Elegia was first published in Bottesini’s Method for Double Bass to illustrate the lyrical capabilities of the instrument, and was rumoured to be. A somewhat impromptu performance of Giovanni Bottesini’s “Elegy” at Gusman concert hall, performed for the students of the University of. Giovanni Bottesini Bottesini – Elegy No. 1 sheet music –

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Bel Canto Bass: Clearing the Hurtles in Giovanni Bottesini’s ‘Elegy’ – Strings Magazine

Nonetheless, the work presents multiple challenges to the intermediate and professional player alike, as the bel canto vocal style demands considerable facility in accurate shifting, and sophisticated and supple bowing. Two of the first challenges facing the performer in this work occur almost immediately in the piece—something that many students find quite intimidating.

The first is in mm. And to further enhance the bel canto style, I ask my students to learn the shift with bottesiini closed and vibrated upper D, rather than a harmonic. The simple shifting exercise in Btotesini 1 has proven valuable to build confidence in that shift.

I recommend a simple, repetitive fingering pattern for accuracyfinishing the scale withensuring that the first finger remains on the string throughout the scale.

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Listen carefully for the half steps rlegie first and fourth fingers where the shift occurs.

The expected rubato in this gesture a judicious use is recommended! One of my favorite moments in Elegy is the simple but beautiful cadence at mm.

Bottesini Elegy for Double Bass & Strings Archives | christchurch-malvern

With a hint toward introducing my students to Romantic period string gestures, I encourage them to try a tasteful underslide elegje changing strings on the repeated E in the second elegiie of m. By playing the first eighth note E on the G string 4th finger in the upper half of the bow on a down bow, and preparing the second finger horizontally for the upcoming E on the D string, the performer can retain a full up-bow to easily hold the longer E and control the resolution to the C in bar Again, a simple shifting exercise, like Exercise 2can help provide the basis of learning the timing and finger and bow weight for the underslide.

Although in some editions of Elegymm. A mirror is often helpful in this regard. With the addition of slurs in the arpeggio, again to be practiced in small groups of the 32nd notes within the arpeggio, the critical timing and fluidity of movement of the line can be more easily accomplished. The conclusion of Elegy also poses a challenge, particularly the turn and grace notes at the end of m.

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Of critical importance to guarantee a smooth ascent to the Botetsini is to use a fingering that stays on the G string in the last three eighth notes of m. It may also be advisable to use a thumb F on the last eighth note of the bar for ease on the shift to the C, and to keep playing a closed rather than harmonic G throughout the turn.

Measure 36 is performed in a variety of ways to incorporate a trill on the C, with my preference being to divide the value of the C in half within the bar, with the latter half played botyesini a trill.

One should strive for as seamless and vocal a transition as possible from a solid vibrating finger on the C often a second finger to a clearly articulated trill, followed by clear grace notes to resolve to a celestial top G.