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Portamento
In music, portamento (plural: ''portamenti'', from old it, portamento, meaning "carriage" or "carrying") is a pitch sliding from one note to another. The term originated from the Italian expression "''portamento della voce''" ("carriage of the voice"), denoting from the beginning of the 17th century its use in vocal performances and emulation by members of the violin family and certain wind instruments, and is sometimes used interchangeably with anticipation. It is also applied to one type of glissando on, e.g., slide trombones, as well as to the "glide" function of steel guitars and synthesizers; in the latter it is often used to add a melancholic effect to the overall melody. Vocal portamento In the first example, Rodolfo's first aria in ''La Sonnambula'' (1831), the portamento is indicated by the slur between the third and fourth notes. The second example, Judit's first line in '' Duke Bluebeard's Castle'' (1912), employs an inclining, wavy line between the fourth and f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Portamenti
In music, portamento (plural: ''portamenti'', from old it, portamento, meaning "carriage" or "carrying") is a pitch sliding from one note to another. The term originated from the Italian expression "''portamento della voce''" ("carriage of the voice"), denoting from the beginning of the 17th century its use in vocal performances and emulation by members of the violin family and certain wind instruments, and is sometimes used interchangeably with anticipation. It is also applied to one type of glissando on, e.g., slide trombones, as well as to the "glide" function of steel guitars and synthesizers; in the latter it is often used to add a melancholic effect to the overall melody. Vocal portamento In the first example, Rodolfo's first aria in ''La Sonnambula'' (1831), the portamento is indicated by the slur between the third and fourth notes. The second example, Judit's first line in '' Duke Bluebeard's Castle'' (1912), employs an inclining, wavy line between the fourth and fi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Glissando
In music, a glissando (; plural: ''glissandi'', abbreviated ''gliss.'') is a glide from one pitch to another (). It is an Italianized musical term derived from the French ''glisser'', "to glide". In some contexts, it is distinguished from the continuous portamento. Some colloquial equivalents are slide, sweep (referring to the "discrete glissando" effects on guitar and harp, respectively), bend, smear, rip (for a loud, violent gliss to the beginning of a note), lip (in jazz terminology, when executed by changing one's embouchure on a wind instrument), plop, or falling hail (a glissando on a harp using the back of the fingernails). On wind instruments, a scoop is a glissando ascending to the onset of a note achieved entirely with the embouchure. Portamento Prescriptive attempts to distinguish the glissando from the portamento by limiting the former to the filling in of discrete intermediate pitches on instruments like the piano, harp, and fretted stringed instruments have run u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Glissando
In music, a glissando (; plural: ''glissandi'', abbreviated ''gliss.'') is a glide from one pitch to another (). It is an Italianized musical term derived from the French ''glisser'', "to glide". In some contexts, it is distinguished from the continuous portamento. Some colloquial equivalents are slide, sweep (referring to the "discrete glissando" effects on guitar and harp, respectively), bend, smear, rip (for a loud, violent gliss to the beginning of a note), lip (in jazz terminology, when executed by changing one's embouchure on a wind instrument), plop, or falling hail (a glissando on a harp using the back of the fingernails). On wind instruments, a scoop is a glissando ascending to the onset of a note achieved entirely with the embouchure. Portamento Prescriptive attempts to distinguish the glissando from the portamento by limiting the former to the filling in of discrete intermediate pitches on instruments like the piano, harp, and fretted stringed instruments have run u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nonchord Tone
A nonchord tone (NCT), nonharmonic tone, or embellishing tone is a note in a piece of music or song that is not part of the implied or expressed chord set out by the harmonic framework. In contrast, a chord tone is a note that is a part of the functional chord (see: factor (chord)). Non-chord tones are most often discussed in the context of the common practice period of classical music, but they can be used in the analysis of other types of tonal music as well, such as Western popular music. Nonchord tones are often categorized as ''accented non-chord tones'' and ''unaccented non-chord tones'' depending on whether the dissonance occurs on an accented or unaccented beat (or part of a beat). Over time, some musical styles assimilated chord types outside of the common-practice style. In these chords, tones that might normally be considered nonchord tones are viewed as chord tones, such as the seventh of a minor seventh chord. For example, in 1940s-era bebop jazz, an F played with ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bel Canto
Bel canto (Italian for "beautiful singing" or "beautiful song", )—with several similar constructions (''bellezze del canto'', ''bell'arte del canto'')—is a term with several meanings that relate to Italian singing. The phrase was not associated with a "school" of singing until the middle of the 19th century, when writers in the early 1860s used it nostalgically to describe a manner of singing that had begun to wane around 1830. Nonetheless, "neither musical nor general dictionaries saw fit to attempt definition f bel cantountil after 1900". The term remains vague and ambiguous in the 21st century and is often used to evoke a lost singing tradition. History of the term and its various definitions As generally understood today, the term ''bel canto'' refers to the Italian-originated vocal style that prevailed throughout most of Europe during the 18th and early 19th centuries. Late 19th- and 20th-century sources "would lead us to believe that ''bel canto'' was restricted to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pitch Wheel
