Message Music timbres. Timbres - musical paints
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Expressive music
Timbre
The art of combination of orchestra
there are one of the sides
the souls of the essay itself.
N. Rimsky-Korsakov
Musical timbres are often compared with paints in painting. Like paints expressing the color wealth of the surrounding world, creating flavoring works of art and his mood, musical timbres also transmit multipleness of the world, its images and emotional states. Music is generally inseparable from the timbre in which it sounds. Whether the human voice or the shepherd sweater sings, heard the veriput or overflows of the harp - any of these sounds enters the multicolor palette of the timbre incarnations of music. Music just consists of a variety of such incarnations, and in each of them his own soul is guessed, a unique appearance and character. Therefore, the composers never create such music that can be intended for any tone; Each, even the smallest, the work certainly contains an indication of the tool that should execute it.
For example, each musician knows that the violin is inherent in a special singer, so it is often charged with a smooth, song melody, possessing a special roundland of lines.
Violin's virtuosity is no less known, its ability to perform the most rapid melodies with extraordinary ease and glitter. This ability allows many composers to create not only virtuoso plays for violin, but to use it (one of the most "musical" tools) to transmit sounds by no means musical nature! Among the examples of such a role of violin - "Flight of the Bumblebee" from the opera N. Rimsky-Korsakov "Tale of Tsar Saltan".
An angry bumblebee, preparing to inspire a bubary, makes his famous flight. The sound of this flight, which music reproduces with fine accuracy and huge wit, creates a violin melody, so rapid that the listener really remains the impression of the formidable bumblebee.
Unusual heat and expressive cello brings her intonation with a living voice - deep, exciting-emotional. Therefore, in music, there are cases when the vocal works sound in arrangement for the cello, hitting the naturalness of the timbre and breathing. S. Rachmaninov. Vocalize (in the Arrangement for Cello).
Where the ease, elegance and grace are required, the flute reigns. The sophistication and transparency of the timbre in combination with its inherent high register give flute and touching expressiveness (as in the "melodies" from the Opera "Orpheus and Evridika"), and graceful wit. An adorable "joke" from Suite No. 2 for the orchestra is an example of such an elegant-humorous sound of the flute.
These are the characteristics of only a few tools included in an extensive family of various timbre sounds of music. Of course, these and other tools can be used in the "clean" form: almost each of them has special concerts, sonates and plays. Solo of various tools included in multisage orchestral essays are widely used. In such fragments, the solicing tools are still brighter to detect their expressive opportunities, it is simply captive by the beauty of the tone, then creating contrast to various orchestral groups, but most often - participating in the overall flow of a musical movement, where comparisons and interlacing timbres form a picture of the striking sound wealth. After all, it is precisely the combinations of the timbres give music such expressiveness and relief, make an affordable transmission of almost any image, paintings or moods. It has always felt big orchestra masters, with extraordinary care, creating their scores that used all the expressive possibilities of musical instruments. Outstanding composers brilliantly owned orchestration, rightly considering it the most important carrier of musical imagery.
The history of the symphony orchestra has more than three centuries. During this time, the instrumental composition was gradually formed, which enjoy modern composers. It has not only separate timbres, but each orchestral group has acquired its own expressive and technical capabilities, so it can be said with confidence that the orchestra was and remains the main tool for the embodiment of musical designs.
Modern Symphony Orchestra includes four groups of tools:
1) stringed bow (violins, alta, cello, double bass);
2) Wooden brass (flutes, baroes, clarinets, bassotes);
3) copper brass (pipes, horn, trombones, tube);
4) Impact and keyboards (Litales, bells, chest, drums, plates, etc.).
These four groups, subject to their skillful use, expressive and colorful combination, can create genuine musical miracles, hit the listeners that transparency, then the density of the sound, then an extraordinary force, then barely catchy trepidation - all the finest and diverse shades that make the orchestra one of the wonderful achievements Human culture.
The expressiveness of musical timbres with particular evidence manifests itself in works related to their concrete image. Once again we turn to the musical fairy tale N. Rimsky-Korsakov - Opera "Tale of Tsar Saltan", for where, as not in fabulous fantastic music, you can "hear" and pictures of nature, and various miracles presented in the magical sounds of the orchestra.
