On Apr 25, 2005, at 4:01 PM, Darcy James Argue wrote:
Hey all,
I have a question about muted pizzicato in an orchestral string section. I'm curious how much the mutes actually dampen the pizz. sound, and how much impact they have on the actual timbre. Do any examples from the literature leap to mind?
What a coincidence. I just had an extended conversation with a violinist about mutes this weekend. Apparently there is quite a bit of importance attached to what the mute is made out of (most orchestra mutes in our area are hard rubber, but I heard wood and metal (!) mutes as well) and where it is attached (over the low strings, the high strings, or in the middle) and how far it is pushed down (farther dampens more.) Attaching it over the high strings was quite striking for high passages (over the staff) where it was remarkably velvety. That seems to be something that a conductor would have to ask for specifically, though, as it is considered to be fussy in the extreme.
He said that muted pizz is rarely used on purpose, (except when there is a pizz note or two in the middle of a muted section where it is too clumsy to get the mute off) because it reduces the pizz sound to a woody clunk. Apparently the high harmonics are essential to a good pizz sound, and the mute deadens them too much.
I didn't get a chance to hear this in operation, however. Is there any possibility of you being able to experiment?
Christopher
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