32 Matching Annotations
- Sep 2023
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docdrop.org docdrop.org
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Once the breath has been released and the sound started, it may be possibleto play a succession of notes without the tongue interrupting the supply ofbreath. The result is an extremely smooth legato, and a group of notes playedthus is marked by a slur. But a legato effect can also be obtained by the use of aless explosive consonant than 't' to start the sound, such as 'd' or 'dh'. 'Legatotonguing' implies individually tongued notes but played as smoothly aspossible. Here it has to be added that tonguing techniques vary according tothe nature of the instrument. Legato tonguing, for example, is common withbrass instruments because a completely slurred legato would often beimpracticable, if not impossible.When notes are to be tongued separately but very rapidly (e.g. insemiquaver passages at fast speeds), more elaborate methods oftonguing areneeded. A succession of notes produced by the tip of the tongue - 'tttttt' etc. -would soon become tiring, so a 'k' sound produced with the back of the tongueis used in alternation: 'tktktk' etc. (double tonguing) or, in groups of three,'tkttkt' etc. (triple tonguing). Double and triple tonguing also make it possiblefor very rapid repetitions of a single note to be performed.An unusual kind of tonguing, occasionally required by 20th-centurycomposers, is created by rolling an 'r' on the tip of the tongue. This technique,known as 'flutter-tonguing', is generally indicated by the use of tremolo signs(e.g. J )and/or in words: the German Flatterzunge (abbreviated as Flzg.) isoften used. Flutter-tonguing is particularly suited to flue instruments such asthe flute, but it can be successful on others too, such as the trumpet andtrombone.
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ctually, the reed in the oboe, cor anglais,bassoon and double bassoon is made of two pieces of cane bound together: allthese are therefore 'double-reed' instruments. The clarinets and saxophones,on the other hand, are 'single-reed' instruments
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Transposing instruments are described by thenote which is sounded when Cis played
written note vs sounding note
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Transposing instruments
written note vs sounding note
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senza vibrato
vibrato = default playing method - by rocking the finger while stopping the string
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a tiny circle written0above the note at the pitch at which it will be heard
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Multiple stops
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con sordino
play with the mute
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Col legno
tap the string with the wooden part of the bow
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bowed tremolo
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Down and up bows are indicated by the signs r; and V
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from the 'heel' ofthe bow(the end which is held) to the 'point' (the far end),
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lie corde
play the note on this string (I = highest)
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sui A
play the note on this string
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portamento
slide from one note to another on the same string - indicated with a straight line between the notated notes
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Outlined melody
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The bass line
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Motifs
a motif is a repeating figure
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Regular phrases
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Melodic sequences
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Aspects of melody
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Tags
- taylor-wind-triple-tonguing
- taylor-melodic-sequences
- taylor-regular-phrases
- taylor-transposing-instruments
- taylor-strings-IIe-corde
- taylor-figures
- taylor-strings-harmonics
- taylor-outlined-melody
- taylor-real-sequences
- taylor-exact-transposition
- taylor-wind-flutter-tonguing
- taylor-woodwind-single-reed-instruments
- taylor-strings-con-sordino
- taylor-sentences
- taylor-strings-bowed-tremolo
- taylor-antecedent-consequent
- tayloer-transposing-instruments
- taylor-bass-line
- taylor-wind-tonguing
- taylor-woodwind-double-reed-instruments
- taylor-strings-bow-down
- taylor-motifs
- taylor-ch18-aspects-of-melody
- taylor-strings-col-legno
- taylor-strings-bow-up
- taylor-strings-sul-X
- source:abrsm-syllabus-6
- taylor-wind-double-tonguing
- taylor-strings-portamento
- taylor-strings-senza-vibrato
- taylor-wind-legato-tonguing
- taylor-harmonic-sequences
- taylor-strings-multiple-stops
Annotators
URL
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docdrop.org docdrop.org
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Melodic composition in more modern styles
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Theexercisesthatfollow havebeengroupedinthethreecategories already explained.Whereatransposing instrumenthasbeenrequired,thegivenopeningisprintedhereasthepartwouldbewrittenforthatinstrument;i.e.theopeningmaterialisnotatconcertpitch,butalreadyinthetransposedkey.Exercises6d,6hand6nareexamplesof thismethodwhichisdifferentfromthelayoutinMusic TheoryinPractice,Grade5,SectionI.Inwriting yourmelodiestrytoremember:1)towriteinastylethatwill suitthegivenopening;2)tokeep withinthecompassofthegiveninstrumentandtowrite idiomatically, tryingtoimaginehowthemusicwillsoundinperformance;3)toplanthestructureofyourmelody,dependingonwhatisasked(itcanbehelpfultosketchintheprincipalcadences andmodulationsbefore tryingtowrite anypartofyourcontinuation-alterationsoradjustmentscanbemadelater,ifnecessary);4)toincludenon-harmonynotes,whichwillhelpyourmelodytoflowiftheyaresuitableand well-placed;5) to consider the harmonic implications of your melodic line;6) to consider the overall shape, balance and direction of your completed melody;
Exercises are per category. Instructions are given on how to approach melody writing. This is followed by actual exercises for the student to complete.
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The third main category
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EX
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EX
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The three main categories of tonal melodic composition for the Grade 6 examination are:Examples 45 to 54d below fall into the first of these categories. Here is the opening 12-barsentence of a Bourrée movement written by Handel:VIOLIN Handel: Organ Concerto, Op.7 No.1 (Bourrée)Allegro , : 47]Bb major: IbF major: IVb vii° I iib Ib vii°b =IBb major: I IV Ic Vv vi‘Consult AB Guide, Part II, Chapter 22, for more information on instrumental writing. There are many good bookson the subject and at this stage you could not do better than to read Gordon Jacob’s Orchestral Technique (OxfordUniversity Press, available as a paperback). You should try to listen to as much music as you can while followingthe printed score. It does not matter whether the music is ‘live’ or recorded, as long as you appreciate that reading
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Melodic composition
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