"hindous"" for soprano and chamber orchestra. This is achieved by playing one note, and then stopping a new note on the same string without plucking the string again. This technique (known as ""hammering-on"" to guitarists) is rarely used on bowed instruments. A further variation is a particularly strong pizzicato where the string is plucked vertically by snapping and rebounds off the fingerboard of the instrument. This is known as ""snap pizzicato"" or ""Bartók pizzicato"", after one of the first composers to use it extensively (e.g. in the 4th movement of his Fourth String Quartet, 1928). Gustav Mahler famously employs this"
"Pizzicato Pussycat Pizzicato Pussycat is a Merrie Melodies animated short released January 1, 1955. Directed by Friz Freleng and with voices by Mel Blanc, the cartoon is about a talented piano-playing mouse becoming a slave to a house cat. Mr. and Mrs. John and Vy Jones, a typical suburban couple, keep hearing piano music playing, but can't figure out where it's coming from ... even days after their daughter Mary Lou's toy piano (and sheet music) had gone missing. One day, their cat catches a mouse, but the mouse pleads with the cat to spare him his life if he"
"most usually played with the bow, and composers give specific indications to play pizzicato where required. Pieces in classical music that are played entirely pizzicato include: Antonio Vivaldi, in the ""Ah Ch'Infelice Sempre"" section of his cantata ""Cessate, omai cessate"", combined both pizzicato and bowed instruments to create a unique sound. He also included pizzicato in the second movement of ""Winter"" from ""The Four Seasons"". In music notation, a composer will normally indicate the performer should use pizzicato with the abbreviation ""pizz."" A return to bowing is indicated by the Italian term ""arco"". A left hand pizzicato is usually indicated"
"style cuts through the sound of a band better than simply plucking the strings, and allowed the bass to be more easily heard on early sound recordings, as the recording equipment of that time did not favor low frequencies. Pizzicato is also known as plucking to many people; arco is playing with the regular horse-haired bow. Bartók also made use of pizzicato glissandi, executed by plucking a note and then sliding the stopping finger up or down the string. This technique can be heard in his ""Music for Strings, Percussion and Celesta"". Pizzicato Pizzicato (; , translated as ""pinched"", and"
"Mysterioso Pizzicato Mysterioso Pizzicato, also known as The Villain or The Villain's Theme, is a piece of music whose earliest known publication was in 1914, when it appeared in an early collection of incidental photoplay music aimed at accompanists for silent films. The main motif, with minor variations, has become a well-known and widely used device (or ""cliche""), incorporated into various other musical works, and the scores of films, TV programmes and video games, as well as unnotated indications in film scripts. Both a character theme (the ""traditional 'bad-guy' cue"") and situation theme, it is used to herald foreboding or"
"Spiccato Spiccato is a bowing technique for string instruments in which the bow appears to bounce lightly upon the string. The term comes from the past participle of the Italian verb ""spiccare"", meaning ""to separate"". The terms ""martelé"", ""saltando"", and ""sautillé"" describe similar techniques. In typically consistent rhythms (of quavers or semiquavers, or quicker repeated sounds), the bow is held in a more relaxed manner and allowed to bounce, resulting in a series of short, distinct notes. This occurs because of the elasticity of the string and the natural springiness of the bow. The ability to create the effect is"
"These techniques include legato-style bowing (a smooth, connected, sustained sound suitable for melodies), collé, and a variety of bowings which produce shorter notes, including ricochet, sautillé, martelé, spiccato, and staccato. A note marked ""pizz."" (abbreviation for ""pizzicato"") in the written music is to be played by plucking the string with a finger of the right hand rather than by bowing. (The index finger is most commonly used here.) Sometimes in orchestra parts or virtuoso solo music where the bow hand is occupied (or for show-off effect), ""left-hand pizzicato"" will be indicated by a + (plus sign) below or above the"
"periodic, so it drives all of the resonances of the string at exactly harmonic ratios, even if it has to drive them slightly off their natural frequency. The first recognised use of pizzicato in classical music is found in Tobias Hume's ""Captain Humes Poeticall Musicke"" (1607), wherein he instructs the viola da gamba player to use pizzicato ('thumpe'). Another early use is found in Claudio Monteverdi's ""Il combattimento di Tancredi e Clorinda"" (around 1638), in which the players are instructed to use two fingers of their right hand to pluck the strings. Later, in 1756, Leopold Mozart in his ""Versuch"
