Bariolage (original) (raw)
Il termine bariolage (che in francese significa screziatura) indica un insieme di effetti ottenuti sugli strumenti ad arco alternando in vario modo corde vuote e corde premute. Il termine risale al XIX secolo, e viene usato da Pierre Baillot ne L'art du violon (1834) in riferimento alle diteggiature indicate dal compositore nel trio del quartetto op. 64 n. 4 di Franz Joseph Haydn. Il termine solitamente indica l'alternanza di una stessa nota su due corde, una premuta e una vuota, creando così un effetto di contrasto, sia con singole arcate sia in legature più lunghe.
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| dbo:abstract | Mit der Streichinstrumenttechnik Bariolage ist ein schneller Wechsel zwischen einer gleichbleibenden Note und sich ändernden Noten, die eine Melodie entweder über oder unter der gleichbleibenden Note formen, gemeint. Diese Technik wird häufig in der Barockmusik verwendet, wo die gleichbleibende Note üblicherweise eine Leersaite ist. Dies hat das Ziel, ein Maximum an Resonanz im Instrument zu erreichen. Der untere Ausschnitt, geschrieben für Violine, enthält Bariolage im zweiten Takt. In diesem Beispiel wird ein A (Leersaite auf der Violine) als gleichbleibende Note und ein F und ein E als sich ändernde Noten verwendet. Ein sehr bekanntes Beispiel für Bariolage ist Bachs Präludium der E-Dur Partita für Solovioline, in der sogar drei Saiten involviert sind (eine Leersaite und zwei gegriffene Saiten). Andere Beispiele sind der dritte Satz vom Sommer aus den Vier Jahreszeiten von Antonio Vivaldi oder das Präludium der ersten Cellosuite von Bach, in denen Bariolage auch teilweise vorkommt. Bariolage kann allerdings auch bedeuten, dass die gleiche Note, normalerweise eine Leersaite, gegriffen auf der nächsttieferen Saite gespielt wird. Joseph Haydn hat diesen Effekt in dem Menuett seiner 28. Sinfonie benutzt und auch im Finale seines Streichquartetts op. 50 Nr. 6. Der schnelle Wechsel zwischen der Leersaite und der gegriffenen Note mit gleicher Tonhöhe, aber anderer Tonfarbe gibt dem Quartett seinen Spitznamen „Der Frosch“. (de) The bowed string instrument musical technique bariolage (French for '"multi-colored"' or, since the word is a noun rather than an adjective, "odd mixture of colours", from the verb barioler, "to streak with several colors") involves "the alternation of notes on adjacent strings, one of which is usually open", exploiting "the individual timbre of the various strings." This may involve quick alternation between a static note and changing notes that form a melody either above or below the static note. The static note is usually an open string note, which creates a highly resonant sound. "Bariolage" is a nineteenth-century term for an eighteenth-century violin technique (requiring flexibility in the wrist and forearm), the mechanics of which are not discussed by nineteenth-century writers. The usual bowing technique required, which also may be used separately from bariolage, is called ondulé in French or ondeggiando In Italian. However, it may also be executed with separate bow strokes. In bluegrass fiddling the technique is known as "cross-fingering". Perhaps looking back on what he considered an earlier, less advanced time, one pedagogue explains that The name bariolage is given to the kind of passage which presents the appearance of disorder and oddness, in that the notes are not played in succession on the same string where one would expect this or when the notes e2, a1, d1, are played not on the same string but alternately with one stopped finger and the open string, or else finally when the open string is played in a position where a stopped note would normally be required. — Pierre Baillot, L'art du violon (1834) Joseph Haydn used this effect in the minuet of his Symphony No. 28, in the finale of the "Farewell" Symphony, No. 45, and throughout the finale of his String Quartet Op. 50, No. 6. The "croaking" or "gurgling" unison bariolage passages on D and A gives this quartet its nickname of The Frog. In the following example, from a violin sonata by Handel, the second measure is to be played with bariolage. The repeated A is played on the open A string, alternating with Fs and Es fingered on the adjacent D string. The notes on the D string (E and F natural) would be fingered as normal (first finger and low second), but the fingerings given above the second measure would be [2040 1040 2040 1040], indicating the switch (bariolage) from open A string to the stopped fourth finger on the D string, also playing the note A. Another well-known example of bariolage is in Bach's Preludio to the E major Partita No. 3 for solo violin, where three strings are involved in the maneuver (one open string and two fingered notes). In the nineteenth century, notable examples of its use are found in Brahms's works. Brahms used this device in the String Sextet in G Major (where it occurs at the very beginning in the viola) and in the Third Violin Sonata, Op. 108. (en) El bariolage es una técnica de instrumentos musicales dotados de arco que supone una rápida alternancia entre una nota estática y una que cambia, creando una melodía por encima o por debajo de la nota estática. Esta técnica suele aparecer en la música del barroco para violín, donde la nota estática suele ser una nota de cuerda al aire. El bariolage con la cuerda al aire crea un sonido muy resonante. En el siguiente ejemplo, fragmento de una sonata para violín de Handel, el segundo compás se toca con bariolage. El la que se repite se toca en la cuerda al aire la, alternando con fas y mis tocados digitando en la cuerda re. Otro ejemplo bien conocido es en el Preludio de la Partita n.