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Arpeggios are an important part of jazz improvisation. On guitar, sweep-picking is a technique used for rapid arpeggiation, which is most often found in rock music and heavy metal music. Along with scales, arpeggios are a form of basic technical exercise that students use to develop intonation and technique. They can also be used in call and ...
Guitarists often use the technique to play arpeggios at high speed. A common fretting shape is the one- or two-octave stacked triad. In scalar terms, this is the first , third and fifth of a scale, played twice, with an additional tonic added at the high end. For example, an A minor stacked triad is A-C-E-A-C-E-A.
The technique of changing the note (pitch) of a syllable of text while it is being sung meno Less; see mosso, for example, meno mosso messa di voce In singing, a controlled swell (i.e. crescendo then diminuendo, on a long held note, especially in Baroque music and in the bel canto period) [2] mesto Mournful, sad meter or metre
Free-stroke is mainly used in arpeggio ("broken-chord") playing. They are often combined to provide contrasting voices, between melody and harmony. "Rest-stroke on the melody" is a common approach to balancing the voices. One of the tenets of right-hand technique in melody playing is strict alternation of i and m.
The three-hand effect (or three-hand technique) is a means of playing on the piano with only two hands, but producing the impression that one is using three hands. Typically this effect is produced by keeping the melody in the middle register, with accompanying arpeggios in the treble and bass registers.
It is widely considered one of the most difficult pieces ever written for the solo violin. It requires many highly advanced techniques such as parallel octaves and rapid shifting covering many intervals, extremely fast scales and arpeggios including minor scales, left hand pizzicato, high positions, and quick
Spiccato - Technique that uses a bowing style that leaves the string clearly to produce a light "bouncing" sound. Despite major misconceptions, violinists play this technique with a horizontal stroke; the "bouncing" motion is only due to the natural resistance of the violin string, resistance of the bow hair, and light weight of the stroke.
Exercises 21 - 43: Labeled "further exercises for the development of a virtuoso technique." This more difficult section is meant to be played after the pianist has fully mastered Part 1. Part 2 includes scales and arpeggios. Exercises 44 - 60: Labeled "virtuoso exercises for mastering the greatest technical difficulties."