Richard Bullen's Ambuscade contained some interesting textures and effects, some of which were extremely difficult on the sax -
many of the wider tremolos certainly produced almost as much key noise as actual pitch. Joel did however enjoy the timbral
trills at the end of the piece and said this notation was good - allowing the performer to choose the best fingering for the effect.
Posted by :
DDaSilva at 23:10 on 28 September 2007
I can hear the key noise, especially on the softer tremelos. But, it doesn't take away from the overall effect. I actually like the sound of the keys in these spots. The piece has so many tremelos and they're made unique naturally by the difference in pitch and dynamic; but the key noise is a unique and rhythmic addition that gives some of the tremelos a unique and welcom timbre.
Could someone explain the timbral trills a little more clearly for me? And I'm not sure if it's the scan or my ageing eyes, but I'm having difficulty distinguishing the notation for the timbral trills. Any help?
Posted by :
DDaSilva at 23:13 on 28 September 2007
Oh yes! And very important: I enjoyed this piece. It had so many different colors despite being filled with so many tremelos and trills. Not that there is anything wrong with that...It would just seem dangerous to me, as a composer, to keep using the same technique repeatedly. Yet, I didn't lose interest in the piece at all.
Very Good. A timbral trill (m. 23, 24, and 26) is an effect that is performed by playing the same note but alternating fingering. It acts more like a tremolo, but there are slight pitch variations when using alternate fingerings - so it is a trill.
Very Good. A timbral trill (m. 23, 24, and 26) is an effect that is performed by playing the same note but alternating fingering. It acts more like a tremolo, but there are slight pitch variations when using alternate fingerings - so it is a trill.
To post comments you need to become a member. If you are already a member, please log in .
Comments by other Members
DDaSilva