In electronic music, a pitch wheel, pitch bend or bender is a control on a synthesizer to vary the pitch in a continuously variable manner (portamento). The first synthesizer with a pitch wheel was the Minimoog, in 1970. Alternatively, pitch bend controllers on synthesizers may be implemented as a joystick, knob, or touch-sensitive ribbon. MIDI represents pitch bend as a 14-bit integer, allowing for 16,384 possible values. General MIDI implementations default to a range of ±2 semitones. See also *Glissando In music, a glissando (; plural: ''glissandi'', abbreviated ''gliss.'') is a glide from one pitch to another (). It is an Italianized musical term derived from the French ''glisser'', "to glide". In some contexts, it is distinguished from the co ... References Synthesizers Continuous pitch instruments {{electronic-musical-instrument-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Portato
Portato (; Italian past participle of ''portare'', "to carry"), also mezzo-staccato, French notes portées, in music denotes a smooth, pulsing articulation and is often notated by adding dots under slur markings. Portato is also known as articulated legato. Description Portato is a bowing technique for stringed instruments, in which successive notes are gently re-articulated while being joined under a single continuing bow stroke. It achieves a kind of pulsation or undulation, rather than separating the notes. It has been notated in various ways. One early 19th-century writer, Pierre Baillot (''L’art du violon'', Paris, 1834), gives two alternatives: a wavy line, and dots under a slur. Later in the century a third method became common: placing "legato" dashes (tenuto) under a slur. The notation with dots under slurs is ambiguous, because it is also used for very different bowings, including staccato and flying spiccato. Currently, portato is sometimes indicated in words, b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Legato
In music performance and notation, legato (; Italian for "tied together"; French ''lié''; German ''gebunden'') indicates that musical notes are played or sung smoothly and connected. That is, the player makes a transition from note to note with no intervening silence. Legato technique is required for slurred performance, but unlike slurring (as that term is interpreted for some instruments), legato does not forbid re- articulation. Standard notation indicates legato either with the word ''legato'', or by a slur (a curved line) under notes that form one legato group. Legato, like staccato, is a kind of articulation. There is an intermediate articulation called either ''mezzo staccato'' or ''non-legato'' (sometimes referred to as ''portato''). Classical string instruments In music for Classical string instruments, legato is an articulation that often refers to notes played with a full bow, and played with the shortest silence, often barely perceptible, between notes. The play ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Meend
In Hindustani music, meend (Hindi: मीण्ड, ur, ) refers to a glide from one note to another. It is an essential performance practice, and is used often in vocal and instrumental music. On the veena, sitar, sarangi and other plucked stringed instruments, it is usually done by pushing the strings across the frets to vary their effective length and tension; compare portamento and finger vibrato. This can be done on wind instruments like the bansuri by using the fingers to cover the holes in a manner that the changes between discrete pitches are imperceptible. It is considered a sort of '' alankar'', or ornament. ''Meend'' is an important part of any classical performance; however, it is a technique not possible on a hand-held harmonium often used in musical concerts (or on the santoor). For this reason, traditionalists singing khyal prefer an accompaniment on an instrument such as a sarangi The sārangī is a bowed, short-necked string instrument played in tradition ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vibrato
Vibrato (Italian language, Italian, from past participle of "wikt:vibrare, vibrare", to vibrate) is a musical effect consisting of a regular, pulsating change of pitch (music), pitch. It is used to add expression to vocal and instrumental music. Vibrato is typically characterised in terms of two factors: the amount of pitch variation ("extent of vibrato") and the speed with which the pitch is varied ("rate of vibrato"). In singing it can occur spontaneously through variations in the larynx. The vibrato of a string instrument and wind instrument is an imitation of that vocal function. Vibrato and tremolo The terms vibrato and tremolo are sometimes incorrectly used interchangeably, although (in the classical world) they are properly defined as separate effects with vibrato defined as a periodic variation in the pitch (frequency) of a musical note, and tremolo as a fast repetition of the same note (usually a semiquaver) in order to produce the audible effect of a longer note, es ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Gauldin
Robert Luther Gauldin, Jr. (born 1931) is an American composer. He is Professor Emeritus of Music Theory at the Eastman School of Music. Career Robert Gauldin was born to Robert Luther Gauldin (1905–1959) and Lula Mae Self (1905–1977). He graduated in 1949 from Vernon High School, Vernon, Texas. During his senior year, he was Vice President of the Honor Society and, as clarinetist, President of the Band. In the 1949 Vernon High School Yearbook, he was labeled "the BEBOP man." Gauldin, in 1952, earned a Bachelor of Music degree in Composition, with High Honors, from the University of North Texas College of Music. He went on to study at the Eastman School of Music where, in 1956, he earned a Master of Music degree in Music Theory, and in 1959, a PhD in Music Theory. From 1959 to 1963 he served as professor of theory at William Carey College. For the next thirty-four years – from 1963 to 1997 – he was a professor at Eastman School of Music. Compositions *''Movement for Wi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Drums
The Drums are an American indie pop band from New York City. Formation Founding members Jonathan (Jonny) Pierce and Jacob Graham became friends as children, having met at Bible camp at age 11 or 12. Some years later, they formed a short-lived electro-pop group initially named Goat Explosion, eventually renamed Elkland. They released one album, ''Golden'', in 2005 and garnered interest with the single "Apart". In 2008, Pierce and Graham came up with the concept for The Drums, and Pierce moved to Kissimmee, Florida, where Graham resided at the time, so that they could more readily collaborate. They then moved to Brooklyn, in the spring of 2009, where drummer Connor Hanwick and former Elkland guitarist Adam Kessler joined the band to complete their live sound. The band had their first gig within a week of arriving in Brooklyn at Cake Shop NYC as part of the NYC Pop Fest. In October 2009, the band released their first EP, '' Summertime!''. Career In December 2009 the band was s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
