ae. The third layer, which stands out less, is that of the cello, which performs an arpeggio of the pitch-class set [0,2,5,7] (Bb, Eb, Ab, Db) that could be related to the arpeggios performed in Ac. 12 Bb (mm29-35): This section could be described as a sort of micromontage of moments of heterophony (for example in the ascending lines of the fifth measure shown above, which are very similar), monophony (sometimes accompanied, as in the third measure shown) and polyphony (mainly when arco and pizzicato are overlapped, because they are perceptually very different). Bb’ (mm43-45) (viola starts in treble clef): 13 This fragment is temporally separated from the original Bb, and culminates the B section. It relates to Bb because of its textural instability and its similarity in melodic motives, in addition to it including the same ascending gesture of violin 1, violin 2 and viola (and the same continuation to the gesture in violin 1). Bc (mm36-43): 14 This can be seen as an accompanied melody (though seeing it this way implies an arguable hierarchic consideration), being the melody what the violin 1 plays and the accompaniment what the rest of the instruments play together. Inside that accompaniment there is a stratification between the cello playing arco (“almost pizz.”) and the pizzicato octaves that are interspersed by the violin 2 and the viola. 15 .
Load more

Recommended publications
  • Explorations in Double-Stops: Three New Pieces for Expanding the Role of the Double Bass in the Jazz Ensemble
    Edith Cowan University Research Online Theses : Honours Theses 2014 Explorations in double-stops: Three new pieces for expanding the role of the double bass in the jazz ensemble Ashley de Neef Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Composition Commons, and the Music Performance Commons Recommended Citation de Neef, A. (2014). Explorations in double-stops: Three new pieces for expanding the role of the double bass in the jazz ensemble. https://ro.ecu.edu.au/theses_hons/129 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/129 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Use of Thesis This copy is the property of Edith Cowan University. However the literary rights of the author must also be respected. If any passage from this thesis is quoted or closely paraphrased in a paper or written work prepared by the user, the source of the passage must be acknowledged in the work.
    [Show full text]
  • A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
    A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview
    [Show full text]
  • 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.
    [Show full text]
  • Double Stops
    Double stops When playing double stops, notice that the bow pressure should be unequally distributed between the two strings involved. Generally, the string producing the lowest pitch should be given the highest pressure. Here is why: Figure 1: Perfect fifth. The D‐ and G‐strings slip on the string 150 and 100 times, respectively. The string with the lowest pitch shows larger amplitude. The bow’s position relative to the active string length (β) is about 1/7 for both strings, counted from the bridge. Imagine the two open cello strings G2 and D3, swinging with approximately 100 and 150 Hz, respectively. Ideally, the two strings should have been bowed with two different speeds in order to produce comparable tone colors, which of course in practice is not possible. However, real life implies that the upper string has to slip back on the bow‐hair ribbon 150 times per second, while the lower string makes 100 only. If the bow is moving with a speed of 15 cm/second, each flyback on the G‐string (100 Hz) will thus be one‐and‐a‐half millimeter, while on the D‐string (150 Hz) the flyback will be one millimeter. (Frequency × Flyback distance = Bow speed.) Even if these two strings had the same wave resistance1, the G‐string will require a higher friction force than the D‐string to be pulled out to sufficient amplitude, particularly during the onset transient. In the case of playing octave, where the D‐string is stopped at the forth (G3) the raise in frequency will demand a further reduction of bow pressure, since the flyback now must be reduced to a mere 0.75 mm, i.e., the half of the flyback on the on the open G‐string (see Fig.
    [Show full text]
  • Intonation Untold
    INTONATION: WHAT YOUR TEACHER(S) NEVER TOLD YOU Michael Kimber A bright and talented graduate student, about to complete her doctoral degree in violin performance and pedagogy and headed for her first full-time college teaching position, recently asked me if I could “explain the fluidity of tuning and intonation within a string quartet... I still don't feel like I have a complete grasp of how string quartets tune different intervals within a chord based on the harmonic progressions.” The question she asked is the perfect example of how it is possible to complete an advanced degree in music performance never having been introduced to some of the basic facts of intonation! What follows is my response. Maybe it will become the beginning of a book on intonation that I have been meaning to write for decades! * * * We go through years of study using the tuning of the piano – equal temperament (ET) – as the reference for correct intonation. Some of us even use electronic tuners – ETs calibrated to ET – to check our intonation, not realizing that ET is a grid of twelve equal semitones that only approximates the true tuning of musical intervals. The 20th-century iconoclastic composer Harry Partch railed against such “ignorance” when he wrote about “the iniquitous determination of music education to withhold from students any adequate comprehension of the problems of intonation.” I’m not sure I’d characterize music educators as either iniquitous or determined – just sadly uninformed, inadequately informed, even misinformed, with regard to what constitutes the basis of good intonation. The best book I’ve ever read on the subject of intonation is Christine Heman’s Intonation auf Streichinstrumenten: melodisches und harmonisches Hören (Intonation on String Instruments: Melodic and Harmonic Hearing), published by Bärenreiter in 1964.