Entry to the last picture of the opera is called "three miracles". These three miracles, we still remember the fairy tale A. Pushkin, where the description of the city of the candy is the Kingdom of Guidon.
Island on the sea lies
Grad on the island stands,
With gold-shameful churches
With termes and gardens;
Spruce grows in front of the palace,
And under it a crystal house:
Protein in it lives manual
Yes what a wonderland!
Squirrel song sings
Yes nuts nibble everything;
And nuts are not simple,
The shells are gold.
Nuclei - pure emerald;
Squirrel Klatti, shovel.
There's another different:
The sea will swollenly
Boils, raise howl
Rushing empty
Spots in the near run,
And get on Brega
In Czech, like the fever,
Thirty three heroes,
All handsome hands removed,
Giants young,
All are equal, as on the selection -
With them uncle Chernomor ...
And the Prince of Wife is,
What you can not have an eye to hide:
Day the light of God eclipses,
At night, the land illuminates;
Monthly shine shine
And in the forehead the star is burning.
These lines from the Pushkin "Tsar Tsar Saltan" are the main content of the music of N. Rimsky-Korsakov, where the first of three wonders - a squirrel, the ricking nuts and singing his carefree song, the second - thirty-three heroes, which are from the waves of the races, and the third , the most wonderful of miracles, is a wonderful princess swan.
The musical characteristic of the protein, which includes two sound episodes, is assigned to xylophone and flute piccolo. Pay attention to the clicking character of the sound of xylophone, so precisely reproducing the splitting of gold nuts, and on the whistling timbre of a flute-piccolo, which gives a whitening the character of a dyeing. However, only these sound strokes are not exhausted all the wealth of ideas about the "first miracle." The second holding of the melody is enriched with the cheerful - one of the most "fabulous" tools - drawing an image of a crystal house in which the protein lives.
The music of the "second miracle" - heroes - increasing gradually. It is heard of the rake of the swallowed marine elements, and the wind of the wind. This sound background, on which heroitors act, is created by various groups of tools, drawing the image strong, mighty, uncomplicable.
Bogatyri appear in the timbre characteristic of copper winds - the most powerful tools of the symphony orchestra.
Finally, the "third miracle" is to us accompanied by the harp - a gentle and captivating tool, transmitting a smooth slip of a beautiful bird along the stroy of the Night Sea, illuminated by the moon. The singing of the swan birds is entrusted with the aging goby - tool that resembles his sound of water bird. After all, the swan has not yet embodied in Tsarevna, its first appearance takes place in the guise of a majestic, royal bird. Gradually, the melody of the swans is converted. With the last top of the topics, the swan bird turns into a princess, and this magical transformation causes such delight in Guidon, such an infinite admiration that the culmination of the episode becomes a genuine celebration of all imaginable light and beauty. The orchestra at this point reaches higher completeness and brightness, in the total flow of sound, the timbres of copper winds, leading their solemn melody, are highlighted.
"Three Miracles" N. Rimsky-Korsakov opens the inexhaustible miracles of musical timbres. The orchestra in this work has achieved such painting, such unheard of colorfulness, which are becoming oppressed by the limitless possibilities of music in the transfer of everything that in the surrounding world such a transfer is worthy.
However, it is important to emphasize the fact that the music creates and its own beauty, how to make her painting, architecture or poetry. This beauty may not be higher and no better than the beauty of the real world, but it also exists, embodied in a miracle of the symphony orchestra, reveals one more mystery of music, which should be sought in the captivating variety of its sound.
Questions and tasks:
1. Why do musical timbres compare with paints in painting?
2. Can the timbre give musical sound characterity and uniqueness? Specify the examples known to you.
3. Is it possible, in your opinion, a melody written for one tool, instruct another? If yes, then call options for possible replacements.
