-Or- Dylan Messina - PDF document

-Or- Dylan Messina 1 Table of Contents 1. Harmonicsƒ ArtificialŽ or falseŽ harmonics Harmonic trills Bowing beyond the bridge Bowing the tailpiece Two-handed bowing Bowing on string wrapping UgubuŽ or point-tapŽ effect Bowing underneath the bridge Scratch tone Two-bow technique 3. Col Legno............................................................................................................21 Col legno battuto Col legno tratto 4. Pizzicato...............................................................................................................22 Quasi chitarra Beyond bridge 5. Percussion Body percussion 6. Scordatura 2 Part II. Documentation Bibliographyƒƒƒƒƒƒƒƒƒƒƒƒƒƒƒƒƒƒƒƒƒ..29 3 Introduction My intent in creating thcomposers of today with a pragmatic guide to writing oad spectrum of sonic possibility, yet must be approached in a different way than other string inst Throughout the history of the cello, many resources regarding the core on those sources. Divers resources are also available regarding the cellos role in lly traditional sensibility. The techniques discussed in this booke common practice, and usually not involved within the elemental pizzicato, sul ponticellocol legnobeen used as early as the mid-17re introduced in the mid-expectations and compositional diversity exploded; in particular, the virtuosity of cellists Mstislav Rostropovich and Siegfriecomposers to write for the instrument in wa. Throughout this remarkably transmuting century, the musical viability of extended techniques t as gestures of expression in and of themselves, rather cessories of core technique. The turn of the 20the knowledge and resources of such musicathere are grounds for an ncomitant of this imaginative age is the increasing necessity of a coeval guidebook. It new resource, in hopes that it may hepplicability in contemporary idioms. 4 Part I. Techniques 5 I. Techniques with harmonics A. ArtificialŽ or falseŽ harmonics the physical background behind these harmonis not as difficult as it might seem. As with natural harmonics,the string (hence artificialŽ): desired series with either the first fingerthe size of the players hand) essentially repositioning the nut, and lightly touching a naturally occurring series. A point, line, or surface of a vibrating body or system that is free or relatively free from vibratory motion; a point at which a wave has an amplitude of zeroŽ. Random House Websters Unabridged Dictionary, ed., s.v. node.Ž 6 Common artificial harmonic fingerings and their resulting pitches are as follows: Fundamental Sounding Pitch Above Fundamental (A). Perfect 5 (B.) Perfect 4Two Octaves (C.) Major 3rd Two octaves and a Major 3rd (D.) Minor 3 (E.) Major 2nd Three Octaves 1.2 1.3 7 Other fingering configurations are possibmost reliable and An interesting effect can be created ularly good example of this technique can be found in (example 1.5). Double artificial harmonics are much more difficult to execute than parallel fifths such as the ones in this work better in high registers: onics can be combined with Artificial harmonics are versatile; they are capable of any bowing ctively extend the cellos upper register such that it is comparable to the violins. A famous passage from Saint-Saëns first Despite their strengths, these harmonforte; because of their mechvery agile passages; also, they somewhat mo 8 1.5 Seven Tunes Heard in China by Bright Sheng) 9 1.6 (From Cello Concerto No. 1 by Camille Saint-Saëns) 10 C. Harmonic trills Harmonics are capable of interacting of interesting ways. One such effect is the harmonic …stopped trill, achieved by same finger position: Here, the thumb or 1urth finger resting remains firmly pressed agaieffect results in a rapid e harmonic and the stopped pitch, and d changes depending on the register in g more audible in higher registers, and less so in lower registers. When writing trill should always be orie finger remains down the whole time; writing a trill inis required to leave the a clumsy execution: IV 1.8 11 Another technique in this family is The resulting sound can be wildly differewill result in a sound similar to that of the harmonic-stopped trill; ordinary playing position will produce a sound closbetween two very high harmonics, the proximity to the bridge. Like a regular bow stroke played different