Chapter_05_6e

Chapter_05_6e - Dynamics The volume (loud or soft) of sound...

Info iconThis preview shows page 1. Sign up to view the full content.

View Full Document Right Arrow Icon
This is the end of the preview. Sign up to access the rest of the document.

Unformatted text preview: Dynamics The volume (loud or soft) of sound Terms Loud: forte (f) Soft: piano (p) Growing louder: crescendo Growing softer: diminuendo Dynamics Extremes Very loud: fortissimo (ff) Very soft: pianissimo (pp) Moderate dynamics Moderately loud: mezzo forte (mf) Moderately soft: mezzo piano (mp) Suddenly loud: sforzando (sfz) Color Quality of sound produced a voice or instrument Synonymous with Timbre Aspects of Vocal Color Range Soprano Alto Tenor Bass Style of singing Opera Blues Country, etc. Individual traits: training, physical characteristics, etc. Why Do Musical Instruments Sound the Way They Do? More than one sound is produced when an instrument is sounded Fundamental: the basic sound or pitch of an instrument Overtone: faintly­heard pitches, created by fractional vibrations when a note is played on an instrument Each type of instrument manifests a distinctive pattern of overtones Instrumental Color divided in four groups Strings: sound produced by a vibrating string Woodwinds: sound produced by a column of air Brasses Air blown through buzzing lips Air focused into a mouthpiece Percussion: sound generated by striking an object High String Instruments Violin Smallest orchestral string instrument Has the highest pitch Often plays the melody Viola Slightly larger than the violin Darker, more somber tone Low String Instruments Cello Held between the legs Rich, expressive tone Double bass Largest orchestral string instrument Performer stands next to the instrument Adds weight and power to the bass line Harp A common folk instrument throughout the world Sometimes added to the orchestral ensemble Special effects Vibrato A controlled wobble in the pitch Produced by shaking the hand Adds richness to the tone Pizzicato Plucking the string A sharp attack that dies away quickly Special effects (cont.) Tremolo A musical tremor Rapidly repeating the same pitch Quick movements of the bow Musical effect Loud: tension and excitement Soft: shimmering quality Soft: shimmering quality Special effects (cont.) Trill Rapid alternation between two neighboring pitches Most instruments can play trills Mute A device placed on the strings Dampens the tone Brass instruments also use mutes Glissando Special effect for the harp Running rapidly up and down the strings High Woodwinds Flutes Air blown across a sharp edge Originally made out of wood Piccolo is a smaller flute Oboe Air is blown through a pair of reeds A nasal, slightly exotic sound Clarinet Air blown through mouthpiece with a single reed A mellow, smooth sound Low Woodwinds Bassoon Air is blown through a pair of reeds Bass of the woodwind family Saxophone Made out of metal Air blown through a mouthpiece Single reed Mouthpiece similar to the clarinet Occasionally added to the orchestra Brasses Trumpet: high brilliant sound French horn Associated with hunting and mountains Similar in range and sound to the trombone Trombone Generates sound by a moving slide Sound slightly clearer, more focused than the French horn Tuba The largest brass instrument Contributes to the foundation of the orchestral sound Percussion Instruments of definite pitch Timpani Also called kettledrums Orchestra normally includes four Xylophone: wooden bars struck by mallets Glockenspiel: metal tubes struck by mallets Celesta: hammers strike metal bars, played like a piano Percussion Instruments of indefinite pitch Snare drum Bass drum Cymbals The Symphony Orchestra The largest and most colorful ensemble Originated during the seventeenth century Early 18th century: 15­25 musicians Late 18th century: 25­80 musicians 19th century: around 100 musicians Conductor Prior to 1800 Small ensemble Led by one of the performers Keyboard player Principal first violinist After 1800 Larger ensemble More complex music Conductor needed to convey essential lines and themes ...
View Full Document

This note was uploaded on 01/10/2012 for the course MUS 1751 taught by Professor Harris during the Summer '08 term at LSU.

Ask a homework question - tutors are online