Page 92 - 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. 92
SBENO-PEDAGOŠKI ZBORNIK, 16. zvezek
vicino al ponte to ordinario, the fingers of the left effect a trill with loose fingers.
The poco glissando of the left hand is accompanied by an enhancement of bow
pressure, resulting in extreme pressure. His instruction to let as many harmonics
as possible pass, charaterizes the whole multiphonic passage.
The exercises, I delevoped for multiphonics on cello:
– indicate an explicit orientation to the string nodes for the left hand
– train the sensitivity for fingering pressure
– train the ability and the sensitivity for bowing on the nodes, which is less
developed among cellists
– train the sensitivity for small changes in bow force and bow bridge distance
– tend to develop a spontaneous connection between inner hearing of partials
and small playing adjustments
– are open for surprises out of the “universe of partials”
– help to build up multiphonics by adding partials one by one
The enhancement in the tromba marina technique, which is also less common
among cellists, does not only help to free the oscillation of harmonics. It also
allows special effects such as soft rattling tones and others.
Multiphonics on the cello belong to the sphere of fragile tones which stimulate
the inner hearing of both the cellist and the listenar.
Upside down
New playing techniques with obvious changes in material, such as
2-bows-techniques and the curved bow, certainly give an important visual effect
to the audience, too. And radical changes of the tonal material, such as produced
by scordatura tuning, turn listening expectations upside down.
2-bows-techniques
Diverse concepts of vertical playing will be shown on an instrument, which is
mostly associated with melodic or horizontal playing.
2 bows/1 hand
Showing the latest developments in playing with two bows would have been
impossible without referring to Frances-Marie Uitti’s achievements, even though
she has already thoroughly documented them herself. Besides the fact that the
innovations in playing techniques that she initiated in the 1970s have led to many
outstanding compositions, her inventions have triggered other ones and have
stimulated discussions and compositions of young composers, which emphasized
interesting aspects of the 2-bows-technique.
92
vicino al ponte to ordinario, the fingers of the left effect a trill with loose fingers.
The poco glissando of the left hand is accompanied by an enhancement of bow
pressure, resulting in extreme pressure. His instruction to let as many harmonics
as possible pass, charaterizes the whole multiphonic passage.
The exercises, I delevoped for multiphonics on cello:
– indicate an explicit orientation to the string nodes for the left hand
– train the sensitivity for fingering pressure
– train the ability and the sensitivity for bowing on the nodes, which is less
developed among cellists
– train the sensitivity for small changes in bow force and bow bridge distance
– tend to develop a spontaneous connection between inner hearing of partials
and small playing adjustments
– are open for surprises out of the “universe of partials”
– help to build up multiphonics by adding partials one by one
The enhancement in the tromba marina technique, which is also less common
among cellists, does not only help to free the oscillation of harmonics. It also
allows special effects such as soft rattling tones and others.
Multiphonics on the cello belong to the sphere of fragile tones which stimulate
the inner hearing of both the cellist and the listenar.
Upside down
New playing techniques with obvious changes in material, such as
2-bows-techniques and the curved bow, certainly give an important visual effect
to the audience, too. And radical changes of the tonal material, such as produced
by scordatura tuning, turn listening expectations upside down.
2-bows-techniques
Diverse concepts of vertical playing will be shown on an instrument, which is
mostly associated with melodic or horizontal playing.
2 bows/1 hand
Showing the latest developments in playing with two bows would have been
impossible without referring to Frances-Marie Uitti’s achievements, even though
she has already thoroughly documented them herself. Besides the fact that the
innovations in playing techniques that she initiated in the 1970s have led to many
outstanding compositions, her inventions have triggered other ones and have
stimulated discussions and compositions of young composers, which emphasized
interesting aspects of the 2-bows-technique.
92
