Schubert Quartet 15 (D 887), second movement You can hear on the recording the much more energetic reprise that closes the movement. In the Schubert quartet below the use fast unmeasured tremolo as fast as possible with crescendi adds dramatic excitement, whereas in the following Grieg example the tremolo supplies an icy cold shimmer (enhanced by sul ponticello bowing – see later in handout) to a ghostly reprise of the theme from the beginning of the quartet. Depending on the speed, type and volume of a tremolo, the effect can add rhythmic energy or a non-rhythmic shimmer to the texture. In both techniques the tremolo can either be measured (a specific note value such as semiquavers) or unmeasured (the notes are played as fast as possible). Bowed tremolo involves using the bow to repeat notes at a fast speed whereas fingered tremolo involves using the fingers to alternate rapidly between two notes.
6, Op.The term tremolo refers to two quite distinct techniques. Variation IV: Debussy’s Pagodes from Estampes Variation III: Bach’s Goldberg Variations ( Variation XXX) Variation II: Chopin’s Nocturne in E-flat, Op. Variation I: Beethoven’s Sonata in F minor, Op.
#Sonority music examples full#
Variazioni : Practicing Zen Orchestration Applying and expanding techniques from Part I using examples from the full gamut of the Piano Repertoire The Hand of God – Using Hammers and ChiselsĮnergy = Emotion + Form + Color Įnjoyment – The Kernel of Talent and Persuasive Performingįuga : The Music Theory behind Energy Pillars –Harmonic Dissonance/Meter/Note-value/Note-height Mimicking Masters ~ The Imitation Filters Zen, Circular Energy, and the Four Time Dimensions On Conducting and Studying the Score Away from the Piano To the Key-bottom or Beyond? – Applying Depth Vertically/Applying Depth Horizontally/Combining and Contrasting Height and Depth Vertical Phrasing –Packaging Vertical Solar Systemsįrom the Key Surface or from the Air? – Applying Height Vertically/ Applying Height Horizontally Zen Prelude and Allegro Moderato: Zen Prelude/The Path to Zen/Self and the Eternity of GesturesĬreating an Orchestral Sonority – Applying Vertical Hierarchy You're invited to add your voice to the discussion at the bottom of each post.
This is an important aspect of what lends the orchestra its multi-dimensional, surround-sound effect. No matter conductor - be it a precision wizard like Pierre Boulez or a free-spirited troubadour like Leonard Bernstein - the orchestral beat is always more spread than the pianist’s.
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A great conductor knows however how to take full advantage of a spread beat when the style allows it. A good conductor learns to bring every player and section’s peculiar speed of sound production into a homogenous beat. In the Orchestra, lower-pitched instruments tend to emit sound more slowly than higher-pitched instruments (as do Brass and Winds compared to Strings and Percussion). The next is applying what I call Vertical Hierarchy, a method of establishing orchestral dimensions at the keyboard. High sounds tend to hit the ear first, lower sounds more slowly. Knock on the sky and listen to the sound!ĭefining colors is the first step toward creating an orchestral sound. Creating an Orchestral Sonority - Applying Vertical Hierarchy
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