martellato


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martellato

(ˌmɑːtəˈlɑːtəʊ) or

martellando

n
(Classical Music) (in string playing) the practice of bowing the string with a succession of short sharp blows
[Italian: hammered]
References in periodicals archive ?
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.
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).
Yet, despite offering advice about realizing Schoenberg's graduated accentual patterns and, specifically, the difference between marcato and martellato accents (pp.
Sin embargo lo importante aqui no es esa construccion; ese nuevo rostro de esta fusion de lo oscuro-quieto y lo melodico-saltarin esta dado por una peculiar indicacion: dry o sec, que para efectos practicos nos indica un martellato o un staccatto.
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).
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.
Voice training of the period included specific study of the different types of articulation: portamento, legato, martellato, and staccato.
Textures run the gamut from two-voice counterpoint to martellato alternating-hands virtuosity, from large chords and octaves to quietly flowing, lyrically melodic passages.
The martellato is produced by a movement of the diaphragm for each note, without discontinuing the sound; the aspirated vocalization, on the contrary, by the expulsion of a small particle of air, the vocal chink being momentarily opened to an infinitesimal extent, so as to allow the non-sounding air to pass; in a word, by a short h, the well-known spiritus asper, which forms the required attack for a new note, and necessitates a short interruption.