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Music

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by

Calvin Kim

on 9 June 2015

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Transcript of Music

• Trill (Trillo)
• Mordent (Mordant)
• Trill and Mordent (Trillo und Mordant)
• Turn (Cadence)
• Appogiatura and Acciacatura
• Appogiatura and Trill (Idem)
How to improvise the Da Capo Aria
Practice expressive Ornamentation
Consider the context of the Aria
-Structure: Form, Phrase, etc.
-Figured bass (Harmony)
-Text, Mode and Tempo
Decide where ornaments and cadenzas to be placed according to the context

Rules for singing Cadenza
(1750-1780)
Neither be frequent nor long; comfortably manage with one breath
Be appropriate to the main affect of the aria
- Florid for fast arias, more languid for slow arias
New figures ought to be introduced
- unexpected, a final surprise for the listeners

IMPROVISATION
Improvisation
How to improvise the Da Capo Aria in the Baroque Style
Let's Practice!
Creating interesting improvisations
The balance between

I. emotional and perceptual responses,
II. repose and tension
III. unity and variety
IV. stability and motion
Purpose of Improvisation
Variety
Affection: Pleasure or Pathos
Virtuosity
Unique Expression of the performer
- Performer’s interpretation
- Performer’s ability
Vocal Ornaments I
Trill (Trillo)
Mordent (Mordant)
Turn (Cadence)
Appogiatura and Acciacatura
Appogiatura and Trill (Idem)
Turn (Cadence)
• Division (Diminuition/Passagio)
• Putting forth of the voice (Messa di voce)
• Esclamation
• Escape tone (Accento)
Vocal Ornaments II
Division
(Diminuition/Passagio)
Escape tone (Accento)
Esclamation
Putting forth of the voice (Messa di voce)
• Anticipation of the syllable 1,2,3
• Anticipation of the notes
• Gruppo
• Slide (Portamento)
Vocal Ornaments III
Anticipation of the notes
Gruppo
Slide (Portamento)
Anticipation of
the syllable 1,2,3
Singer A
Singer B
Da Capo Aria
“Lascia Chio Pianga” by G.F.Handel
Montserrat Caballe
by Carlene Y. Kim
Montserrat Caballe's Rendition
Da Capo Aria
“Lascia Chio Pianga” by G.F.Handel
Julia
Mijin
Full transcript