Transcript BERIO SEQUENZA XIVb

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SEQUENZA ITALIANA
BERIO
SEQUENZA XIVb
AUSTRALIAN CHAMBER
ORCHESTRA
One of the world’s most lauded
chamber ensembles, the Australian
Chamber Orchestra is renowned for
its inspired programming and
unrivalled virtuosity, energy and
individuality.
Its unique programming
extends across six centuries,
spanning popular masterworks,
adventurous cross-artform
projects and pieces specially
commissioned for the
ensemble.
SEE THE
ACO IN
ACTION
Outstanding Australian
violinist Richard Tognetti has
been at the helm of the ACO
since 1989.
Italian composer known for his
experimental music particularly
in the latter half of the 20th
century.
His virtuoso solo works for
various instruments, known as
the ‘Sequenzas’, were “written
for performers whose
virtuosity is above all a
virtuosity of knowledge”.
These works challenge the best of
musicians often calling for a
mastery of both percussive
sounds on traditionally orchestral
melody instruments as well as
modern extended techniques
explored in many 20th & 21st
century art pieces.
It is piece like this that focus
on the importance or score
interpretation when
preparing for a
performance.
ABOUT
LUCIANO
BERIO
SEQUENZA XIVb
Is the final work in a long series of
pieces composed by Berio
throughout much of his career.
Each of the pieces seeks to explore
the breadth of possibilities on the
instrument for which it was
written.
Extended techniques that
challenge both the physical
capabilities or the instrument and
the player are integral to the work.
Sequenza XIV was the last work
technically composed by Berio in
2002 while the adaptation XIVb for
double bass was completed by
Stefano Scodanibbio in 2004 after
Berio’s death in 2003.
AURAL/ MUSICOLOGY
Each sequence of Lessons
provided by the ACO will
focus on developing key
skills: PERFORMANCE,
COMPOSITION and
AURAL/MUSICOLOGY.
This sequence of lessons
will focus on
PERFORMANCE
TECHNIQUES
The extended techniques explored in this piece relate mostly to stringed instruments as this work
is for the double bass. Below is a table outlining some of the techniques used in the score and
how they should be performed:
MARKING
diamond note
EXPLANATION
MARKING + BAR
REFERENCE
EXPLANATION
The note is to be a harmonic
Pont. ord/tasto
Play near the bridge
and then normally/or
over the fingerboard
head
black triangle note
head
inverted triangle +
bracket
The note is to be hit (battuto) with
the ivory tip of the bow
Excessive pressure on a slow drawn
bow to produce a scratchy, harsh
sound
gliss. Tremolo
Line between 2 notes
Play a glissando while
also bowing a tremolo
Slide from the first to
the second note
Pizzicato (plucked)
m.d.= mano destra = right hand
nd
rd
II & III = 2 and 3 strings
Harmonics
Perc. sul fondo = percussion sounds
towards the bottom of the
instrument
No.s = finger to strike with
m.s.= mano sinistra = left hand
The two staves are to be played at
the same time. The R.H is playing
harmonics while the L.H s playing
percussive sounds on the body of
the double bass.
MUSICIANS
• Musicians have a very
important role when
performing music written by a
composer.
• One of their most important
jobs is to interpret what the
composer wants from the
score they are working from.
• The score has all the
information the composer
wants the musician to use in
order to perform the piece as
they have intended.
REALISING THE SCORE
ACTIVITY
1. Examine the first page of the score
to this piece. Annotate ALL the score
markings that you can. That includes
dynamics, tempo markings, accents,
fingering, etc). Colour coding your
annotations is a great way to organise
your work. When you think it’s
complete swap with a classmate and
see if you can add any more to theirs.
2. Watch this YouTube recording of a
live performance of the piece
(Florentin Ginot – Sequenza XIVb) and
try to follow the first page of the
score as you do. This will give you a
great insight to what the score should
sound and the performance should
look like. This can be tricky with
avant-garde works such as these.
PERFORMANCE PRACTISE
ACTIVITY
Now that we have explored the importance of understanding the composer’s
intentions in the Berio score, let’s look at how this is applied to our own performance
practise.
When preparing a piece for performance there are several stages:
STAGE 1 – NUTS AND BOLTS
Learning the notes, the basic shape of the piece.
STAGE 2 – ADDING THE DETAILS/ANNOTATING THE SCORE
This includes the phrasing, dynamics, expression, special techniques and any other
playing instructions given on the score*.
*If you are learning your piece from a brief chord chart or sparse score then this is
where you need to add those details into your working score with annotations. This is
called MAPPING THE SCORE.
