DOCSLIB.ORG

Content Breakdown

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Content Breakdown CONTENT BREAKDOWN Extended Technique Textures (Clean Engine) 3 String Chamber Ensemble Sections (6 NKIs, 30 Snapshots) I Violins ­ Textures 1 4 Players (Articulations: Sul Pont, Sul Tasto, Scrapes, Sul Pont Spiccato, Sul Pont Grace Minor, Sul Pont Grace Major) I Violins ­ Textures 2 4 Players (Articulations: Vibrato Pulses, Butterfly Tremolo, Octave Pulses, Vibrato Waves, Droplets, Wavers, Shudders, Overtones) II Violas ­ Textures 1 4 Players (Articulations: Sul Pont, Sul Tasto, Scrapes, Sul Pont Tremolo, Sul Pont Spiccato, Sul Pont Grace Minor, Sul Pont Grace Major) II Violas ­ Textures 2 4 Players (Articulations: Vibrato Pulses, Butterfly Tremolo, Octave Pulses, Vibrato Waves, Droplets, Wavers, Shudders, Overtones) III Celli ­ Textures 1 3 Players (Articulations: Sul Pont, Sul Tasto, Scrapes, Sul Pont Tremolo, Sul Pont Spiccato, Sul Pont Grace Minor) III Celli ­ Textures 2 3 Players (Articulations: Vibrato Pulses, Butterfly Tremolo, Octave Pulses, Vibrato Waves, Droplets, Wavers, Shudders, Overtones) Evolved Content (Texture Designer Engine) 3 Browser Based Sound Categories (1 NKI, 161 Snapshots) Violin (68 Sources) Vn Sul Pont (Mix, Close, Room, and Hall) Vn Sul Tasto (Mix, Close, Room, and Hall) Vn Scrapes (Mix, Close, Room, and Hall) Vn Sul Pont Spiccato (Mix, Close, Room, and Hall) Vn Sul Pont Spiccato Round Robin (Mix, Close, Room, and Hall) Vn Sul Pont Grace Minor (Mix, Close, Room, and Hall) Vn Sul Pont Grace Minor Round Robin (Mix, Close, Room, and Hall) Vn Sul Pont Grace Major (Mix, Close, Room, and Hall) Vn Sul Pont Grace Major Round Robin (Mix, Close, Room, and Hall) Vn Vibrato Pulses (Mix, Close, Room, and Hall) Vn Butterfly (Mix, Close, Room, and Hall) Vn Octave Pulses (Mix, Close, Room, and Hall) Vn Vibrato Waves (Mix, Close, Room, and Hall) Vn Droplets (Mix, Close, Room, and Hall) Vn Wavers (Mix, Close, Room, and Hall) Vn Shudders (Mix, Close, Room, and Hall) Vn Overtones (Mix, Close, Room, and Hall) Viola (72 Sources) Va Sul Pont (Mix, Close, Room, and Hall) Va Sul Tasto (Mix, Close, Room, and Hall) Va Scrapes (Mix, Close, Room, and Hall) Va Sul Pont Tremolo (Mix, Close, Room, and Hall) Va Sul Pont Spiccato (Mix, Close, Room, and Hall) Va Sul Pont Spiccato Round Robin (Mix, Close, Room, and Hall) Va Sul Pont Grace Minor (Mix, Close, Room, and Hall) Va Sul Pont Grace Minor Round Robin (Mix, Close, Room, and Hall) Va Sul Pont Grace Major (Mix, Close, Room, and Hall) Va Sul Pont Grace Major Round Robin (Mix, Close, Room, and Hall) Va Vibrato Pulses (Mix, Close, Room, and Hall) Viola (cont.) Va Butterfly (Mix, Close, Room, and Hall) Va Octave Pulses (Mix, Close, Room, and Hall) Va Vibrato Waves (Mix, Close, Room, and Hall) Va Droplets (Mix, Close, Room, and Hall) Va Wavers (Mix, Close, Room, and Hall) Va Shudders (Mix, Close, Room, and Hall) Va Overtones (Mix, Close, Room, and Hall) Cello (64 Sources) Vc Sul Pont (Mix, Close, Room, and Hall) Vc Sul Tasto (Mix, Close, Room, and Hall) Vc Scrapes (Mix, Close, Room, and Hall) Vc Sul Pont Tremolo (Mix, Close, Room, and Hall) Vc Sul Pont Spiccato (Mix, Close, Room, and Hall) Vc Sul Pont Spiccato Round Robin (Mix, Close, Room, and Hall) Vc Sul Pont Grace Minor (Mix, Close, Room, and Hall) Vc Sul Pont Grace Minor Round Robin (Mix, Close, Room, and Hall) Vc Vibrato Pulses (Mix, Close, Room, and Hall) Vc Butterfly (Mix, Close, Room, and Hall) Vc Octave Pulses (Mix, Close, Room, and Hall) Vc Vibrato Waves (Mix, Close, Room, and Hall) Vc Droplets (Mix, Close, Room, and Hall) Vc Wavers (Mix, Close, Room, and Hall) Vc Shudders (Mix, Close, Room, and Hall) Vc Overtones (Mix, Close, Room, and Hall) .