degrees of proximity to the bridge magnify different harmonics,harmonics lying closest to the brid It is possible to control the bows posiresulting pitches to a degree, but a virtuosic amount of control and agility in this 12 regard is not impractical. Passages utilizing specific bow contact points will be more effective is color, rather than There are a few interesting effects that can be achieved by mixing harmonics and glissandi. One common techharmonic glissandoŽ, is to execute a glisl harmonic series. A number of early effect, most famously Stravinsky in the und. N.B., the individual t fingered, they are the resue harmonic series. This stylmonicŽ qualification indicated above it. Artificial harmonics can also be combic position and keeping the harmonic-smooth glissando analogous to the normal kind is possible, while maintaining the register and timbre of the harmonic. 13 Also possible is a hybrid of this technique and the glissando, found in The execution of this technique is the same as the artificial harmonic, where toward and away from the stopped fundamental, in the process gliding over different nodes and producing different harmonics. Another frequently used technique is the so-called seagullŽ glissando. This by George Crumb in , is executed by a high register of the fingerboard, and which closely resembles the original harmonic pitch slides down a back up to the original pitcfurther. 14 More on harmonics the aforementioned abilities and writing passages using these keep in mind when writing with these techharmonics are easier to prod Takemitsu Toru and George Crumb are highly recommended. A good source for guidanbackground. 15 2. Extended bowing techniques A. Ricochet , occasionally called either once, or multiple times. This loud. The speed and number of resulting ough specification in these parameters should be judicious. The technique of bowing beyond the brshriek-like at higher dynamics. The pitch of the four strings is essentially fixed, and effect, one can fingerŽ this 2.1 Fr., reboundŽ. Websters New World French Dictionary Fr., thrownŽ. Ibid., 16 C.Bowing the tailpiece As strange as it may seem, even the tastring) can be bowed. A soft, hum-like pitch will emerge if strong and steady bow mber of physical details. e, and its dynamic range is st used for sustained passages: 2.2 D. Two-handed bowing Certain situations may arise (usuallyadvantageous; for example, when an instud pressure is required for scratch tones apter); or when the composer desires a very loud tone across multiple strings while bowing beyoe bow is simply held at the well as limiting the amount of technique, see Helmut Lachenmanns Pression 17 E. Bowing on string wrapping Bowing directly on a strings wrapping with produce a harsh, jarring sound. slow, sustained passages, as it does not have an especially clear articulation. A Transpositio: 2.3 F.  UgubuŽ (point-tap) effect This rarely-used effect involves usinstring where it crosses the bridge; this results in a brightbow must be dropped from a significant height to achieve the effect audibly. The capabilities of bowing underneathinations. It is only by using this 2.4 In the execution of this technique, the bow grip is turned completely upside-down; a certain amount of time is required to make this switch efficiently. Also, the 18 composer can expect a decrease in the amou Some composers, such as Vinko Gl This technique, championed by Kaija Saariaho, is realized by using heavy simultaneously bright and dark. Also, threndering it almost unidentifiable as very long periods of time; it is best utilized in medium-length passages, and is more A common method of notating this soto the intended degree of distortion: 2.5 I. Two-bow technique The two-bow technique is an impressive innovation by American cellist us use of two bows This technique effectively allows the cee possible with each bow, and any combination of the strings ca This particular technique is very obscure outside of a small number of circles, and exists in the repertory of exceedingly few cellists. The composer ought says of Frances-Marie Uitti, and examine the works commissioned for heGyörgy Kurtág (ex . 