Chapter 6 Timbre Goals for this chapter • To understand the concept of timbre • To learn how different timbres are produced • To become familiar with the different types of voices • To meet the musical instruments and the timbres they produce • To understand how vocal and instrumental timbres are related • To recognize timbre as a basic building block of music • To understand the use of original instruments in many classical performances Music discussed in this chapter Verdi – O tello • What to Listen For: The strongly contrasting timbres of the tenor and soprano voice, and the way that Verdi uses them to draw contrasts between the characters but also to unite them Berlioz - Roméo et Juliette • What to Listen For: The rich sonority of the low female voice is highlighted by the sparse accompaniment. • What to Listen For: The use of the choir as narrator results in some unusual choral sonorities with minimal orchestral accompaniment. • What to Listen For: The full lyrical potential of the cellos is heard in this scene. Bach - Concerto in D minor • Domine Deus, rex coelestis from Bach's Mass in B minor. What to Listen For: The contrast in timbre between the soprano and tenor voices, and the ways in which they interact with the accompaniment Mozart - Symphony no. 40 • Debussy - Sonata for flute, viola and harp • Smetana- Šárka • Mozart – Partita • Bach - Quoniam tu solus sanctus • Gould - An American Salute 1
Dallapiccola - Canti di Prigonia • Wayang- Sukawati (Sulendro) • Haydn - String Quartet in B-flat major • Vandervelde - Genesis II • Stravinsky - Symphony of Psalms • Crumb - Black Angels • Sousa: The Stars and Stripes Forever! • What to Listen For: The sectional structure of the march; the famous piccolo solo, which is heard during the final statements of the alternate section • Timbre o refers to the sound quality or tone color of a musical instrument or voice. o To put it another way, the melody may change and become louder, but we can still recognize a saxophone’s mellow tone, a guitar’s buzz, or a singer’s very special voice. All of this makes timbre one of the most interesting and flexible means of musical expression. o a basic building block of music o performers can change the timbre of the sounds they produce in a wide variety of ways, both conscious and unconscious. • pitch o its highness or lowness and its volume, timbre is what is left. • What composers and performers do with timbre, or tone color, is often compared directly to the use of color by painters • Violin o the most prominent instrument in the symphony orchestra o the sound is produced by strings, and it is then reinforced by the hollow, wooden body of the instrument. o The nature of a violin string alone would create timbre o instrument is not simply an amplifier: it is a complex resonator , or sound chamber, in which the quality of the sound is further refined.
- Spring '08
- Music, Hector Berlioz, Listen Guide