Load more

Recommended publications
  • Violino Gianantonio Viero, Violoncello A.Vivaldi Concerto in La Min
    2010 Con il Contributo Ente Copromotore Regione Liguria Provincia della Spezia Assessorato alla Cultura Sponsor principale Enti patrocinatori Comune di Carro Si ringrazia Regione Liguria Signor Angelo Berlangieri Assessore alla Cultura Sport Spettacolo, Signor Daniele Biello Provincia della Spezia Signor Marino Fiasella Presidente, Signora Pa- ola Sisti Assessore alla Cultura, Signora Elisabetta Pieroni Comune della Spezia Signor Massimo Federici Sindaco, Comune di Carro Signor Antonio Solari Sindaco Comune di Beverino Signor Andrea Costa Sindaco, Comune di Bo- nassola Signor Andrea Poletti Sindaco, Signor Giampiero Raso Assessore alla Cultura, Comune di Rocchetta Vara Signor Riccardo Barotti Sindaco, Comune di Santo Stefano di Magra Signor Juri Mazzanti Sindaco, Comune di Sesta Godano Signor Giovanni Lucchetti Morlani Sindaco, Co- mune di Varese Ligure Signora Michela Marcone Sindaco, Signor Adriano Pietronave, Signora Maria Cristina De Paoli Istituzione per i servizi Culturali del Comune della Spezia Signora Cinzia Aloisini CAMeC Signor Giacomo Borrotti Teatro Civico Signora Patrizia Zanzucchi, Signor Luigi Lu- petti Camera di Commercio Industria Agricoltura e Arti- gianato della Spezia Signor Aldo Sammartano Presidente, Pro Loco Niccolò Paganini di Carro Signor Giuseppe Garau Presidente, Signora Teresa Paganini Associazione Amici del Festival Paganiano di Carro Sig.ra Monica Amari Staglieno Presidente Associazione Amici di Paganini Signor Enrico Volpato Presidente Questa pubblicazione è stata curata da Andrea Barizza l’omaggio Festival Paganiniano di Carro 2010 Convegno giovedì 15 luglio La Spezia ore 21.00 Teatro Civico I Solisti veneti diretti da 4 Claudio Scimone Programma Il virtuosismo strumentale da Vivaldi a Paganini Festival Paganiniano di Carro 2010 Convegno Programma A.Vivaldi Dall’Opera Terza L’Estro Armonico Concerto n.11 in Re min.