STAGE 3 – PERFORMANCE REHEARSAL~
Finally you need to work on putting the first two steps into one polished performance.
Recording yourself is an excellent way to evaluate this process. Performing for a
classmate to give you some notes is also a good idea.
~Remember that practise is when you iron out nuts and bolts details, rehearsal begins
when it’s time to polish (i.e.; the notes are already learnt!).
PERFORMANCE
PRACTICE ACTIVTY
•
•
•
We will focus on STAGE 2 for this
activity. Choose a piece that you are
either currently working or even one
that you have previously performed. It
would be best to choose a piece that
you already know the basics of (the
notes).
Now that you have your piece chosen,
make sure you have a printed copy of
the first page or two of the score/music.
If this is a piece you are currently
preparing for an assessment you should
be using ALL of the score*.
*If you are performing a piece that only
has lead sheet or tab you can still add in
the details below to build a road map
for yourself.
ANNOTATING
THE
SCORE
This step helps to give you a ‘road map’ of how to perform the piece.
Mark in the following details in the score:
•
TEMPO - Highlight tempo markings and changes (include changes you add to the
performance as you practise).
•
DYNAMICS - Highlight dynamic markings and changes (include changes you add to
the performance as you practise).
•
ARTICULATIONS - Circle articulations that are important to the performance (include
tricky bits that you are ironing out through practise – perhaps in a different colour to
draw your attention). Don’t forget to add in things like bowing, strumming, tonguing,
fingering, malleting, etc., where applicable.
•
PHRASING - Mark in important phrases that are shaping the performance. These
might include interpretations that other performers have used that have seen/heard
and would like to incorporate into your performance.
•
INTERPRETATION - Add any words or descriptions that help you to shape the
performance with emotion or feeling (eg; linger here, sadness evoked here, with
anger, etc.).
PRACTISE TECHNIQUE
•
Once you have done this to the score start
to work on adding these details to your
practise.
•
Perform the piece (or part of it) to a
classmate and ask them to follow your
annotated score. This is a good way for you
to get feedback as to whether the details
are coming through in your performance.
It’s like having a masterclass.
•
You can also record yourself performing a
section of the piece and then watch it back
and follow your score to self-evaluate your
process.
•
Observe a classmate performing an excerpt
or their whole piece whilst following their
score to give feedback to them. This is an
excellent process for you to critically
watching another performer’s
interpretation and practise technique.
SHARING YOUR PROCESS ENRICHES
YOUR PREPARATION.
WATCHING SOMEONE ELSE’S PROCESS
ENRICHES YOUR PREPARATION.
THE KEY IS TO PLAY, PLAY, PLAY!
AT THE CONCERT
When you go to the concert, use the knowledge and skills we
have explored and consider the following questions:
How have the various works enabled the feature instruments in
this program (violin, viola & double bass) to highlight their
possible range and performance capabilities? Give examples of
techniques or musical ideas used to illustrate your points.
Identify which piece you were most interested in. This does NOT
have to be the piece you found easiest to listen to, it may be the
one you found most challenging.
Give three reasons why you found the chosen piece to be so
interesting. How could you possibly incorporate any of the
techniques used into your own performance or composition
work?
TEACHER’S NOTES
Teacher's Notes for reference to the Draft
Australian Curriculum: The Arts and NSW Stage 6
Music 1 & Music 2 Syllabus.
General LIT – Reading and annotating the score excerpt.
Capabilities NUM – discussing the use of free time and meter in the work.
ICT – Utilising internet resources.
CCT – Critically discussing the set work and the students’ chosen pieces.
PSC – Sharing personal responses to the set work and chosen pieces.
EU – Working collaboratively with peers in the score and performance
practice activity.
ICU – Discussing the musical culture shift with modern avant-garde
works.
Cross-Curriculum Links & Priorities English, Humanities and Social Sciences, Mathematics, History,
Language
Viewpoints 2 – Extend discussions into the links between the repetitive nature of
these works and that of cultural music of Asian regions (eg; Balinese,
Chinese).
TEACHER’S NOTES
NSW Stage 6 Syllabus Links –
MUSIC 1
Topic Links
Music of the 20th & 21st
Centuries
Music for Small Ensembles
Music and the Related Arts
(Hermann & Stravinsky)
MUSIC 1 P – 2,3,5,6,7,8,10,11
Outcome H – 2,3,5,6,7,8,10,11
Links
MUSIC 2 Music of the Last 25 Years
Topic Links
MUSIC 2 H – 2,3,5,6,7,8,10,11
Outcome
Links
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