4. In which musical genres are the orchestra?
5. Which of the musical instruments in its capabilities is closest to the orchestra?
6. Name your favorite musical instruments. Explain why you chose exactly their timbres.
Presentation
Included:
1. Presentation - 19 slides, PPSX;
2. Music sounds:
Rachmaninov. Vocalize. CIOLOCEL, MP3;
Bach "Scherzo" from the suite for the flute and string orchestra №2, MP3;
Rimsky-Korsakov. Squirrel, from the opera "Tale of Tsar Saltan", mp3;
Rimsky-Korsakov. 33 heroes, from the Opera "Tale of Tsar Saltan", MP3;
Rimsky-Korsakov. Tsarevna Swan, from the opera "Tale of Tsar Saltan", mp3;
Rimsky-Korsakov. Shacherzada. Fragment, mp3;
Rimsky-Korsakov. Bumblebee flight, from the Opera "Tale of Tsar Saltan", MP3;
3. Accompanying article, DOCX.
These are paints that we hear.
Look at any picture or photo. But no painting would have happened if the whole she was written by the same paint, without shades.
Peer how many of them, these speaking shades.
Dozens of shades of the same color. There are also sound.
The same note, the sound, the same height, can play different musical instruments. And although the height of the sound is completely the same, we will know the voice of the violin, the voice of the flute, then the voice of the pipe, then the human voice.
How do we get it?
Our rumor in sensitivity is not inferior to vision. Even the smallest child among many votes will immediately recognize the voice of Mom and will not confuse him with his grandmother's voice. By voice in the handset, we learn friends and acquaintances. You probably immediately recognize the first sounds of the voices of your favorite artists, singers. And all together we are having fun, guessing their voices in the joking on-point artist-parody. To achieve a similarity, he changes the color of the voice, the timbre.
And we learn different musical instruments because each of them has its own coloring of the sound. The sound can be one height, but, then with the scribe, then a little ringing, then, as if smooth, and then grungy. The string sounds differently than the metal plate, and the wooden tube is not as the copper pipe. After all, every sound has a ghost. Here are these shades - the pride and change the "color" of sound. Sound color - this is the timbre. And every musical instrument has his own.
TIMBRE - an important means of artistic expressiveness. The same musical thought depending on the timbre incarnation may sound with varying degrees of brightness, gloss, softness, tenderness, decisiveness, severity, rigor, etc. Thus, the timbre enhances the emotional impact of music, helps to realize its semantic shades and ultimately contributes to a deeper disclosure of an artistic image.
Changing the timbre, widely used in instrumental writings, often becomes an important factor in musical expressiveness.
The initial classification of the timbres of orchestral tools is to divide them on the timbres of pure (simple) and mixed (complex).
The timbre is clean (simple) - the timbre of soling tools, as well as all unison combinations of identical tools. The net timbre is used both in monogiding and in polyphony (for example, accordion ensembles or bayanov, DRO or Balalak).
The timbre is mixed (complicated) - the result of combinations of various tools. Used in monogide and polyphony. Such combinations are applied in order to change the fondic qualities of votes and ensembles and are caused by expressive or formative factors.
In various compositions of the national orchestra, the greatest fusion is found in the ensembles of identical instruments, as well as tools - representatives of one family. With a group of Doms most organically merge balalaiki, because performing techniques at the houses, balalaiks, as well as on shock instruments, rely on the general principles of sound extracts: short sounds are performed by a blow (tongs), and long - by tremolo.
With bayans and accordions, brass instruments (flutes, goboes) are very well merged. The timbre variety of the sound of the accordion (bayan) is due to the presence of registers. Some of them got the names similar to those or another tools of the Symphony Orchestra: Clarinet, Bassoon, Organ, Chelesta, Oboe.
The most distant degree of timbre and sound fusion takes place when connecting wind and shock tools.
The timbre ratios of orchestral instruments and ensembles are a concept that determines the degree of their fusion and contrast with simultaneous sound.
A. Austinov
On the concept of "musical timbre" *
In the perspective of the question under consideration, it is worth paying attention to the concept that is directly related to the assessment of the sound of a tool and is its integral sign. This is a concept - timbre Musical instrument. In dictionaries in psychology, as well, and in many musical sources, this concept is given such a definition: "The timbre is a subjectively perceived feature of the sound, its painting associated with the simultaneous impact of various sound frequencies."
