Composing for Harp - Bisbigliando
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- Опубликовано: 7 сен 2024
- www.composingforharp.com
Composingforharp.com is an informative website, for composers, about the harp. It features a laboratory where composers and harpists can meet, learn and create together. We want to improve understanding and communication between composers and harpists, and share each other's curiosity, expertise and idealism. Composingforharp.com is all about new music, and musical adventure!
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Composingforharp.com is the brainchild of two Dutch harpists, specialists in contemporary music. Miriam Overlach and Sabien Canton are both artistic coordinators for the Dutch Harp Festival's composition contest. They have also given workshops about harp composition during the Gaudeamus Festival. Composingforharp.com is their third collaboration.
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info@composingforharp.com
Thanks to:
Camac Harps, Broekmans & van Poppel, and many sponsors who invested in the project.
Eric de Clercq AV Producties, Uli Genenger/Liluc Design
Helen Leitner, Remko Kühne, Wilbert Bulsink and many composers and harpists, colleagues and friends for support and advises.
www.composingforharp.com
Thanks for this! I'm a composer who benefitted from this video.
Wow, thank you so much! This demonstration is exactly what I'm looking for.
Wonderful video demonstrations! Thank you so much! Tremendously helpful for all composers!!
Thank you for putting up this great video. Everything is very clear and played really well.
Thank you.
thank you for this. it has really helped me understand the instrument as a composer
Thank you. It is very stimulating for a composer
Thankyou ! YOu can't hear a pedal change at all . Wonderful new information .
This is GOLD, thank you!
So useful, I just owe you for bars 99 and 100 of my arrangement of Corea's Crystal Silence, had a very short knowledge of the bisbigliando sound! Great videos!
Thank you!!
These video's are amazing, thank you so much!
Thank you!
Great video! Thank you for the useful info!
The Britten excerpt is simple but very nice.
Dear Miriam, as a composer, thank you for this amazing video series! In the bisbigliando for up to eight notes, I don't hear muffling in the last few chords, even though we are not using enharmonics since we've run out of fingers! This is a beautiful thing, and I would love to see the notation. Can you tell me why these chords ring as opposed to the muffling in the non-enharmonic interval example? Is it because they're diatonic clusters so the fingers are each playing individual strings and not overlapping?
Dear Gabrielle, you are compleatly right!! The sound gets less when you use the same strings. When different strings are used they can ring easily!
And: CALL FOR SCORES FOR HARP SOLO!
www.gaudeamus.nl/call/gaudeamus-award
so, if you are currently writing something - send it in! I am curious!
Love your videos! FAV
Can enharmonic bisbigliandos only be done at a piano dinamic, or would they work in an orchestral setting? Not talking about a tutti here, just two trumpets playing a theme while a piano does an arpeggio ostinato and strings doing pizzicato. In any case, thank you for the video!
Dear Bruno, excuses for the late answer! I think it should be audible in this setting. Just don't mark 'piano' in the harp part. Better mf or f. all the best! Miriam
Is this a tremolo
1:29
This is incorrect information. A bisbigliando involves three notes in each hand, and is a terribly overused 19th-century cliché. A trill is played with one or both hands, preferably both hands, as very few harpists can trill effectively with one hand. A trill becomes a tremolo when the interval becomes a third or fourth or larger. Trills with one hand should be short, up to six repetitions at most. It is not like a trill on other instruments.