2.5 19 20 3. Col legno A. Col legno battuto This technique, from Italian meaninpercussive click with only a slightly detectible pitch. ic figures with somewhat less precision is limited to a maximum dynamic of about may be combined with , and can be executed at any place along the Col legno arcocol legno tratto, combination of ; i.e., the bow-stick is either rotated to such a This technique can produce a raspy, ques mentioned above. The combination cially in crescendi. 21 4. Pizzicato BartokŽ or SnapŽ pizzicato The BartokŽ pizzicato, named after thffect in Bartoks In both cases, the strings tension cag and very percussive effect. Depending may be preserved (A) or almost totally eliminated (B). This type ecuted at louder dynamics, The BartokŽ pizzicato is usua 4.1 B. Dead pizzicato A dead pizzicato is simply a normal pizzicato where the fizzicato, however, is audible. 22 C. Thumb-stopped left-hand pizzicato The thumb-stopped pizzicato is not socts are made possible. In this meanwhile able to move, creating an eastern-n be found in Crumbs Pizzicato can be rapidly articulateis example from Shengs This type of tremolo is very clear, with ternatively pluck a string. This method (used in the Crumb example) produces 23 E. Fingernail pizzicato Fingernail pizzicati are results in a very bright, This type of pizzicato is especially effect pizzicato is significantly re quasi chitarra) refers mimicking the playing style ofws pizzicato chords to be articulated much more quickly than us direction. Some arpeggiation must be expe This technique is the pizzicato analogue to technique 2A, This type of pizzicato produces a tense sound with little resonance, and sounds th 24 5. Percussion A. Left-hand only, or FingerschlagŽ: left-hand only, ctly as if it were a keyboard; this produces two pitches (footnote explainierboard. The louder this temore its pitch will be audible; this technidepending on the desired effect; using two The construction of the cello body makes it a prime environment for percussive effects (i.e. tapping, rubbing, etc.) the body s, timbres, and a sound it will produce when struck, . The sides of the ceen tapped, while the bridge produces a very dull and round attack with a small degrusually makes a dark and resonant sound,percussion, i.e. the finger, knuckle, include the rhythmic examples, such as last movement of Seven Tunes, Tibetan Sequenza XIV Ger., agglutinative compound from Finger (Finger), and schlag (strike, or blow): “Finger-strike”, or to tap with the finger. The Oxford-Duden German Dictionary ed., s.vv. “f, and “schlag” 25 5.1 (In this example, xŽ noteheads represent tapping the body of the cello) 26 C. Friction rub: The friction rub is a teheads. To execute a friction rub, the player presses their fingerthe instrument and, while maintaining steady pressure, pushes it sound, the register of which depends on th 27 6. Scordatura Scordatura refers to an alteration ofresponse of the instrument. Adjustments result in a brighter sound, less resor result in a darker sound, longer The strings each have a particular possibilities. It is dangerous to request high, as the string may be damaged or snap; if a string is tuned too low, it will become slack and will can be tuned down is much wider; it is For a theatrical effect, the tuning peg can be used while playing to create in some works of Alfred Schnittke (albeit It is also possible to use for multiple strings One technique that has gained popularibegin with, and then altering those pitcSuah (two D strings, also requires two Dark Ages (two C strings). The composer should notetuning during a work, it is not feasible to request a change of stringing; if such a ll have to use multiple instruments (such as in Luigi Nonos four C strings.) 28 II. Documentation Bibliography Bosanquet, R. Caroline. The Secret Life of Cello Strings Music, 1996 Hawkes Company, 1995. Crumb, George. Dutilleux, Henri. 3 Strophes sur le nom de SACHER Name SACHER) Inc., 1977. (Technology of Violoncello Playing). Kassel, Ger.: Bärenreiter-Verlag, 2006 Chant contre raisonHuber, Klaus. Transpositio ad InfinitumKagel, Mauricio. drei spieler. London: Universal Edition Ltd., Kodály, Zoltán. Ligatura-Message to Frances-Marie (The answered unanswered question) Härtel, 1969. Ramifications 29 Messiaen, Olivier. Quatuor Pour La Fin Du Temps (Quartet for the End of . Paris: Éditions Durand, 1942 minor op. 33 Hamburg: Musikverlag Hans Sikorski, 2002. Seven Tunes Heard in China 107. New York: Internatio Companion to the Cello ed., Chicago: University of Chicago Press, 2003. 30