Notes from recommended chapters in Taylor
Up to the 17th century, instructions were rarely given concerning speed, dynamics, phrasing or ariculation. The se were sometimes deduced from the character of the music. Speeds for dances were more or less agreed upon and it was usually up to the individual performer to decide. From the late 17th century onwards, composers became more and more concerned to show as precisely as possible how accurately they wished their music to be performed. From the late 17th century onwards composers became more concerned to show more precisely how they wanted their music to be performed, until we came to the early 20th century very meticulous directions were given and he freedom of performers to decide things for themselves was vastly reduced.
Metronome mark or direction in words specifies the speed. Metronome marks are sometimes written with “c” (circa) in front of the figure. Speeds can be altered for practical circumstances ie. a resonant building. Metronome marks are the clearest possible indications of tempo and must always be taken seriously. Play ing a piece much faster or slower than a given metronome mark misrepresents what a composer wants. You must be careful not to misread the note value not the figure.
Word directions concerning softness and loudness are written as abbreviations
- f forte
- mf mezzo forte (medium (half) loud)
- p piano (soft)
- mp mezzo piano (half soft)
- ff fortissimo ( very loud)
- pp pianissimo (very soft)
Performers are prone to exaggeration, f should not be “as our as possible” nor p “practically inaudible”
Dynamic marks can never be exact with reference to the volume of sound needed, they need assessing in relation to other dynamic markings run the piece and the mood as a whole.
Wording is not as precise as metronome marks. Sometimes the language of the written word is unfamiliar to the performer. Italian is the most commonly used language. Another mistake is that words may be exaggerated. Allegro for example is quick but not “very quick”. words which denote gradual changes of speed are exaggerated or distorted. Accelerando – gradually getting faster NOT suddenly. Rallentando and ritardando imply gradually slowing down not an abrupt change of speed. words sometimes change their meanings over the centuries.
Notation can occur at changes of time signature. Metronome marks can indicate changes. A fermata symbol indicates a pause. The pause is a discretion but can be exaggerated but if a composer wants a long pause he generally uses “lungs pausa” GP is general pause and is only used when a group of players is involved – it warns that all are silent at the same time.
Rhythmic freedom for the performer is given by “rubato” (robbed) ie tempo rubato. This can be interpreted in two ways.
- The underlying pulse of the music as a whole becomes slightly flexible.
- The accompaniment remains in strict time but melody is flexible. This is a technique which jazz soloists, playing or singing with some freedom against a strict time backing have made familiar. This was not made in the 20th century, Mozart and Chopin, used essentially the same technique in playing the piano, when they accompanied am expressive “singing” melody in the right hand with a left hand in strict time.
Accentuation can be shown using appropriate signs, above, or below a note or. word. Accent marks must be used in context. Gradual changes of dynamic level can be shown by words or signs. Signs can be better to show where dynamic changes end. Hairpins have a clear beginning and end. Use your own intuition when using words or signs for clarity of expression. Gradual changes of dynamic level can be qualified by words like poco a poco (little by little) and molto (much). It is important to use these as carefully and evenly as possible.
Word directions are often given to describe mood or character of the music. The words used all have implications concerning, tempo, dynamics and phrasing.
When composers use “phrasing marks” hey usually show a good deal more than where prases begin and end. They are more concerned to indicate in detail how notes within a phrase are to be “performed “. Whether they are to be separated from each other, whether they are to be played smoothly in groups of two or more etc.
The only circumstance in which an articulation mark also coincides with a complete phrase (could be called a phrase mark), is when a slur stretches from the first note of the phrase to the last.
In performance, the end of a slur implies a slight shortening of its last note with a brief silence before the next note. Slurs are not to be confused with a tie.
The staccato dot shortens the note and is positioned above or below the note head or near the appropriate stem where necessary in a written piece.
The opposite of staccato may be shown by the word tenuto (ten). Any notes to which this applies are to be held for their full value and not shortened in any way. A horizontal dash above or below a note may also indicate tenuto (the dash is called a Tenuto Mark)
Exended slurs are sometimes superimposed over groups of notes which are already articulated by subsidiary slurs/staccato dots or other separation signs and also rests. A superimposed slur shows that the notes within it still belong to each other as a group, in spite of the small breaks in sound between some of them.
Counterpoint and Dissonance
Counterpoint derives from the Latin contra punctum “against note”- the unique ability of music to say two things at once and remain completely comprehensible. First used in the 14th century accompanied by a system of strict rules. Strict counterpoint can be challenging.
Dissonance is tension. Resolution of dissonance is a craft.
These have a 5 line stave. Timpani uses bass clef and the others have treble clef unless passages are easier to read where low register passages are required (few ledger line).
The xylophone is not resonant, and timpani have a v very limited resonance. Notes for both instruments can be sustained by using a tremolo. The trill for timpani is in effect the same as for untuned instruments, however the trill for all other tuned percussion is an alternation of two neighbouring notes. The tremolo on all tuned instruments is the alternation of any two notes, however far apart.
Project 11: Inventing free Counterpoint
I wasn’t really sure what to do with the two pieces that I had to work with so I just got on with it. Here are the pieces using Example 47
Now to compose two pieces using whatever instruments I wish. This I feel has been a little bit of a disaster but I am currently behind schedule and feel rather pushed so I am just doing what I feel is right for now and then I can come back and remake and reshape if I or my tutor feels that this is an option at this point.
I thought I would use the flute and I do like the sound of the bells so I added that and mirror imaged the notes to see what effect it had on the piece. I then added a little tambourine for some colour, I am not sure if the tambourine works but for now I ma leaving it there.
My second piece involves Orchestral Bells and some flute. I made the bells my main melody and then added a flute to complement. Again I can re evaluate these and make something better by the time they are submitted for official assessment.
Project 12 – Two-part inventions
Imitation, inversion, augmentation and diminution are useful tools to master. The se allow you to be extremely economical in composition, whilst creating a sense of cohesion and relevance between all the components of the piece and over the piece as a whole. These types of exchange between the participants in contrapuntal conversations can be especially effective.
Imitation -can be exact (as in the canons), but here is more useful to be very freely representative of the main “motif” or short theme.
Inversion – also can be an exact undertaking, but soonn becomes an obsessive academic science. M ore useful as a compositional device when free.
Augmentation and diminution – are simply doubling or halving notes values of the motif whether the right way up of inverted – and also freely.
Bach’s Fugues – Please go to Listening Log
The two compositions using counterpoint and all of its devices are shown in the next two pieces. I hope that I have done this correctly.
The first piece is written in A minor for some interest and I used the flute and the glockenspiel. I do like the glockenspiel very much and felt that it went nicely at this time.
The next piece is a little shorter, I am not sure that this works as well and maybe it needs rewriting at some point. Again I have gone for some orchestral bells and for a change a saxophone.