It seems to us that the indicated concept still remains definitely not clearly both for the "musician" and for "physics". The roots of the established ambiguity of concepts lie on the one hand in the psychology of the perception of sound oscillations by man, on the other - in the applied ways of representing sound in technical acoustics.
The position "Physics" seems simpler, because for it the concept of the timbre does not include the subjective component, their own sensations. For him, the timbre is only physical parameters - some set of frequency components - spectrum and some wave form, it is appropriate. For the "musician" the timbre in general is the nature of the sound described by such adjectives as "bright", "juicy", "deep", "sharp", etc. At the same time, the concept of the timbre acquires a greater certainty due to a specific tool. And, if, for example, it is said - "This is a timbre of a violin", then most often under what is said not a separate sound, not some specific and characteristic barcode, and the whole set of various sounds extracted on this instrument, including the characteristic techniques and even noise ghosts.
It is noteworthy that automatic identification of the timbre, that is, the recognition or classification of it using electronic devices is not such an easy task precisely because the musical instrument reproduces many related, but far from the same sounds. The perception of a person is built on associative The principles and values \u200b\u200bof the physical parameters of sound oscillations are perceived by them not in absolute expressions, but in the proportions between the individual parameters. However, the most important thing is that the perception of the tone occurs in some integrated, generalized characteristics. For this reason, some, often insignificantly small, changes in physical parameters become very noticeable for hearing, and others, significantly large changes - remain ignore. There is no doubt that such a function of the brain is due to the entire history of human development and is associated not only with the process of sound perception. To successfully recognize one or another object, facing its transformations, the brain needs to be allocated and evaluating the main characteristic features of the object, which are stored with significant changes in individual parameters.
Based on the material outlined above, a note should be made on the practical unusability of determining the concept of "timbre", traditional for music recognition and general psychology, but in essence the case is private. At least about the unsuitability of this definition for the strict classification of sound objects. By the way, researchers associated with acoustic measurements and the psychology of sound perception are well acquainted with a simple experiment, the results of which, as a rule, are surprising for most musicians. This experiment, in particular, is also reported in the monograph "Psychology of the auditory perception" V.Nesuleko: "... it is enough to change the direction of the magneto-counter ribbon, on which the sounds of the piano are recorded to make the sound the sound are completely unrecognizable.". Our explanation is that the spectral composition of the sound, that is, "its painting", in this case there are no changes, but dynamic and spectral changes in time (that is, integral characteristics), which in this case were just violated by inverse reproduction Phonograms, turn out to be more important to identify the tone by man.
* Fragment of the report at the Scientific and Practical Conference in the Rostov Conservatory (2000).
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Methodical development of an open lesson on musical literature on the topic:
"The timbres of musical instruments of the symphony orchestra"
Semenova Irina Andreevna - teacher of theoretical disciplines of the highest qualification category.
The date of the:
Place of work:MBU to "Dshi №2" G.O. Samara
This occupation is developed on the basis of the author's program on the musical literature "In the world of music" Semenova I.A. The occupation is intended for students of 4 classes (groups of 8-10 people).
Duration: 40 minutes
Location:cabinet Solfeggio and Music Literature Dshi №2.
Type of lesson:lesson studying a new material.
Type of lesson: Lesson with interview elements.
Purpose:Determine the features of the timbres of the symphony orchestra tools, their role in the disclosure of the musical image.
Tasks:
Educational:
Deepen knowledge about the structure of the symphony orchestra;
Secure the audio timbre of the symphony orchestra in the rumors consciousness of students;
Introduce new musical examples.
Developing:
Develop the figurative-emotional perception of musical works;
Develop independence of thinking, the ability to compare and compare;
Develop the skills and skills of students logically to build their answer, competently express their thoughts, give an aesthetic assessment to the listened.
Educational:
Bring up musical and artistic taste;
Raise the culture of listening to symphonic music;
Brief friendly relationships and affiliate qualities.
