For essays of the first ilk, Austin cites several sources to explain a term used in voice studios, such as aspirato, martellato
, and lutte vocale in both its historical and modern context.
1 was, as they say, something else - invigorating, often abrasive, always moving forward and, apart from the tortured lyricism of its slow movement, underpinned by terrific rhythmic drive and humour, which the first-movement instruction 'Detache et martellato
e sehr lebhaft und swing it man' encapsulated perfectly.
Accessibility Accessibility is broadly defined as the potential for interactions between locations in space (Martellato
and Nijkamp, 1998).
(48) Original: "Faccia, zig zag anatomico che oscura / La passione torva di una vecchia luna / Che guarda sospesa al soffitto / In una taverna cafe chantant d'America: la rossa velocita / Di luci funambola che tanga /Spagnola cinerina /Isterica in tango di luci si disfa: / Che guarda nel cafe chantant / D'America: / Sul piano martellato
tre / Fiammelle rosse si sono accese da se" (58).
The youngster with wimpy tone who suddenly pounds marcato martellato
! The player with "spaghetti fingers" who finally firms them up but then locks the arm.
Yet, despite offering advice about realizing Schoenberg's graduated accentual patterns and, specifically, the difference between marcato and martellato
There were three types of special short notes: pizzicato, spiccato, and martellato
. Of these, there were five types of pizzicato (regular, snap, stopped with finger, stopped with nail) and four types of martellato
(as noted in the preface to the score).(6) Finally, there were four special timbres: harmonics, sul tasto, sul ponticello, and col legno.
Austin, "You say marcato, I say martellato
," Journal of Singing 61, no.
3); to increasingly folk-inspired, atmospheric pieces such as the Improvisations (1920); to mid-career works such as his Piano Sonata and Out of Doors (1926), featuring the percussive, martellato
style for which he has been unfairly stereotyped; to the crystalline Third Piano Concerto, written in the last months of Iris life (1945), a work that "achieves a true classical simplicity" (p.
Part Two, "Ringing Basics," has eight sections: basic grip, basic ring, basic damp (stopping the casting from vibrating), weaving and learning to shift your weight from side to side, special effects--stopped techniques: plucking, thumb damp, martellato
, ring touch, mallets; nonstopped techniques: shake, toll (swing), vibrating, gyro or shimmer bell tree; bass bell ringing, multiple bell techniques and hand chimes.