    [Show full text]
  • David Benedict Alan Bibey
    Class list subject to change David Benedict Waltz Warehouse (AB-I) Get started on a couple classic bluegrass waltzes and check out the measured waltz tremolo and other embellishments to make your waltz playing really dance. Geeking Out on Groove (AB-I) Listen to some sample recordings of different acoustic bands ranging from trad to modern to dissect the nuances of group rhythm and examine the roles of each instrument. Jiving On the Jigs (I-A) The deep end of the Irish jig pool: learn repertoire, build comfort and versatility with the new right hand jig picking pattern and Irish triplet techniques, and explore ideas for melodic variations on each tune. One Stop Double Stop Shop (I-A) Bluegrass double stops, locating movable shapes to play familiar melodies in a bluegrass style in various keys. Revuegrass Revival (I-A) Take a look at the progressive instrumental side of newgrass and new acoustic music, getting hip to the tunes and techniques of the great masters Bela Fleck, David Grisman, and others. Alan Bibey Getting Slippery (I) Improving slides, hammer-ons, pull-offs and position shifts with an eye towards building speed and incorporating these new ideas into songs you already play! Old Tunes, New Solos (I) Review the melodies to some popular fiddle tunes then explore some alternative break ideas for spicing up second and third solos. Enhance your knowledge of the fingerboard and get ideas for many other songs. Using my Mandolin as a Roadmap (I) Build breaks to common bluegrass songs by using double stops as your roadmap. Transpose these doublestops to different chords and you’ll be able to play a break to any bluegrass song as well as improve your breaks to songs you already know.
    [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]
  • Violin Course: Grade 7, Exercises Sherwood Music School
    Columbia College Chicago Digital Commons @ Columbia College Chicago Violin Courses Lesson Books 1939 Violin Course: Grade 7, Exercises Sherwood Music School Follow this and additional works at: http://digitalcommons.colum.edu/violin Part of the Composition Commons, Music Education Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, Music Theory Commons, Online and Distance Education Commons, Teacher Education and Professional Development Commons, and the United States History Commons Recommended Citation Sherwood Music School. "Violin Course Grade 7, Exercises" (1939). Sherwood Community Music School, College Archives & Special Collectons, Columbia College Chicago. This Book is brought to you for free and open access by the Lesson Books at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Violin Courses by an authorized administrator of Digital Commons @ Columbia College Chicago. l GZ.Sherwood C2/J{usic ~dwol ~urses VIOLIN EXERCISE 701 Double Stopping Although the bowing indications in this Exercise commonly call for one stroke to the measure, you will find it best to begin by playing only a quarter or a half of a measure in one stroke. In this way, you can play very slowly, listen intently, and make any adjustments t,hat may be nece ssary in your finger placement. At first, you should judge your work according to absolute cor­ re ct ness of intonation, purity of tone, and balance of strength between the two tones in each double stop. Fluency will develop gradually without any particular attention on your part, if you will simply wor k persistently toward these primary objectives. Limit yourself to one or two of the two-measure patter11s, for the double stop work of any prac­ tice session.
    [Show full text]
  • Georg's New Cello Method Volume 1
    Georg's Little Music Library Georg's New Cello Method Volume 1 The first position including Slurs, Staccato, Double stops Systematic step by step Cello Method * carefully measured steps * everything explained in detail * suitable as online video tutor - links shown are interactive on tablet, phone or computer * beautiful cello duos handwritten by Georg Mertens Georg's New Cello Method - Volume 1 For online video tutor click here - https://www.patreon.com/georgcello Volume 1 A Tips for how to use the Cello Method B How to Practice - Some useful Tips C Chart of Note Values 0 The open Strings on the Cello - The 2 Bow Directions 1 One, two, three, four - One (GM) 2 Minims or 1/2 Notes (GM) 3 Rain, Rain, go away (Trad.) 4 Hot Cross Buns (Trad.) 5 Accompaniment to "Twinkle, twinkle little Star" (GM) 6 Twinkle, twinkle little Star (Trad.) 7 French Folk Song (Trad.) - Counting 8 Scale in D major - Warm up 9 Tica-tica, Tuc - tuc (GM) 10 Frere Jacques (Trad.) 11 All my little Ducklings (Trad.) 12 Lightly Row - Little John (Trad.) 13 Song of Joy (Beethoven) 14 Fox Song / Song of the Wind (Trad.) 15 Bee-Baa Bootzelman (Trad.) 16 Scale in G major 17 The Notes in G major 18 Andantino (Carcassi) 19 Silent Night (Gruber) 20 Happy Birthday (Trad.) 21 Arpeggio Study (GM) 22 4 Slur Exercises (GM) 23 Arpeggio Study in Slurs (GM) 24 Quick Tune (GM) 25 Rigadoon (H. Purcell) 26 Nun ruhen alle Wälder (J.S. Bach) 27 Intonation Study (GM) 28 Scale in C major 29 Nimble Fingers (G.M.) 30 Study in C major (G.M.) 31 The Volga Song (Trad) 32 The Hippopotamus (G.M.) (continued next page) © Georg Mertens, Katoomba, Australia 2020 - www.georgcello.com Georg's New Cello Method - Volume 1 For online video tutor click here - https://www.patreon.com/georgcello Volume 1 (continued) 33 Maytime (Neidhardt) 34 Scarborough Fair (Trad) 35 Sakura, Sakura (Trad) 36 Hatikvah (Trad) 37 The Ashgrove (Trad) 38 Study in C (F.