Forms of work:
Hearing music (analysis and comparison)
View visual material;
Work with ton text;
Conversation;
Perform practical tasks.
Control forms:
Work in the notebook;
Testing;
Hearing quiz.
Control methods:
Group;
Individual in alternation.
Educational and methodological provision of classes:
Z. Osvitskaya, and Kazarinova Tutorial on musical literature for teachers of DMS "in the world of music"
Ya. Ostrovskaya, L. Frolova Tutorial for DMS "Music Literature" 1st year of study
Ya. Ostrovskaya, L. Frolova "Workbook on the music literature" 1st year of study.
P. Kalinina Notebook "Music Literature. Questions, tasks, tests »Release 1.
Registration, Equipment, Inventory:
1. The occupation is carried out in an equipped audio office with a piano, a blackboard for visual aids, a TV, a laptop.
2. Audio recordings:
Symphonic fairy tale "Peter and Wolf" S.S. Prokofiev - Concert Waltz M.O. Durant -Mood.Indigo. Duke Ellington - "Farewell to Slavyanki" V.Agapkin - "Tosca in Motherland" (Vintage Waltz) - Pop Orchestra P. / U B. Karamshev
3. Muchny fragments from the symphonic fairy tale S.S. Prokofiev "Peter and Wolf".
4. Presentation.
5. Distribution sheets with a list of different types of orchestras.
6. Cards with the image of tools, orchestras, heroes of the symphonic fairy tale "Peter and Wolf" S.S. Prokofiev.
7. Sheets with the definition of basic concepts on the subject of occupation for placement on the board.
Lesson plan:
1. Org.Moment 1 2. Workout 10 3. Explanation of the new material 15 4. Checking the learning of the new material Fastening the knowledge and skills of students 10 5. Homework 2 6. Summing up 2
During the classes
1. Org.Moment - Greeting: - Hello, guys! I am glad to see you at my lesson. I smile you and you smile at each other. We are all calm, kind, friendly. You are ready for a lesson. All are configured to be attentive, active and friendly to each other.
2. Workout
Guys let's remember: - What is an orchestra? (This is a team of musicians playing works written specifically for the composition of the tools) -Who manages the orchestra (conductor) -What are the notes in which the part of all tools are inscribed?(score) -Arrangement of score for piano called ...? (clear) -What is the name of the joint game of all tools? (tUTTY) -What types of orchestras you know "(orchestra of Russian folk instruments, jazz, pop, brass and symphonic)
Slides 1,2,3
Students look at the screen and photographs determine the types of orchestras. Its answers are fixed on the transfer sheets, putting the numbering.
Guys let's see the next slide and check your answers.
Slide 4.
At the end of the warm-up, I suggest you remember how listed orchestras sound. Your answer will be raised card with the name of the orchestra.
Music fragments sound: - Concert Waltz M.O. Durane (orchestra of Russian folk instruments) - Mood.Indigo. Duke Ellington (jazz orchestra) - "Farewell to Slavica" V.Agapkin (brass band) - Symphony "Winter Dreams"I. Part PI Tchaikovsky (symphony Orchestra) - "Tosca for Motherland" (Vintage Waltz) - (pop Orchestra)
3. Explanation of the new material
Teacher: Today, we will get acquainted with the tools that are part of the symphony orchestra. The symphony orchestra consists of 4 orchestral groups: string, wooden brass, copper brass and drums.
Slide 5.
The location of the musicians in the orchestra depends on the difference in sound and the timbre of the tools, and the wave of the conductor wand should be visible to every musician. Therefore, the tools are collected in groups and are located fan-like. In addition, acoustics suggests that in the depths of the pop, there should be a large tool, sharpness: shock and copper, and in the foreground - a string group.
Slide 6.
The string group includes: violin, alt, cello, double bass. This is the main group of orchestra. Despite differences in size, the sound range, the tools are close in shape, on the timbre. - What do you think the tools of this group are called string-bow?(They all have strings and bow). The conclusion of the bow with the string gives rise to a gentle singing timbre of a violin, a somewhat muted timbre of viola, velvet, noble - cello and low, buzzing - double bass.