    [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]
  • Lavoce: Our Voice All and Winter Made Their Marks on More Than Fa Few Instruments This Year
    OF CLAIRE GIVENS VIOLINS, INC. SPRING 1999 LaVoce: our voice all and winter made their marks on more than Fa few instruments this year. Fluctuating climat- ic conditions in the fall followed by the sudden onslaught of winter and a stint of exceedingly dry air brought many customers to our shop to have a wide variety of concerns addressed, from troublesome e- strings to serious cracks. Caring for string instruments requires attention and dedication on the part of play- ers.Taking preventative measures and paying atten- tion to any changes in your instrument’s sound are crucial (poor sound quality can indicate open bouts and cracks).The two key climatic threats to string instruments are temperature and humidity. Keep humidity levels at 50% (35% at the least) in the room in which your instrument is regularly stored and played. If you use ‘Dampits,’check and dampen them regularly. Do not leave instruments near heating vents, radiators or in direct sunlight.Allow instru- ments to adjust gradually to temperature changes when transported from one location to another. Xue-Chang Sun, Andrew Dipper, Claire Givens and Mr. Ni in Quilted case covers such as those made by Cushy and front of Beijing workshop on a sunny day in October 1998 Cavallaro, which we sell, add a valuable layer of insu- lation and serve well not only during cold months, Claire and Andrew visited three workshops, each but during hot summer months as well.Take care! dealing with a different level of instrument, and each overseen by one of three master makers who have won international
    [Show full text]
  • 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]
  • Part 3- a Sequential Approach to Etudes
    Part Three: A Sequential Approach to Etudes by Robert Jesselson The first two parts of this series discussed the benefits of employing an organized and sequential approach for teaching the intermediate string player. With this method the string teacher can create a solid technical and musical foundation for the student, and avoid skipping over important information that will be required for his/her future growth. Part One explored the complex set of skills, knowledge and experiences that a developing string player needs to acquire in order to become a competent musician and creative artist. Part Two of this series discussed the use of organized exercises to address specific aspects of the technique. These exercises, along with the ubiquitous scales and arpeggios that musicians need to master, are the basic building blocks of technique. Etudes then expand on the micro-technique of the exercises. They begin to put the technical pieces together into musical shapes, and should be approached both technically and musically. The current article will explore the importance of providing a good sequence of etudes in order to solidify the technique and facilitate the learning of literature. The repertoire of cello etudes is large and varied, with many excellent studies from which to choose. Besides Duport, Dotzauer, Lee, Popper, Franchomme, Piatti, and Servais, we have etudes by Gruetzmacher, Kummer, Klengel, Merk as well as contemporary etudes by Minsky and others. There are also collections of etudes compiled by pedagogues such as Alwin Schroeder. Although I use individual etudes by all of these composers to address specific issues, I prefer to use a succession of complete etude books in order to immerse the students in a specific technical and stylistic approach by one composer at a time.
    [Show full text]
  • Artikelverzeichnis
    Artikelverzeichnis A B Aa, Michel van der Bacewicz, Grazyna˙ Abaco, Evaristo Felice Dall’ Bach-Bogen Abel, Jenny Bach, Carl Philipp Emanuel Abstrich, Aufstrich Bach, Johann Sebastian Accardo, Salvatore Badings, Henk Herman Accolaÿ, Jean-Baptiste Baillot, Pierre (Marie François de Sales) Accordatura Balestrieri, Tommaso Achron, Joseph Baltzar, Thomas Adams, John (Coolidge) Banks, Benjamin Adern Einlagen Bariolage Akkordspiel Barockvioline Alard, Jean-Delphin Barthélémon, François-Hippolyte Alban, Matthias Bartók, Béla (Viktor János) Albicastro, Henrico Bartók-Pizzicato Albinoni, Tomaso Giovanni Baryton Amati (Famile) Bass, Bassgeige Amoyal, Pierre Bassani, Giovanni Battista Antoniazzi (Familie) Bassbalken Antonii, Pietro degli Bassett Halbbass Applicatura, Applikatur Basso continuo