新西兰论文格式:肖邦音乐的踏板使用

新西兰论文格式:肖邦音乐的踏板使用

使用踏板是肖邦的演奏的一个重要部分,他经常用它们产生柔和的声音,有时为了保持持续的和声,响亮的和弦,深低音,甚至产生一种胆怯的杂音。肖邦很细致的在他对蹬车的目的定义为消息人士称,在他演奏肖邦用于快速踏板某些段落。有时他从福特传给左踏板没有太多注意,在等音的调节。但是有一个事实应被视为一个重要的事实,肖邦很清楚关于蹬车时让他的草案。不幸的是,后来出版商犯了关键的错误运用踏板在踏板的痕迹。而且百雅钢琴,肖邦用来玩是一个定制的,而且老钢琴远远低于维持权力相比,今天的钢琴。因此变得相当艰巨的任务找到正确的方式玩脚踏在一个真正的时尚。事实上他只可能是二战前作曲家次使用蹬车的大部分技术,尤其是延音踏板。他还归功于发明新的纹理主要我们能看到骑行在夜曲作品。2和开放的Polonaise-Fantaisie op.61where他刺耳的笔记和和弦用一种不同寻常的方式。他有时把踏板从一个词到旁边隐藏结构的规律,甚至有时用它来连接一段一段,像夜曲作品62号1号。重复的部分他多样的蹬车饰品,诽谤和节奏甚至蹬车集中在小规模和大规模的正式和谐波结构。肖邦一直强调使用踏板,但并非如此。固执己见的而且有不同的想法关于踏板使用的解释在肖邦的叙事曲,在现代语境。肖邦本人使用踏板以不同的方式定义的影响。这可能是因为他没有解释一块总是相同的方式。这似乎值得考虑的另一个因素是,肖邦知道他的踏板使用复杂的性质和他有意识地逃避的想法添加踏板乐谱标记。

新西兰论文格式:肖邦音乐的踏板使用

Use of pedal is one important part of Chopin’s playing and he often used them to produce softer sounds and at times to maintain sustained harmonies, loud ringing of chords, deep bass notes and even to produce a timid murmur. Chopin was quite meticulous in defining his intention towards pedalling as sources say that during his playing Chopin used to rapidly pedal certain passages. Sometimes he passed from forte to left pedal without much notice in enharmonic modulations. However there is one fact which should be taken as an important fact that Chopin was clear in regard to pedalling when he was making his draft. Unfortunately the later publishers made crucial mistakes by applying rule of pedal over the pedal marks. Moreover the Pleyel Piano, which Chopin used to play was a custom made and moreover the old pianos have far less sustaining power when compared with today’s piano. Thus it becomes quite a daunting task to find the right mode of playing the pedal in an authentic fashion.

In fact he was probably the only composer before World War II times that used most of pedalling technique, especially the damper pedal. He is also credited to invent new pedalled textures as what we can primarily see in Nocturne op.27 no.2 and in the opening of Polonaise-Fantaisie op.61where he employed jarring notes and chords in an unusual manner. He at times carried the pedal from one phrase into next to hide the regularity of structure or even at times used it to connect a section of a piece, like in Nocturnes op. 62 no.1. In case of repeated sections he varied pedalling as he did ornaments, slurs and rhythms and even pedalling to focus on small-scale and large-scale formal and harmonic structures.

Chopin had always stressed using pedal but that is not the case for all the time. Moreover there are different ideas opinionated in regard to the interpretation of pedal usage in Chopin’s ballade, in the modern context. Chopin himself used the pedal in various ways to define effects. It is probably because of the fact that he did not interpret a single piece in always the same fashion. Another factor which seems worth considering is, Chopin knew that his pedal usage is of complex nature and he consciously evaded the idea to add pedal markings in the musical notation.

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