Page 83 - Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani / The Journal of Music Education of the Academy of Music in Ljubljana, leto 7, zvezek 16 / Year 7, Issue 16, 2011
P. 83
a Biffio, NEW EXTENSIONS OF THE BEAUTIFUL CELLO TONE
Figure 3: Bbes3 – transition to ALF
(Biffio 2009)
The Bbes3 was played in the 4th fingering position on the D-string. The
resulting ALF extreme bow pressure was almost a Bbes2.
Maierhof’s cello solo splitting 14 (2003-05) on ALF starts with a long F5.
That is why this tone was of special interest for me. I made frequency analyses
and observed the playing conditions.
As indicated in the third line of his score, Maierhof demands jumps into three
levels of ALF. To my surprise, he estimates a dynamic range from forte to piano,
indicated in the first line.
Figure 4: Undertones of different levels
(Maierhof: 2003-2005: 2)
83
Figure 3: Bbes3 – transition to ALF
(Biffio 2009)
The Bbes3 was played in the 4th fingering position on the D-string. The
resulting ALF extreme bow pressure was almost a Bbes2.
Maierhof’s cello solo splitting 14 (2003-05) on ALF starts with a long F5.
That is why this tone was of special interest for me. I made frequency analyses
and observed the playing conditions.
As indicated in the third line of his score, Maierhof demands jumps into three
levels of ALF. To my surprise, he estimates a dynamic range from forte to piano,
indicated in the first line.
Figure 4: Undertones of different levels
(Maierhof: 2003-2005: 2)
83