Arányi, Jelly d’ Batiashvili, Lisa archet Bauch arco Bax, Arnold (Edward Trevor) arco normale Bazzini, Antonio Arditti, Irvine Bearbeitung Arpeggio, arpeggiando Bebung Arpeggione Beethoven, Ludwig van Arrangement Bearbeitung Bell, Joshua (David) Artesono-Violine Benda, Franz Artikulation Bennewitz, Antonín Asmussen, Svend Bereifung ASTA Berg, Alban (Maria Johannes) au chevalet sul ponticello Bergonzi (Familie) Auer, Leopold (von) Berio, Luciano Aufführungspraxis Bériot, Charles-Auguste de Aufstrich Abstrich Berlioz (Louis) Hector Aulin, Tor (Bernhard Vilhelm) Bernardel (Familie) AUSTA Bertolotti, Gasparo Gasparo da Salò Ayo, Félix Berwald, Franz (Adolf) Betts, John Edward 18 Artikelverzeichnis Beyer, Amandine Carter, Elliott (Cook) Bezug Cartier, Jean-Baptiste
    [Show full text]
  • Catgut Acoustical Society Journal
    http://oac.cdlib.org/findaid/ark:/13030/c8gt5p1r Online items available Guide to the Catgut Acoustical Society Newsletter and Journal MUS.1000 Music Library Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-1212 [email protected] © 2013 The Board of Trustees of Stanford University. All rights reserved. Guide to the Catgut Acoustical MUS.1000 1 Society Newsletter and Journal MUS.1000 Descriptive Summary Title: Catgut Acoustical Society Journal: An International Publication Devoted to Research in the Theory, Design, Construction, and History of Stringed Instruments and to Related Areas of Acoustical Study. Dates: 1964-2004 Collection number: MUS.1000 Collection size: 50 journals Repository: Stanford Music Library, Stanford University Libraries, Stanford, California 94305-3076 Language of Material: English Access Access to articles where copyright permission has not been granted may be consulted in the Stanford University Libraries under call number ML1 .C359. Copyright permissions Stanford University Libraries has made every attempt to locate and receive permission to digitize and make the articles available on this website from the copyright holders of articles in the Catgut Newsletter and Journal. It was not possible to locate all of the copyright holders for all articles. If you believe that you hold copyright to an article on this web site and do not wish for it to appear here, please write to [email protected]. Sponsor Note This electronic journal was produced with generous financial support from the CAS Forum and the Violin Society of America. Journal History and Description The Catgut Acoustical Society grew out of the research collaboration of Carleen Hutchins, Frederick Saunders, John Schelleng, and Robert Fryxell, all amateur string players who were also interested in the acoustics of the violin and string instruments in the late 1950s and early 1960s.
    [Show full text]
  • Manuale Di Diritto Dei Beni Comuni Urbani
    Manuale di diritto dei beni comuni urbani beni diritto dei di comuni Manuale Rocco Alessio Albanese Elisa Michelazzo Oltre duecento città italiane, dal 2014 a oggi, hanno adottato Regolamenti per la cura e la gestione condivisa dei beni comuni Manuale di diritto urbani, avviando esperienze che hanno valorizzato in modo innovativo il patrimonio comunale e posto le basi per inedite forme di collaborazione tra pubbliche amministrazioni dei beni comuni urbani e cittadini. Il volume analizza e spiega le norme di questi Regolamenti con l’obiettivo di offrire a cittadini, associazioni e amministratori proposte interpretative e soluzioni pratiche utili a sperimentare il “diritto dei beni comuni urbani”. In particolare, sono presentati alcuni istituti innovativi come l’uso civico e collettivo, la fondazione e il Community Land Trust. L’opera è frutto della ricerca condotta presso il Dipartimento di Giurisprudenza dell’Università di Torino e coordinata dal professore Ugo Mattei, nell’ambito del progetto Co-city, finanziato dal programma europeo Urban Innovative Actions. Il volume è introdotto da Alessandra Quarta e contiene due saggi di Ugo Mattei e di Roberto Cavallo Perin. € 19,00 manuale_beni_comuni_copertina.indd Tutte le pagine 04/02/20 17:04 Rocco Alessio Albanese ha conseguito il dottorato di ricerca in Scienze Giuridiche presso l'Università di Pisa nel 2016. Dal 2017, è assegnista di ricerca presso il Dipartimento di Giurisprudenza dell'Università di Torino. Ha fatto parte del gruppo di ricerca giuridica del progetto Co-City e attualmente, collabora con il gruppo di ricerca del progetto CO3 finanziato dal programma europeo Horizon 2020. Elisa Michelazzo è avvocato in Torino.
