sul ponticello


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Related to sul ponticello: sul tasto

sul ponticello

with the bow close to the bridge
References in periodicals archive ?
Varen from Grieg's Two Elegiac Melodies contained just the right glow of nostalgia, the sad poignancy of the violins' sul ponticello phrases subtly understated but never undersold.
The Diversos emphasised its theatricality and rejoiced in its busy use of string techniques such as sul ponticello, harmonics and pizzicato.
At the same time, this approach gave a welcome humanizing dimension to the Quartet's more experimental elements (its numerous sections of glissandi, sul ponticello bowings, and so forth).
69--in realta si tratterebbe della locuzione sul ponticello) e includere invece bombardo?
Here, on the model of Liszt, Foerster casts the form of the sonata cycle into a single continuous work, employs unusual harmony full of chromaticism and surprises us with a dramatic section enhanced by tremolo or the use of sul ponticello. of all his quartet works this one is the most engaging for its overall structure and musical charge, and what is more it is written in a distinctly more modern way and perhaps deserves the renewed attention both of quartet ensembles and concert organisers.
A studious tracking of motives distinguished the Sarabande, while the cellist offered a fresh angle during each repeated section of the Bouree, using a touch of sul ponticello, or bowing near the bridge, to bring out harmonics.
Sul Ponticello, see Directory of Open Access Journals announcement in this section.
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.
Certain mannerisms recurred - icy harmonics, juddering sul ponticello tremolandi - but more striking was the way the small form intensified each composer's individuality.
Slavicky makes good use of fast movement in the lower registers played sul ponticello, while Z.
Biscardi achieves this effect by writing simultaneously sounded unison pitches on different frets and strings for both guitars with contrasting timbres of sul ponticello or natural and artificial harmonics sounded against normally played notes.
The sharply delineated characterization of the earlier work is also found at the beginning of Symbiosis, however, where contrasts in performance technique articulate the differences; the violin plays sul ponticello while the double bass emphasizes harmonics and glissandos.