Slide 7.
Second group - Wooden brass tools. According to the strength of the sound, this group has advantages over the string. Tools are capable of a wide variety and wealth of expressiveness. It includes: flutes, bobys, clarinets and bassotes. Each of them has its own way of sound survey and sound. The timbres of wooden windows are not like each other, so in orchestral works they are often used as soling tools. Transparent, cold-blooded flute timbre, technical mobility made it a brilliant soloist of the orchestra. Goboy timbre, saturated, warm, soft, albeit a bit vile, determined his role of lyrical soloist in the orchestra. The clarity of the performance of the technical patterns of the gobeth is out of all praise. Clarinet, also a very virtuoso tool, has different timbre paints. This property allows it to perform both dramatic, and lyrical, and cross-country parties. And the fagot, the lowest tool, the "elder" of the group, is distinguished by the beautiful, slightly christy timbre. He is less likely to act as a soloist. He is entrusted with pathetic monologues, lyrical and leisurely topics. In the orchestra, it is used mainly as an accompanying tool. All tools of this group are sounded thanks to the air intensifying in them, and the valves with which the height of the sound changes.
Slide 8.
3 Group - Copper Brass Tools: French horn, pipes, trombones and tubes. According to the flexibility, they are inferior to wooden wind, but they have more sound. The timbres of this group are bright, shiny. They sound in heroic, festive music, and in tragic. For example, the horn may sound and gently, singe. The word "horn" means "Forest Horn". Therefore, its timbre often sounds in pastoral music.
Slide 9.
The last group is shock. This group is located in the left corner of the pop. In the form, the magnitude, the material from which they are made, and by sound they are divided into two large groups. The first has a setup, i.e. Certain sound height. These are Litavra, bells, xylophone, bells.
Slide 10.
Another group - has no setup, and make relatively higher or low sounds. These are triangles, a tambourine, a small drum, plates, there are Taste, cassations. Next to the drums, it is harp. Her "Golden Sail" seems to float over the orchestra.
Slide 11.
Tens of strings are attached to the elegantly curved frame. Transparent-lightweight harp robes decorates the sound of a symphony orchestra.
Slide 12.
Guys, now we will listen to a fragment from the musical fairy tale "Peter and Wolf" S.S. Prokofiev.
Slide 13.
In 1936, he created a musical fairy tale in order to introduce children with tool timbs. Each fairy tale character has its own leitmotif, assigned to the same tool: Duck depicts oboe, grandfather - Fagot, Petya - Quartet Strings, Bird - Flute, Cat - Clarinet, Wolf - Three French Hunters, Hunters - Litavra and Big Drum (Shots) . "Petya and Wolf" - one of the best works S.S. Prokofiev for children. Children of different countries know this musical fairy tale.
Slide 14.
Audio recording sounds. Students are distributed by a good example of fragments of the work. The combination of auditory and visual clarity concentrates the attention of students and develops useful musical skills (notes help to fully perceive music).
4. Checking the learning of new material, consolidation of knowledge and skills.
And now I offer you several tasks on the subject of today's lesson. Task 1 - Subscribe the depicted tools.The task is performed in the working notebook G.F. Kalinina. Issue 1 № 39
Task 2 - emphasize in each sentence of the word corresponding to this definition.The task is performed in the working notebook Y. Ostrovskaya, L. Frolova 1 year of study (№35)
Task 3 - hearing quiz (fragment "Peter and Wolf" S.S. Prokofiev)Working with cards on which the tools of the symphony orchestra and the heroes of the musical fairy tale "Peter and Wolf" are depicted. The guys work in a pair. The task is to find a pair, connecting the hero and the tool that portrays it.
5. Homework
1. Save the crossword, using the names of various tools. Task number 56 in the working Tetradi G.F. Kalinina.
2. Listen (on the Internet) Sonata Arpeggion P.I. Tchaikovsky. Determine the musical instruments and write to the notebook.
6.Instation of the final
Well done boys! Today you worked well today, they were active and attentive.I spend the estimation, I note personal achievements, I complete the lesson by wishes.