º 3 en mi mayor para violín solo de Bach, en la cual tres cuerdas intervienen en la maniobra (una cuerda al aire y dos notas digitadas). (es) Il termine bariolage (che in francese significa screziatura) indica un insieme di effetti ottenuti sugli strumenti ad arco alternando in vario modo corde vuote e corde premute. Il termine risale al XIX secolo, e viene usato da Pierre Baillot ne L'art du violon (1834) in riferimento alle diteggiature indicate dal compositore nel trio del quartetto op. 64 n. 4 di Franz Joseph Haydn. Il termine solitamente indica l'alternanza di una stessa nota su due corde, una premuta e una vuota, creando così un effetto di contrasto, sia con singole arcate sia in legature più lunghe. (it) Bariolage is een specifieke speeltechniek uit het vioolspel, waarbij een snelle afwisseling van tonen op diverse snaren plaatsvindt. Doorgaans wordt het begrip gebruikt wanneer de hoge tonen op de lage snaar gespeeld worden en de lage tonen op de hoge snaar, maar andersom komt ook voor. Het woord stamt af van het Latijnse variolagium hetgeen 'afwisseling' betekent. Door deze speeltechniek is het mogelijk de klankkleur van de te spelen tonen te veranderen. Het vereist veel oefening om deze virtuoze techniek te beheersen. Componisten als Pablo de Sarasate en Niccolo Paganini schreven in hun composities deze techniek veelvuldig voor, maar ook in eerdere muziek (bijvoorbeeld werken uit de barokmuziek) wordt al gebruik van de techniek gemaakt. Vaak treedt bariolage op wanneer 1 toon gelijk blijft (bijvoorbeeld een open snaar) terwijl de andere toon afwisselt. (nl) |
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| rdfs:comment | Il termine bariolage (che in francese significa screziatura) indica un insieme di effetti ottenuti sugli strumenti ad arco alternando in vario modo corde vuote e corde premute. Il termine risale al XIX secolo, e viene usato da Pierre Baillot ne L'art du violon (1834) in riferimento alle diteggiature indicate dal compositore nel trio del quartetto op. 64 n. 4 di Franz Joseph Haydn. Il termine solitamente indica l'alternanza di una stessa nota su due corde, una premuta e una vuota, creando così un effetto di contrasto, sia con singole arcate sia in legature più lunghe. (it) Mit der Streichinstrumenttechnik Bariolage ist ein schneller Wechsel zwischen einer gleichbleibenden Note und sich ändernden Noten, die eine Melodie entweder über oder unter der gleichbleibenden Note formen, gemeint. Diese Technik wird häufig in der Barockmusik verwendet, wo die gleichbleibende Note üblicherweise eine Leersaite ist. Dies hat das Ziel, ein Maximum an Resonanz im Instrument zu erreichen. (de) The bowed string instrument musical technique bariolage (French for '"multi-colored"' or, since the word is a noun rather than an adjective, "odd mixture of colours", from the verb barioler, "to streak with several colors") involves "the alternation of notes on adjacent strings, one of which is usually open", exploiting "the individual timbre of the various strings." This may involve quick alternation between a static note and changing notes that form a melody either above or below the static note. The static note is usually an open string note, which creates a highly resonant sound. "Bariolage" is a nineteenth-century term for an eighteenth-century violin technique (requiring flexibility in the wrist and forearm), the mechanics of which are not discussed by nineteenth-century writers. The (en) El bariolage es una técnica de instrumentos musicales dotados de arco que supone una rápida alternancia entre una nota estática y una que cambia, creando una melodía por encima o por debajo de la nota estática. Esta técnica suele aparecer en la música del barroco para violín, donde la nota estática suele ser una nota de cuerda al aire. El bariolage con la cuerda al aire crea un sonido muy resonante. Otro ejemplo bien conocido es en el Preludio de la Partita n.º 3 en mi mayor para violín solo de Bach, en la cual tres cuerdas intervienen en la maniobra (una cuerda al aire y dos notas digitadas). (es) Bariolage is een specifieke speeltechniek uit het vioolspel, waarbij een snelle afwisseling van tonen op diverse snaren plaatsvindt. Doorgaans wordt het begrip gebruikt wanneer de hoge tonen op de lage snaar gespeeld worden en de lage tonen op de hoge snaar, maar andersom komt ook voor. Vaak treedt bariolage op wanneer 1 toon gelijk blijft (bijvoorbeeld een open snaar) terwijl de andere toon afwisselt. (nl) |
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