Thank you!
-N.
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@JimmyHellfire said:
there are people here who can surely explain it with greater competence and will hopefully chime in to correct me
Ha-ha! That is a perfect explanation. Cecil Forsyth could not have done better. So where is this modesty coming from? You should strut around arrogantly like all the other people on this Forum. (Dietz, Paul and Herb excluded... [A])
The "slurred" legato are more pronounced legato, but not actual portamento on one string. The normal legato is what would usually be done for a typical legato passage, which is combination of notes that are taken on one bow and actually slid between, as well as actually separate though closely connected notes on different strings. That is normal for a live performance of written slurs, depending on which string is playing what note and how best to switch to the next note or how it is even possible in some cases - for example a violin slur from a low open G to a middle C: that HAS to be on one string though it could be bowed separately. On the other hand you could do a "legato" two ways - either by sliding on one string or switching to another string - if it was from low G to D above middle C, because you could do it on the G string with a slide, or switch without an audible gap from the G string to the D string.
So the point is, legato is complicated in actual performance practice because there are different ways to play a passage depending on what the notes are.
If you set up a very simple custom matrix which has legato for the first cell, sustain for the second, detache then staccato for 3rd and 4th, you will be able to use almost all of the normal string bowing articulations by keyswitching between just those four. You can play a huge amount of string music beautifully with just those four articulations. If you start with sustain, you will get a fresh downbow, which can then be switched to legato for a new smooth line. If you need shorter articulations, more pronounced and shorter, you then can use the detache or staccato.
One thing that will always make your line sound more natural is to mix articulations, based on the phrasing of the line you are doing. So if it has a feel of starting on a certain note, even in the middle of a phrase, use sustain, detache (if the note is short enough) or even sforzando, then immediately switch to legato to connect the rest of the line or phrase.
The portato articulations are really good also, and in strings may be used instead of detache to get more complexity or a slightly different attack to the note. Also, the legato repeition notes in the strings - those are really good if you have a slower line, that you want to sound more natural.
The great thing about the VSL legato is that you can connect any previous note to a legato transition and target note. That is an awesome feature, when you think how it allows any kind of attack or dynamic to be used with a legato transition note. So if you start with a forte piano, then go to piano legato, you will have a totally different line that has an accented start then a soft legato melody. The same thing applies to the dynamic samples, which if you match correctly (simply by listening) you can create transitions to any following legato note. That allows for example, a crescendo sustain to a slurred fortissimo jump. Something you might often want to use for dramatic effect.
@JimmyHellfire said:
Staccato, and its sibling, the spiccato, are currently obviously very popular in "trailer" and Hollywood action music with all those repeated rhythmical ostinato figures and slamming low double basses with celli octaves on top and all that. Can sound really cool and powerful when not overused.
So what about spiccato? I've never really been able to wrap my head around spiccato. And I guess it would be pretty disgusting if I actually did wrap my head around spiccato, or a tree, a telephone pole or anything else for that matter.[+o(]
To me, spiccato just sounds like 2/3rds of a staccato. Why not just use a lower velocity staccato or a "short staccato?" When would you use a spiccato?
BTW Guy Bacos has produced some great video demos for most of the major instrument collections. What I like about them is he shows you how just about every articualtion in the library can be used giving you an idea of how to incorporate those articulations in your composition.
Here's a link to the solo strings: http://www.vsl.co.at/en/211/442/344/350/1030/643.htm
Chamber Strings 1: http://www.vsl.co.at/en/211/442/344/351/1544/1203.htm
And Appassionata 1 : http://www.vsl.co.at/en/211/442/344/422/1546/1205.htm
I hope they help.
@BachRules said:
William, which taiko-legato is best for (a) Hans Zimmer sound and (b) Zack Hemsey sound?
Answer...
(a) TKperf_legato_piece of cardboard_thump!
(b) TKperf_legato smaller piece of cardboard_thud
@jasensmith said:
So what about spiccato? I've never really been able to wrap my head around spiccato. And I guess it would be pretty disgusting if I actually did wrap my head around spiccato, or a tree, a telephone pole or anything else for that matter.
To me, spiccato just sounds like 2/3rds of a staccato. Why not just use a lower velocity staccato or a "short staccato?" When would you use a spiccato?
The bowing technique of spiccato is quite different and therefor the sound.
The standard staccato stroke is straight and rigid, and the bow doesn't actually leave the string. Therefor, the string can't vibrate and "ring out", and the note deadens off. There is also the possibility of lifting the bow after the stroke, but let's ignore that right now.
When playing spiccato, the player lets the bow "fall" on the string and bounce off it during a stroke. As this is also a quick, short motion, the initial contact of the bow hair with the string produces a short note, similar to a standard staccato - but as the bow bounces off, it lets the string ring out for a moment. This leaves us with a somewhat shorter attack and a more "ambient" tail of the note.
I feel that the spiccato sounds more swift, more light-footed and playing a figure spiccato has a certain "swing" to it, in contrast to the full sounding rigidness of the staccato. You could of course shorten the duration of the staccato notes and use a lower velocity, and I often do that. But what you don't get with staccato is that "bounciness" and the airy decay of the note, it just has a different, more swinging character.
When I'm doing repeated patterns and rhythmic motives with a lot of notes, I like to lean somewhat more on the spiccato, because staccato all the way could easily sound too overbearing and too stiff. For me, spiccato works more when I'm trying to suggest a feeling of "motion".
Or we could also say: staccato is like shooting someone with a crossbow, while spiccato is a little more like whipping them. Now that's something to wrap one's head around ... wonder what's the association with tremolo?
P.S. That solo violin video from Guy Bacos just doesn't get old. It really demonstrates a great sample library in the hands of an admirably skilled user. Every time I see it, I'm impressed to no endHey Jimmy,
Thanks for your insight and thorough knowledge on all of this. I appreciate it.
And yes those videos are excellent[Y] I find myself reffereing to them constantly.