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Sul tasto. Sul ponticello ("on the bridge") refers to bowing closer to the bridge, while sul tasto ("on the fingerboard") calls for bowing nearer the end of the fingerboard. (While reading music, "tasto" can also mean to play with the bow in normal position when having been playing "ponticello") Ponticello calls for more bow weight and slower ...
Sul ponticello (bowing near the bridge) is a similar, more common technique. The other method involves the performer holding the instrument in their lap, placing the bow parallel to the instrument and firmly dragging it across the side of the bridge. In this case the sound is loud, high pitched and squeaky.
The sounding point where the bow intersects the string also influences timbre. Playing close to the bridge (sul ponticello) gives a more intense sound than usual, emphasizing the higher harmonics; and playing with the bow over the end of the fingerboard (sul tasto) makes for a delicate, ethereal sound, emphasizing the fundamental frequency.
Tasto solo is an Italian term used in music scores, usually on the continuo part, to indicate that a note or section should be played on its own, without harmony. [1] The term tasto is Italian for key (as Italian "tastiera" is for fingerboard), so the part is to be played solo by the fingerboard instrument (e.g. cello) and not by the harmony instrument (e.g. harpsichord) where a basso continuo ...
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See also the following from List of musical terminology: sul porticello (plucking/strumming near the bridge), sul tasto (plucking/strumming above the fingerboard) Tapping Palm mute (known as pizzicato in Classical guitar terminology)
sul Lit. "on the", as in sul ponticello (on the bridge); sul tasto (on the fingerboard); sul E (on the E string), etc. sul E "on the E", indicating a passage is to be played on the E string of a violin. Also seen: sul A, sul D, sul G, sul C, indicating a passage to be played on one of the other strings of a string instrument. suono reale
A Brief History Of Discovering The Conical Fingerboard in 1978 by luthier Denny Rauen can be found in American Lutherie #8/Winter 1986 and String Instrument Craftsman May/June 1988 under the title "Multi-Radius Fingerboards". This special radiusing is a standard on many of Denny's custom-built guitars and refret work beginning in 1978.