"as to sound them both at once. In pizzicato playing, the string is plucked directly with the fingers or thumb. Pizzicato is often abbreviated as ""Pizz."". Position of the hand is slightly over the finger board and away from the bridge. A player using the col legno technique strikes or rubs the strings with the wood of the bow rather than the hair. In spiccato playing, the strings are not ""drawn"" by the bow hair but struck by it, while still retaining some horizontal motion, to generate a more percussive, crisp sound. In staccato, the player moves the bow a"
"vibrato is varied by the performer for an emotional and musical effect. In jazz, rockabilly and other related genres, much or all of the focus is on playing pizzicato. In jazz and jump blues, bassists are required to play extremely rapid pizzicato walking basslines for extended periods. As well, jazz and rockabilly bassists develop virtuoso pizzicato techniques that enable them to play rapid solos that incorporate fast-moving triplet and sixteenth note figures. Pizzicato basslines performed by leading jazz professionals are much more difficult than the pizzicato basslines that Classical bassists encounter in the standard orchestral literature, which are typically whole"
"pizzicato strings which ""cascade"" over xylophones into rich, soulful vocal harmonies. Throughout its composition, ""Zaba"" explores the concept of minimalism, allowing the beats, melodies, and lyrics to ""speak for themselves"". The songs feature sparse, uncluttered, groove-driven electronic structures and mix soulful vocals, R&B beats, and gentle percussion with unobtrusive synths and light, glitchy electronica. ""Zaba""'s songs are connected by self-described ""interludes"" of echoed electronics, varied percussion, and smooth jazz, weaving them together so that while each individual track is distinctive, the album ""melts"" into a single, mellow groove. Carey Hodges of ""Paste"" noted that the ""danceable"" music on ""Zaba"" contains"
"note. In left-hand pizzicato, two fingers are put on the string; one (usually the index or middle finger) is put on the correct note, and the other (usually the ring finger or little finger) is put above the note. The higher finger then plucks the string while the lower one stays on, thus producing the correct pitch. By increasing the force of the pluck, one can increase the volume of the note that the string is producing. Pizzicato is used in orchestral works and in solo showpieces. In orchestral parts, violinists often have to make very quick shifts from arco"
"d) d\! d d( b) b\> b b( a) a a\! | b4 } </score> Pizzicato chords follow. A brief cadenza is played, and sixteenth-note motive and chords follow. A ritardando leads directly to a scherzo-like section which remains until the end. The slow third movement starts and ends with a lyrical melody, and one theme runs through the entire movement. <score vorbis=""1""> \relative c { \set Staff.midiInstrument = #""cello"" \clef bass \time 3/8 \tempo ""Adagio"" 8 = 50 \key bes \major d8(\p\< f) bes\! | f'\>( fis g^""ten"")\! | r bes,( c) | d4( f8)^""ten""\> | r\! g,( a)"
"Pizzicato Five Pizzicato Five (formerly typeset as Pizzicato V and sometimes abbreviated to P5) was a Japanese pop band formed in Tokyo in 1979 by multi-instrumentalists Yasuharu Konishi and Keitarō Takanami. After some personnel changes in the late 1980s, the band gained international fame as a duo consisting of Konishi and vocalist Maki Nomiya. The group, widely credited (along with Flipper's Guitar) with spearheading the Shibuya-kei movement of Tokyo in the 1990s, is known for electric and energetic compositions that often pay homage to late 1960s English-language pop music. The catchphrase ""A New Stereophonic Sound Spectacular"" captured the group's ironic"
"Capriccio (music) A capriccio or caprice (sometimes plural: ""caprices"", ""capri"" or, in Italian, ""capricci""), is a piece of music, usually fairly free in form and of a lively character. The typical capriccio is one that is fast, intense, and often virtuosic in nature. The term has been applied in disparate ways, covering works using many different procedures and forms, as well as a wide variety of vocal and instrumental forces. The earliest occurrence of the term was in 1561 by Jacquet de Berchem and applied to a set of madrigals. In the late 16th and early 17th centuries, it could"
"pizzicato where the string rebounds against the instrument's fingerboard). The work is dedicated to the Pro Arte Quartet but its first public performance was given by the Waldbauer-Kerpely Quartet in Budapest on 20 March 1929. It was first published in the same year by Universal Edition. A study of the manuscript sources, as published by László Somfai finds that Bartók originally intended the quartet to have four movements, not five. Bartók’s musical vocabulary, as demonstrated in his string quartets particularly, departs from traditional use of major and minor keys, focusing more on the chromatic scale and attempting to utilize each"