    [Show full text]
  • Study Guide for Exam 1 the Exam Will Include Short Answer Questions and a Short Scoring Exercise
    MUS417 — ORCHESTRATION Study Guide for Exam 1 The exam will include short answer questions and a short scoring exercise. ___________________________ INSTRUMENTS For each instrument (violin, viola, violoncello, contrabass, harp), know the following: Range Open strings (and qualities/tone color of each) or order of pedals (harp) Names in English, French, German, and Italian Parts of Instrument (tailpiece, bridge, etc.) Parts of Bow (tip, frog, etc.) Clefs used Physical limitations ___________________________ TECHNIQUES / TERMS Know in all languages mentioned and how to notate the following: Arco Détaché Legato (slur to notate) Louré Staccato Slurred staccato Marcato Spiccato Saltando / Spontaneous Spiccato Slurred Spiccato Ricochet / Jeté Arpeggiando Trills Tremolo (measured, unmeasured, bowed, fingered) Sul Tasto Sul Ponticello Col Legno Battuto Col Legno Tratto Pizzicato Left-Hand Pizzicato Snap/Fingernail/Bartók Pizzicato Con Sordino / Senza Sordino Scordatura Extended Techniques (be able to name a few) Chordophones Divisi Non Divisi Tutti Solo/Soli Gli Altri Sul ___ Upbow Downbow Portamento Glissando Vibrato Non Vibrato C extension Scratch tone / overpressure Ordinario (Ord.) or Normale (Norm.) Harp specific… Près de la table (guitar effect) Xylophone effect Pedal glissando Pedal diagram (be able to read/write one) Damping (muffling) l.v. = laissez vibrer (let ring) harp harmonics (sound octave above written/played) ___________________________ CONCEPTS Multiple Stops (will it work?) Natural and Artificial Harmonics (Name sounding pitch given notation and vice versa) 6 great things about strings (pg.7–8) Chord voicing/construction (pg. 143-144) Controlling fore-, middle-, background material MUS417/571.2 Orchestration Exam 1 Study Guide 2 .
    [Show full text]
  • Journal of the American Viola Society Volume 15 No. 3, 1999
    JOURNAL ofthe AMERICAN ViOLA SOCIETY Section of THE INTERNATIONAL VIOLA SOCIETY Association for the Promotion ofViola Performance and Research Vol. 15 No. 3 FEATURES 15 Professor Emil Seiler: In Memoriam ByKaiKopp 29 The Athletic Musician: A Review By Ralph Fielding and joan C. Firra 33 Orchestral Training Forum By Robert Vernon 43 Living Rhythm: Just Do It! By Heidi Castleman OFFICERS Peter Slowik President Proftssor of Viola Oberlin College Conservatory 13411 Compass Point Strongsville, OH 44136 peter.slowik@oberlin. edu William Preucil Vice President 317 Windsor Dr. Iowa City, !A 52245 Catherine Forbes Secretary 1128 Woodland Dr. Arlington, TX 76012 Ellen Rose Treasurer 2807 Lawtherwood Pl. Dallas, TX 75214 Thomas Tatton Past President 7511 Parkwoods Dr. Stockton, CA 95207 BOARD Victoria Chiang Donna Lively Clark Paul Coletti Ralph Fielding Pamela Goldsmith Lisa Hirschmugl john Graham ]erzy Kosmala Jeffrey Irvine Karen Ritscher Christin Rutledge Pamela Ryan juliet White-Smith EDITOR, JAYS Kathryn Steely Baylor University Waco, TX 76798 PAST PRESIDENTS Myron Rosenblum (1971-1981) Maurice W Riley (1981-1986) David Dalton (1986-1990) Alan de Veritch (1990-1994) HONORARY PRESIDENT William Primrose (deceased) ~ Section ofthe Jnternationale Viola-Gesellschaft The journal ofthe American Viola Society is a peer-reviewed publication of that organization and is produced at Brigham Young University. ©1999, American Viola Society ISSN 0898-5987 ]AVS welcomes letters and articles from its readers. Editor: Kathryn Steely Assistant Editor for Viola Pedagogy: Jeffrey Irvine Assistant Editor for Interviews: Thomas Tatton Production: Quinn Warnick Linda Hunter Adams Advertising: Jeanette Anderson Editorial Office and Advertising Office: Kathryn Steely School of Music Baylor University P.O.