    [Show full text]
  • A Pedagogical Guide to Suzuki Violin School, Volume 4 Using the Suzuki Method
    A Pedagogical Guide to Suzuki Violin School, Volume 4 Using the Suzuki Method A Document Submitted to the Graduate school of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music May 2012 by Yera Lee M.M., University of Cincinnati, 2005 B.M., Kyung Hee University, 2003 Committee chair: Won-Bin Yim, DMA ABSTRACT Shinichi Suzuki established a highly influential and widely used method of musical instruction known as the Suzuki Method. Developed first for the violin, but now used for a variety of instruments, his method was based on his view that every child can be highly developed if he is given the proper training and learning environment. The Suzuki Method is based on repetition and constant review, and the volumes of music and instruction demonstrate a carefully graded approach to musical instruction. Suzuki wrote extensively about his techniques, but many of those ideas do not make it themselves into the Suzuki Violin School. Volume Four of Suzuki Violin School is the beginning of intermediate study and introduces new techniques such as shifting, positioning, and vibrato. Of all the volumes in the Suzuki Violin School, it is the most problematic, because the difficulty increases substantially over that of Volume Three, both in the pieces and in the techniques introduced. This document addresses this problem, and gives a plan for overcoming these difficulties. As such it will be beneficial for the teacher and student who use the Suzuki Method. ii Copyright © 2012 by Yera Lee All Rights Reserve iii ACKNOWLEDGEMENT My sincere thanks be to the almighty God for his abundant blessings and guidance on completing this document.
    [Show full text]
  • Meet the Strings Family Teacher's Guide
    Meet the Strings Family Teacher’s Guide 1 Table of Contents Information 3 The Violin Family 4 The Instruments of the String Quartet 5 The Double Bass 6 Composers 6 The String Diagram 8 Parts of the String Instrument 9 Articulations 9 Information Handouts for Students 10 Worksheets 16 Meet the Strings Multiple Choice 17 Important String Quartet Composers 20 Vocabulary 21 String Diagram 22 Crossing Strings: Matching 23 Origins 24 Other Names: Matching 25 Activity Pages 26 Musical Mystery: Graph 27 Meet the Strings Crossword 28 Twisted Strings: Word Scramble 29 Meet the String Word Search 30 String Me Up: Connect-the-Dots 31 Mazes 32 Coloring/Handwriting Pages 35 Answer Key 46 2 3 The Violin Family The violin family is part of the larger string family, also known as the chordophones so called because they produce sound with vibrating strings. The instruments in the violin family are the violin, the viola, the cello, and the double bass. These instruments became popular in Italy during the 1600s. Some well-known string instrument makers during this period were the Guarneri, Stradivari, and Amati families in Italy. A person that makes or repairs string instruments is called a luthier (LOO- The Violin Family thee-ur). Luthier is a French word that means lute-maker. A lute is an early guitar played by strumming the strings with the fingers. The violin, viola, cello, and bass all have four strings and The Lute from make sound by causing those strings to vibrate over the hollow belly of the Disney’s Sleeping instrument.
    [Show full text]
  • Double Bass Intonation: a Systematic Approach to Solo And
    DOUBLE BASS INTONATION: A SYSTEMATIC APPROACH TO SOLO AND ENSEMBLE PLAYING BY JOHN MICHAEL PRIESTER Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University May 2015 Accepted by the faculty of the Jacobs School of Music Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. Doctoral Committee ________________________________________ Lawrence Hurst, Research Director _______________________________________ Bruce Bransby, Chairperson _______________________________________ Marianne C. Kielian-Gilbert _______________________________________ Stanley Ritchie 30 March 2015 ii Copyright ©2014 John Michael Priester iii ACKNOWLEDGEMENTS To my committee, Prof. Bruce Bransby, Prof. Lawrence Hurst, Prof. Marianne Kielian- Gilbert, Prof. Stanley Ritch, and Prof. Kurt Muroki, my deepest thanks for your mentorship and patience. Even knowing what a long, hard road this paper was to be, you let me walk it. To Prof. Hurst and Prof. Bransby, in particular, thank you for the years of wisdom, which has made me the player and teacher I am today. To my parents, thank you for all of the years of support, even if seemed like they wouldn’t end. And to my wife, Briana, for every discovery shared, every frustration soothed, and every day I was allowed to cover the dining room table with research materials, thank you. iv DOUBLE BASS INTONATION: A SYSTEMATIC APPROACH TO SOLO AND ENSEMBLE PLAYING Abstract This study uses an interdisciplinary approach to analyze double bass intonation as it occurs in a solo (i.e., without playing with any additional instruments) and ensemble contexts, develops a systematic approach to double bass intonation (subsequently referred to as “the system”), and applies that system to double bass literature to theoretically test its applicability.
    [Show full text]