On Apr 26, 2005, at 10:42 AM, Andrew Stiller wrote:
On Apr 25, 2005, at 4:30 PM, Christopher Smith wrote:
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
At 3:37 PM -0700 4/25/05, Lee Actor wrote:
As a violinist, my initial instinct was that there is little
difference between muted and non-muted pizzicato. After seeing
several replies to the contrary, I pulled out the old fiddle and did
a real world test. Knowing enough not to trust the sound r
At 6:31 PM -0400 4/25/05, Darcy James Argue wrote:
Hi Chuck,
The pizz notes are in the lower range for all of the strings --
everyone in the bottom octave of their instrument except the first
violins, who go up to Bb1.
However, looking at the passage again -- since the pizz. notes are
part of a
On Apr 25, 2005, at 4:30 PM, Christopher Smith wrote:
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 met
> From: Darcy James Argue <[EMAIL PROTECTED]>
>
> The pizz notes are in the lower range for all of the strings --
> everyone in the bottom octave of their instrument except the first
> violins, who go up to Bb1.
>
> However, looking at the passage again -- since the pizz. notes are part
> of a qu
As a violinist, my
initial instinct was that there is little difference between muted and non-muted
pizzicato. After seeing several replies to the contrary, I pulled out the
old fiddle and did a real world test. Knowing enough not to trust the
sound right under my ear, I asked my wife (a v
Hi Chuck,
The pizz notes are in the lower range for all of the strings --
everyone in the bottom octave of their instrument except the first
violins, who go up to Bb1.
However, looking at the passage again -- since the pizz. notes are part
of a quasi-tutti section involving a number of winds an
On Apr 25, 2005, at 4:56 PM, Darcy James Argue wrote:
On 25 Apr 2005, at 4:30 PM, Christopher Smith wrote:
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 th
Hi Darcy,
If the pizz. passage in question is short, I'd go ahead and risk it. I don't really agree that the mutes will dampen the sound so much that the passage will be compromised, unless really high notes (short string lengths) will be involved. What is the register in the various string sect
At 4:01 PM -0400 4/25/05, 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 m
On 25 Apr 2005, at 4:30 PM, Christopher Smith wrote:
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 ha
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 t
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?
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
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