"the Hot Frittatas, the Graventsein Mandolin Ensemble, and Gus Garelick. Liscio Liscio or ballo liscio (""smooth"" or ""smooth dance"" respectively in Italian) is a genre of music originating in the 19th century in the northern Italian region of Romagna under the influence of Viennese ballroom dances including the mazurka, waltz, polka, schottische, march. It later became popular and spread to the rest of the country. The accordion, which was also a 19th century invention, features prominently. The tradition contrasts with older Italian folk dances in which the fiddle was the primary instrument. Italian immigrants to San Francisco, California brought the"
"instruments, the double bass is played either with a bow (arco) or by plucking the strings (pizzicato). In orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz, blues, and rockabilly, pizzicato is the norm, except for some solos and also occasional written parts in modern jazz that call for bowing. In classical pedagogy, almost all of the focus is on performing with the bow and producing a good bowed tone; there is little work done on developing significant pizzicato skills. Bowed notes in the lowest register of the instrument produce a dark, heavy, mighty, or even"
"the varieties of pizzicato tone. In contrast, in genres that mainly or exclusively use pizzicato (plucking), such as jazz and blues, a great deal of time and effort is focused on learning the varieties of different pizzicato styles used for music of different styles of tempi. For example, in jazz, aspiring bassists have to learn how to perform a wide range of pizzicato tones, including using the sides of the fingers to create a full, deep sound for ballads, using the tips of the fingers for fast walking basslines or solos, and performing a variety of percussive ""ghost notes"" by"
"""piano"" in which the piano timidly puts forth the second ""narrante"" theme, echoes its last notes, repeats it ""pianissimo"", ever fading. Pizzicato strings point several more times to the opening theme, the significance of which has now been revealed. The scherzo is of an exceptionally strict form considering the piano part. The right and left hand play a stubborn unison, almost 1500 semiquavers each, literally without a moment's pause: Robert Layton describes the soloist in this movement being like ""some virtuoso footballer who retains the initiative while the opposing team (the orchestra) all charge after him"". At around ten notes"
"be audible on both an amplified instrument and on a brightly strung acoustic instrument. Classical music of the late romantic period features numerous applications of the technique to bowed string instruments such as the violin, viola, cello, and double bass. In the classical context, the term is referred to as left-handed pizzicato. When a player switches from arco (bowing) to regular pizzicato, the player normally requires a short pause to switch his or her bowing hand into pizzicato position and pluck the string. With left-hand pizzicato, though, a string player can play a pizzicato note immediately following a bowed note;"
"century inhabits the ""Intrada"" and ""Rhapsody"" from Gerald Finzi's exquisite cantata, ""Dies Natalis"". Siciliana The siciliana or siciliano (also known as the sicilienne or the ciciliano) is a musical style or genre often included as a movement within larger pieces of music starting in the Baroque period. It is in a slow or time with lilting rhythms, making it somewhat resemble a slow jig or tarantella, and is usually in a minor key. It was used for arias in Baroque operas, and often appears as a movement in instrumental works. Loosely associated with Sicily, the siciliana evokes a pastoral mood,"
"series of live events featuring guest performances by old members and two further ""Big Hits and Jet Lags"" albums - ""Pizzicato Five R.I.P."" (1998–2001) and ""Singles"" (1993–2001). Pizzicato Five Pizzicato Five (formerly typeset as Pizzicato V and sometimes abbreviated to P5) was a Japanese pop band formed in Tokyo in 1979 by multi-instrumentalists Yasuharu Konishi and Keitarō Takanami. After some personnel changes in the late 1980s, the band gained international fame as a duo consisting of Konishi and vocalist Maki Nomiya. The group, widely credited (along with Flipper's Guitar) with spearheading the Shibuya-kei movement of Tokyo in the 1990s, is"
"Squillo Squillo is a technical term for the resonant, trumpet-like sound in the voices of opera singers. It is also commonly called ""singer's formant"", ""ring"", ""ping"", ""core"", and other terms. Squillo enables an essentially lyric tone to be heard over thick orchestrations, e.g. in late Verdi, Puccini and Strauss operas. Achieving a proper amount of ""squillo"" in any performing context is imperative: too much and the tone veers towards the shrill; too little and the purpose of the ""squillo"" cannot be achieved. ""Squillo"" is easily recognizable by a distinctive brilliant, ringing quality in the timbre of the voice. This perception"
"oboes and descending through the orchestra. The brilliance of this movement lies in its extraordinary and original orchestration, which gives this movement a strongly nightmarish quality. Multiple viola solos rise above the texture, and there is a persistent timpani and pizzicato motif that pervades the dance. The theme and its accompaniment are both passed around the orchestra rather than being played by a specific instrument. At one memorable point in the score, the cellos and double basses are instructed to play pizzicato with the volume , with the footnote, ""pluck so hard that the strings hit the wood"". The fourth"
