The Impact of violoncello Techniques on the modern style of playing on the Lute

cello

(cello)

49

(cello)

VioloncelloViolon

.(Positions)

( Violoncello )

Violon

Compasses

Chords

Double stops

(Dynamics)

)( Vibration

)Glissando(

( Pizzicato )

(Positions)

(Fingering)

(Semitones)

(Extension)

/

(Concerto)

(Arpeggio)

Owen Wright

Owen Wright

( PositionsChords

Double Stops

( Positions )

cello

(cello)

(Violoncello)

(cello)

(cello)

(Violoncello)

( Violon )

(Violoncello)

Violoncello

Violoncello

(Cello)

(Stanley, p 856)

(cello)

(Viola dagamba)

"

" Lyra Dagamba

(Stanley, p 857)

(Stanley, p 858)

( Compasses )

(Stanley, p 857)

(Left hand Technique)

.(Bonta, 2006)

(Vibration)

(Stanley, p 858)

(Glissando)

.(Bonta, 2006)

(Flageolet)

(Octave)

.(Bonta, 2006)

(Barring)

.(Bonta, 2006)

(Right hand Technique)

(down-bow)

.(Bonta, 2006)

)Double stops(

Frances

Marie Uitti

(Chords).(Bonta, 2006)

( Pizzicato )

.(Bonta, 2006)

(Stanley, p 858)

(Stanley, p 858)

Gabriel Metsu

Royal Collection

(Stanley, p 858)

end pin

position

(Stanley, p 858)

(cello)

" Caprice "

(Cello)

" Godousky "

KreislerFritz

HeifetzJascha

(The Newyork Herald Tribume)

)(Paganini

)(Vashka

(Town Hall)

)

(J.S.Bach )(Rafel

)(Saint-Saene

( Positions )

( Positions )

(Positions)

( Semi tones )

b

b

" " Fingering

a

b

c

(Semitones)

(c)

(Semi tones)

(Positions)

(Semitones)

(Positions)

b

b

(Extension)

( Semi tones )

( Semi tones )

)Extension

"

" Fingering"Extension"

"Extension"

(a-b-c)

(Extension)

a

(a)

(a)

b

b

(a)

b

b

b

(a)

b

b

(b)

b

(b)

b

b

(b)

b

b

b

(b)

b

c

(c)

(c)

b

b

(c)

bb

b

(c)

b

Extension""

" Extension "

b

b

" Extension "

b

b

" Extension "

b

b

" Extension "

b

b

b

"

(a-b-c) " Fingering

" Extension "

a

(a)

b

(a)

(a)

b

b

(a)

(a)

b

b

(a)

(a)

b

b

(a)

(a)

b

b

b

bb

b

(a)

b

(b)

(b)

(b)

b

b

(b)

(b)

b

(b)

(b)

b

b

(b)

(b)

b

b

bb

bb

bb

(b)

c

(c)

b

(c)

(c)

b

b

(c)

(c)

b

b

(c)

(c)

b

b

(c)

(c)

b

b

b

b

bb

b

b

(c)

"" Extension

"Extension"

b

b

"Extension"

" Extension"

b

b

" Extension"

"Extension"

b

b

b

"Extension"

"Extension"

b

b

"Extension"

b

b

b

b

b

b

b

(Staccato)

Fingering " "

(Vibration)(Glissando)

(Double stops)fp

" Fingering "

Extension(Mesure)

p

f

Extension

pf

Staccato

19

Extension

Extension

(Allegro

mff

Extension

Allegro

mffp

Extension

AllegroAndante

mfp

Extension

Allegrof

( Semitones )

)( Extension

Extension

(Tempo)

(Vibration)

(Glissando)(Double stops)

f

p

(Positions)

b

(Compasse)

b

"

" Extension

b

"

" Extension

( Positions )

:( Semi tones )

( Extension )) ( Extension

music terms Dictionary of

10

13

14

19

8

Piston, Walter, Orchestration, 13th Impression, victor Gollanz LTD,

London, 1988.

Musical Instruments c.s.esSacs ,Cort. The History of

Sadie, Stanley. The New GROVE Dictionary of Music and Musicans,

19 Timokin Virdung.

Stephen Bonta. "Violoncello", Grove Music Online, ed. L. macy

(accessed January 28,2006), grove music.com.(subscription access).

( Positions )

( Double stops )

ABSTRACT

The Impact of Violoncello Techniques on the Modern Style of

Playing on the Lute

By

Mahmoud Muneeb Ali Rashdan

Supervisor

Prof. Dr. Abdel Hameed Hamam

The study was concerned with the lute instrument and its description

and with the development of the instrument in the arab-islamic

civilization, in which renowned theorists and players on the lute were

celebrated; and the study emphasizes on the more classical school of

playing on the lute in terms of its style of playing on the lute, and on

some of its pioneers in the Arab World. The study historically reviewed

the cello instrument, its techniques, and its role in the developed

techniques of playing on the lute.

The purpose of the present study was to identify effects of some cello

playing techniques, on modern style of playing on playing the lute by

reviewing styles adopted by some talented players who pioneered the

modern style of playing on the lute.

To answer the study questions, interviews were made with recent

players who use modern style of playing on the lute.

The researcher developed questions specifically related to effects of

the cello techniques on the modern style of playing on the lute. The

questions were then shown to a number of lute players who were

familiarized with playing on the cello too.

Based on earlier procedure the cello techniques that were adapted

from cello to be used with the lute were identified, including:

1. Positioning.

2. using the pick.

3. Performance style.

Results from the current study indicate that lute player took advantage

from techniques used in playing on the cello which in fact improved their

playing, technical, and composing skills.

In light of earlier findings the researcher recommended adoption of the

modern style in lute textbooks; develop modern style-based academic

curricula that depend on finger digitizing style as is the case with playing

on the cello. In addition, musicians are also invited to compose lute

musical pieces based on the modern style that requires skilled

performance and high technique; and also to encourage their search for

new playing styles, and develop techniques of playing on the lute in order

for this instrument to symbolize the musical advancement and

civilization.

This document was created with Win2PDF available at http://www.daneprairie.com.The unregistered version of Win2PDF is for evaluation or non-commercial use only.