United States or Antigua and Barbuda ? Vote for the TOP Country of the Week !
And when did Heifetz ever take a run like that? Up, down and the fingers hammering like thoroughbreds on a fast track. Pizzicato with the left hand and obbligato glissando! Hoopla! The fellow's showing off! And it isn't a Drdla souvenir or a vaudeville Brahms arrangement. But twenty years of practice.
By comparing this measure with the corresponding measure in each of the other three verses, it will be seen that the singers have taken great pains in those verses to avoid this note which does not belong to the pentatonic scale which they are using, evidence that they do not sense the tone in the fourth verse, where it is taken glissando. The D-flat, also foreign to the scale, occurs but once.
In this connection change of position, which I have already touched on with regard to scale playing, should be so smooth that it escapes notice. Among special effects the glissando is really beautiful when properly done. And this calls for judgment. It might be added, though, that the glissando is an effect which should not be overdone.
It is in measure 3 of the top line. The glissando here eliminates this tone also, but, by comparing this measure with the corresponding measure of each of the other verses, we find the same avoidance as in the case of the G-natural, evidence that the performers do not sense this other foreign tone. The song is therefore very markedly pentatonic in character.
At three places where the singer uses one or the other of the tones foreign to the pentatonic scale, he makes half-step progressions. In the fourth line of the song we find the single instance in these records, where the performer takes an upward glissando. It is on the two-note embellishment F-natural G-flat shown in the last measure of that line.
Yet its logic lies in the scheme of the composer. Perhaps he wished to arouse us harshly from his dreamland, as was his habit while improvising for friends a glissando would send them home shivering after an evening of delicious reverie. Niecks finds this Impromptu lacking the pith of the first. To me it is of more moment than the other three.
The singer uses the downward glissandos, so characteristic of nearly all of the Tinguian songs of this group. These glissandos are indicated by oblique lines drawn beneath the tones covered by the slide. In the second measure there is an almost inaudible tone at the end of the glissando. It is indicated by a small, square note.
The A-flat shown in the third from the last measure of this part is written there to define more clearly that particular glissando which seems to be of slightly different rhythmic construction than the one in the corresponding measure above. The fact that the tone is passed over glissando eliminates it from the scale.
A dulcet plaint follows, Adagio, in muted strings, answered by a note of horn and a chord of harp. It all harks back to the gentler strains of the first movement. In the ethereal glissando of harps we see the spirit of Astarte rise to give the fatal message.
It is immediately followed by a downward glissando. Balalognimas Record II. Two singers are heard on this record. They seem to be women. Possibly there are more than the two voices. As the song has such a well-defined swing and such a martial character, it must be wonderfully inspiring when given by a large company of singers.
Word Of The Day