"may put down the bow. Violinists and violists may also hold the instrument in the ""banjo position"" (resting horizontally on the lap), and pluck the strings with the thumb of the right hand. This technique is rarely used, and usually only in movements which are pizzicato throughout. A technique similar to this, where the strings are actually strummed like a guitar, is called for in the 4th movement of Rimsky-Korsakov's ""Capriccio Espagnol"" (Scena e canto gitano), where the violins, violas and cellos are instructed to play pizzicato ""quasi guitara"", the music here consists of three- and four-note chords, which are"
"""Dr. ROCKenstein"" (arr. by Steve Hodges), a medley of various Halloween or horror film musical motifs. Mysterioso Pizzicato Mysterioso Pizzicato, also known as The Villain or The Villain's Theme, is a piece of music whose earliest known publication was in 1914, when it appeared in an early collection of incidental photoplay music aimed at accompanists for silent films. The main motif, with minor variations, has become a well-known and widely used device (or ""cliche""), incorporated into various other musical works, and the scores of films, TV programmes and video games, as well as unnotated indications in film scripts. Both a"
"Staccato Staccato (; Italian for ""detached"") is a form of musical articulation. In modern notation, it signifies a note of shortened duration, separated from the note that may follow by silence. It has been described by theorists and has appeared in music since at least 1676. In 20th-century music, a dot placed above or below a note indicates that it should be played staccato, and a wedge is used for the more emphatic staccatissimo. However, before 1850, dots, dashes, and wedges were all likely to have the same meaning, even though some theorists from as early as the 1750s distinguished"
"Ostinato In music, an ostinato (derived from Italian: ""stubborn"", compare English, from Latin: 'obstinate') is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include both classical compositions such as Ravel's ""Boléro"" and popular songs such as Donna Summer and Giorgio Moroder's ""I Feel Love"" (1977), Henry Mancini's theme from ""Peter Gunn"" (1959), The Verve's ""Bitter Sweet Symphony"" (1997), and April Ivy's ""Be Ok"" (1997). In RCM (Royal Conservatory of Music), a level 8 theory definition for the term ""ostinato"" would be referred to as ""a recurring rhythmic or"
"refer to madrigals, music intended alternatively for voices or instruments, or for strictly instrumental pieces, especially keyboard compositions . Listed by composer: Capriccio (music) A capriccio or caprice (sometimes plural: ""caprices"", ""capri"" or, in Italian, ""capricci""), is a piece of music, usually fairly free in form and of a lively character. The typical capriccio is one that is fast, intense, and often virtuosic in nature. The term has been applied in disparate ways, covering works using many different procedures and forms, as well as a wide variety of vocal and instrumental forces. The earliest occurrence of the term was in"
"the contrast with the principal theme. The development begins with the soloist playing pizzicato, and proceeds to develop upon the principal theme. In a brief recapitulation, the theme is restated not by the soloist but the principal flute, accompanied elaborately by the soloist and harp. The second movement, a scherzo marked ""Vivacissimo"", is in rondo form. Michael Steinberg wrote that the movement 'represents the ""savage"" element' of the concerto 'as against the generally more lyrical first and third movements. The music, full of contrast, is by turns amusing, naughty, for a while even malevolent, athletic, and always violinistically ingenious and"
"the beat. The mouse becomes excited by this and pulls his piano out of his hole, and the pair begin playing jazz. As Mr. and Mrs. Jones witness this, Mrs. Jones tries to call the United Press again until Mr. Jones says: ""Oh, no. No you don't! We're not going through that again!"" and hangs up the phone. Mr. and Mrs. Jones continue to enjoy the music as we see them relaxing to it in their easy chairs. The narrator closes by saying the couple dare never to tell anyone of their unusual house pets. Pizzicato Pussycat Pizzicato Pussycat is"
"thus, left-hand pizzicato provides a means to intersperse pizzicato notes into rapid passages of bowed notes. The string on which the note is played may be either open or stopped (fingered); the only requirement for using the technique on a stopped string is that the finger stopping the string be lower than the finger plucking the string. Left-hand pizzicato appears most prominently in violin ""virtuoso pieces"" such as Pablo de Sarasate's Zigeunerweisen and Paganini's 24th Caprice. The term ""pull-off"" was first invented and popularized by Pete Seeger in his book ""How to Play the 5-String Banjo"". Seeger also invented the"