Though her "Angels" score resembles Arvo Pärt too much for comfort, her "Entr'acte" music has a marvelous range of sonorities: One whole section is played pizzicato; another keeps the violin in the highest section of its register.
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The piece ends with a chord played pizzicato on the inside of the piano.
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This oscillator is a physical model of a plucked string instrument such as a violin being played pizzicato or a guitar. Programmable parameters include adjustable attack parameters, damping parameters, decay parameters, string parameters such as string position, string dispersion, harmonics parameters, and various pickup parameters similar to those on the Electric Piano oscillator.
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Karim Martusewicz, double-bassist for the band Voo Voo The EUB is played in a similar manner to the double bass. All EUBs can be played pizzicato style. However, only those with a suitable fingerboard and arched bridge radius can be bowed. Some EUBs are designed with integral stands, freeing the player from the need to brace/support the instrument.
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Brahms quickly eliminates accidentals from the key signature as the piece progresses to D major and A minor. Interspersed are descending chromatic phrases played by the piano. In measures 117–118, the cello introduces a new four-note idea (E–F–D–E) played pizzicato underneath the piano. This idea is taken from the second half of the first piano theme (G–A–F–G).
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Position of the hand is slightly over the finger board and away from the bridge. Usually this is done with the right hand, while the bow is held away from the strings by the rest of the hand or (for extended passages) set down. A single string can be played pizzicato, or double, triple, or quadruple stops can be played. Occasionally, a player must bow one string with the right hand and simultaneously pluck another with the left, or even possibly strum with both hands at the same time.
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Additionally, their performances often featured a humorous edge due in no small part to Bennink's propensity towards quirky, slapstick humor. Somewhat unusually for a cellist, Reijseger often played pizzicato walking bass in the style of a jazz double-bassist or held and strummed the instrument like a guitar.Kaufman, 1998 They occasionally performed as the Clusone 4, with guests Guus Janssen on piano or Dave Douglas on trumpet. Clusone Trio released six albums, the first two on Moore's small independent label before recording for larger labels like Grammavision or HatArt.
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Both tracks featured orchestral backing, but since the arrangements consist only of violin, string bass and drums with the violin (or possibly damped guitar) played pizzicato it is likely that Robert Iredale or Col Joye had made use of an echo chamber. This was Iredale's favorite trick which was probably featured on some of the Bee Gees' next few singles too. By placing a microphone and speaker in a small room adjacent to the recording booth, Iredale could make a solitary violin sound like a more string section.
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The dynamic markings added by Wilhelmj are more in line with a romantic interpretation than with the baroque original. As a violin can't play very loudly in its lowest register, all the other parts of Bach's music were firmly reduced in Wilhelmj's version: the keyboard part is to be played staccato and pianissimo, causing the effects of interweaving melodies and of drive in the bass part to get lost. The accompanying violins and violas play muted (con sordino), and the bass part for cellos and double basses is to be played pizzicato and , with the same change in effect compared to Bach's original. Later, a spurious story circulated that the melody was always intended to be played on the G string alone.
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Bassist John Lindberg dedicated his 1997 album Offers for Luminosity to Izenzon. In his book The Freedom Principle, John Litweiler praised Izenzon's playing: > David Izenzon brought a major advance in jazz bass playing and in the > structure of the jazz ensemble... Traditionally the bass's role in jazz had > been to ground the ensemble pulse... But Izenzon was as likely to provide > melodic line as pulse, avoiding direct rhythmic reference, contradicting his > partners' tempos, and playing arco at least as often as he played pizzicato. > The genius of Izenzon's music is that he did not become an independent voice > in [Coleman's] trio; his fine sensitivity created ensemble tension so that > in a discursive performance... Izenzon becomes a source of unity... After > the self-dramatizing of Mingus and LaFaro, it's a paradox that Izenzon, the > most active of bass virtuosos, sounds so completely effortless. You're not > overwhelmed at his speed; his music flows so naturally and lyrically, > without excess, that even his blurring of pitch does not seem extreme.
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