Scordatura on stringed instruments has been used for centuries and alternative guitar tunings had been used for decades in blues music, and to a limited degree in rock music ( such as with Lou Reed's Ostrich guitar on " The Velvet Underground & Nico " ).
42.
Bashir's virtuosity of picking can easily be understood, when he shows his ability to apply the abovementioned scordatura, with its string pairs tuned in octaves, in an improvisation in the fast 10 / 8 metre, without the immense stopping problems of this method becoming hearable.
43.
Walshe's work has been performed all over the world by ensembles such as Alter Ego, ensemble recherche, Ensemble Resonanz, Apartment House, ensemble Int�grales, Neue Vocalsolisten Stuttgart, Stuttgarter Kammerorchester, Schlagquartett K�ln, Crash Ensemble, Con Tempo Quartet, Trio Scordatura, Cork.
44.
Six of the partitas require scordatura tunings, including those for viola and two violas d'amore; Biber utilises the full potential of the technique, including all possibilities for complex polyphony : some of the pieces are in five parts, with both of the melodic instruments carrying two.
45.
The technique of scordatura ( alternative tuning used for the open strings ) is applied to the violin parts of all suites, but, unlike contemporary composers such as Heinrich Ignaz Biber, Pachelbel used it sparingly, not to produce special effects but to teach the amateur performers ( for whom the work was probably intended ) the basics of this technique.
46.
The scoring is generally heavy, and Bart�k employs many colorful techniques here, including chromatic scales, roll on the gong; rolled timpani " glissandi "; string harmonics; " col legno " and " sul ponticello " playing in the strings; " scordatura " in the cellos; and, at one point, quarter-tones in the violins.
47.
Apel gives a facsimile of the tablature in " The Notation of Polyphonic Music " that includes Neusidler's scordatura instructions, but he interprets " die Obrer quint saitten mu?man dem t gleich ziehen " ( with the " fifth " string being the chanterelle and " t " the lowest drone ) as requiring the tuning G-d-d-a-d-' f '.
48.
Ernest Bloch, a Swiss-born American composer best known for his compositions inspired by Jewish music, wrote two famous works for viola, the " Suite 1919 " and the " Suite hebra�que " for solo viola and orchestra . cello concerto Tertis transcribed for viola, with the slow movement in scordatura ), Alexander Glazunov ( who wrote an " Elegy ", Op . 44, for viola and piano ), and Maurice Ravel all promised concertos for viola, yet all three died before doing any substantial work on them.
49.
The harmonic relationships in his music are based on these spectra and on the phenomena of fundamental; this is an example of what Rdulescu referred to as " self-generating functions " in his music, as partials 21 and 22 give in sum 43 and in difference 1, the fundamental . ( On a C fundamental, partials 21, 22 and 43 are all different, microtonally distinct kinds of F, the 21st partial being 29 cents lower than tempered F, partial 22 being 51 cents higher and partial 43 12 cents higher . ) Much of his music for strings makes use of a " spectral scordatura ", where the open strings are retuned, often to simulations of the partials of a single harmonic spectrum.
50.
As well as playing on violin and Hardanger fiddle, Caoimh�n ?Raghallaigh plays an instrument made by Norwegian luthier Salve Hakedal, a fiddle with five bowed strings and five sympathetic strings, a cross between a Hardanger fiddle and a five string violin or viola d'amore which he calls a Hardanger d'Amore . ( first made for American Hardanger fiddle player Dan Trueman, and commissioned by Caoimh�n with the head and tailpiece of Salve Hakedal's Viola d Amore model ) . ?Raghallaigh uses crosstunings or scordatura ( common in Norwegian and old-time American fiddling ), and uses baroque and transitional bows made by Michel Jamonneau . ?Raghallaigh also used to play a Viola Pellegrina Pomposa by American luthier David Rivinus, a highly asymmetrical five-string viola.
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