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Updated: June 20, 2025
Nothing is more characteristic of Heine than the way in which he works up our sentimental feelings only to knock us on the head with a comic or grotesque line at the end. Similarly, Chopin, after improvising for his friends for an hour or two, would suddenly rouse them from their reveries by a glissando sliding his fingers from one end of the key-board to the other.
The effect is something like a short groan with no anguish in it. Sign, same as a muted note, but written at the end of a glissando. Muted Tones. Sort of half-articulated tones, if I may use that expression. Without more records of the same songs in which these are shown, it is not possible to determine whether they are intended by the singers as necessary parts of the records.
Careful listening to the record at this point shows that the singer really leaves the principal tone E-flat and slides with a sudden dying-down of volume. The abruptness with which the sound of the voice fades as it starts the glissando, leaves the impression of E-flat still sounding. One tone in this song is given on the inhaled breath.
In each of the eleven glissandos shown in the notation, the voices drop suddenly to approximately the tone shown by the small square note. The glides are taken diminuendo, the tone dying away completely. The sudden diminuation of tone taken with a glissando gives an effect something like a short groan. The song is in seven-measure periods. Dang-Dang-Ay
It is made up mostly of the tones A, C, D, and E. These tones belong to the pentatonic scales of C major and its relative minor A. In tonality, the song cannot be considered as belonging to either of these keys, as there is a very distinct feeling of B-flat in it, notwithstanding that the tone is seldom dwelt upon, but passed over quickly, almost glissando, in nearly every place where it occurs.
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