    [Show full text]
  • Teaching and Learning Spiccato in Three Stages Dijana Ihas Orchestra Chair
    Teaching and Learning Spiccato in Three Stages Dijana Ihas Orchestra Chair Lie on the foor. Feel your shoulder blades resting on the foor. THe sound produced by a spiccato bow stroke is one of tHe most Any superfuous tension in the head neck and shoulder blade unique articulations tHat bowed string instruments can project. will become noticeable. Feel your lower back touching the foor THis is a sHort and crisp, yet resonant articulation usually used in and your hips completely free. faster passages of music composed by composers beginning in Place you right elbow on a piano or stand. Enjoy not needing to tHe Classical era. THe word spiccato is derived from an Italian verb hold up your arm. Move your forearm freely. side of tHe bow stick octagon tHat is closest to tHe player tHat means “to separate” or “witH Humor.” Its “liveliness” comes (on violin and viola) and tHe rigHt Hand pointer sHould Eventually you need to integrate all these new kinesthetic feelings from tHe energy tHat occurs wHen tHe bow bounces in “drop” into a sensation for the whole body. Find an image or a couple of be wrapped around the bow stick in its frst knuckle one and “lift” cyclical movements. Marked witH a dot above or below closest to the tip of the fnger. words that help you recalling that feeling when you play. Doing tHe note Head (like staccato), or sometimes simply denoted by this ultimately helps us to free our movements, feel physically tHe word spiccato written below tHe passage, spiccato presents • The instrument (violin and viola) needs to be as parallel better, and channel all of our energy into producing a beautiful itself in tHree variations: (a) ligHt spiccato tHat is played rigHt at to the foor or ground as possible because that will sound, allowing nothing to interfere with the music.
    [Show full text]
  • Leah Elizabeth Dutton
    Universidade Federal da Paraíba Centro de Comunicação, Turismo e Artes Programa de Pós-Graduação em Música Os Sete Ricercari de Domenico Gabrielli e suas aplicações no ensino do violoncelo Leah Elizabeth Dutton João Pessoa – PB Agosto/2017 Universidade Federal da Paraíba Centro de Comunicação, Turismo e Artes Programa de Pós-Graduação em Música Os Sete Ricercari de Domenico Gabrielli e suas aplicações no ensino do violoncelo Projeto de pesquisa apresentado ao Programa de Pós- Graduação em Música da Universidade Federal da Paraíba – UFPB – como requisito parcial para a realização de dissertação do Mestrado em Música, área de Violoncelo Leah Elizabeth Dutton Orientador: Felipe José Avellar de Aquino João Pessoa – PB Agosto/2017 Agradecimentos Ao Professor Felipe Avellar de Aquino, cuja paciência, conhecimento e direção cuidadosa me deram a oportunidade de produzir uma dissertação escrita em língua estrangeira. Este projeto tem sido um trabalho de enorme dimensão, e sou imensamente grata por sua assistência dedicada a cada passo. Ao meu noivo, Thiago; obrigado por me apoiar completamente em cada passo do meu ajuste com a língua e a cultura brasileira, além de responder pacientemente todas as minhas perguntas gramaticais e ortográficas nos últimos meses. Obrigado por sua bondade, seu encorajamento e senso de humor diante de todos os obstáculos. Eu aprendo com você todos os dias, e mal posso esperar para continuar crescendo com você pelo resto de nossas vidas. Aos meus pais, agradeço seu apoio constante a milhares de quilômetros de distância. É somente por causa da perseverança e determinação que aprendi com vocês que consegui superar todos os desafios que encontrei nos últimos três anos.
    [Show full text]