Martinou: Fills the phrases full and lyrical, and the musical atmosphere is full of energy and movement

Beginning in the 2020s, jazz began to appear swing, also known as big band jazz. In terms of rhythm, the main feature is the strong beat forward, the creation is very flexible, and the musical effect is very wild and intense. Martinou incorporated this powerful, imposing and acoustically brilliant big band jazz into this concerto. In 20th-century oboe concerto works, jazz is rarely incorporated into it. It can also be seen that this oboe concerto is very precious.

First of all, the beat characteristics:

The composer followed the three-movement structure of the concerto, which was most typical of the classical period. The difference is that in the first movement of this concerto, the composer uses 6/8 beats. Through the use of double beats, composers can combine musical lyricism and dynamism to create contrasting and contrasting musical effects.

For example, between bars 80 and 88, by changing the sixteenth note of the six-tone to a rest, the singing nature of the original phrase is broken, creating a swinging rhythm, and the musical atmosphere is full of vitality and movement. After 84 bars, the rhythmic pattern returns to consecutive sixteenth notes, filling the phrases full and the music is lyrical. The composer's use of 6/8 beats is conducive to the flexibility and freedom of writing, and also conducive to the rapid change of musical style. When the player plays, he needs to exaggerate the contrast between the two phrases, which will better interpret the concerto.

This is followed by the use of various conjunctions:

In this concerto, the composer used triplets and hexagrams more often. However, quintograms are also used in the second movement. For example, the 28 bars and 30 bars of the second movement use a combination of pentagrams and hexagrams. Compared with hexagrams, pentatograms have an unstable structure, which is more conducive to reflecting the musical color of the music's worry and trepidation. Therefore, when playing quintuples, the player can freely choose the rhythm according to "2+3" or "3+2".

Syncopated is one of the most typical rhythmic forms of jazz music, and in the classical music genre it is quoted either directly or by changing the position of the weak beat. In this concerto, then, the composer's use of syncopation runs through three movements. Among them, the most typical is the first movement.

1. Between bars 27 and 56, the rhythm continues in syncopated form. This kind of writing technique is not only very expressive, but also reflects the composer's musical style in a straightforward way. The composer separates the beats by wires. Accents are sometimes on strong beats, sometimes on weak beats. Therefore, when playing, pay special attention to the position of the connection, emphasize the accuracy of the beat of the connecting note, so that you can grasp the rhythm of this section well.

Second, in bars 67 to 88, the composer expresses syncopation as a dance-like feeling. In the four bars of the first phrase, the rhythm of the melody is transformed into a syncopation by alternating the connection and voicing, giving the image of a cheerful, relaxed and lively dance. When playing spitting, it is necessary to play the time value of the votion shorter, which can make the musical contrast more obvious.

And the next phrase, because the syncopated pattern is hidden by the composer, is to change the accent position to the weak beat through the vomit, so the rhythm of the syncopated tone must be very firm and accurate when playing the vomit. The syncopation of bars 80 to 84 is obvious, but the difficulty that needs to be solved when playing is that because the forward beat rhythm is inserted in the phrase, the rhythm will intervene between stability and instability, so it is the key to presenting the rhythm to clearly grasp the change of rhythm in performance.

1. Between bars 125 and 140, the composer transitions the syncopated to the stable pattern, heralding the end of the movement and the return of inner emotions to quiet. When playing, compared to bars 77 to 88, the ending phrase should be stable in rhythm, not too intense, and more to show a peaceful and gentle color. For example , one can end the first movement by playing a fade on the 149 bar B.

With dotted notes and compound rhythmic type

In jazz music, complex and changeable rhythms are the main embodiment of its musical style. By adding wires and other methods, you can change the position of the accent in the existing stable rhythm type to achieve a rich and diverse musical charm. For example, the use of attached points and compound rhythms can produce a sense of fluctuation and sway of the sound. In this piece, the composer mainly uses this complex variation more in the first and third movements.

First, in bars 80 to 83 and 129 to 132 of the first movement, the octal stop is used to break the stability of the hexagram. Turn the third note into a rest to make the music melody more dynamic. Therefore, in the performance, the time value of the rest can be slightly shortened and the fourth note can be played in advance, which can make the melody of the phrase more fluid and the emotional expression more positive.

Second, two identical phrases in the third movement are bars 42 to 44 and 151 to 153. The composer uses wires to break the musical logic of 5 sets of four sixteenth notes, resulting in variation.

In bar 152, the two sixteenth notes of the first group are extended to the two sixteenth notes of the next group, and the last two sixteenth notes are connected to the next group.  73 to 77, 174 to 178 bars. The composer used wires to connect the fourth of the four sixteenth notes with the first sixteenth note of the next group. In actual playing, it is good to just use the vomited tone to play it clearly, and you can't overemphasize the accent, because this will destroy the smoothness of the melody.

1. Different dotted notes can create different musical colors. One is that quartered notes can enhance the lyricism of the music and be gripping. For example, bars 58 to 60 in the second movement. Eight points can amplify the cheerful and lively atmosphere of the music. For example, bars 74 to 76 in the first movement and bars 48 to 51 in the third movement. The other is to play the eighth-point note is different from the quarter-point note, and the sixteenth note of the eighth-point note is played further back, so that the processing can enhance the cheerful and lively musical effect.

Analysis of playing skills

For playing wind instruments, the use of breath is crucial. Breath can not only directly affect the color of the music melody, but also play a role in the change of musical tone. In the process of practicing this concerto, the author found that the requirements for breath of this piece are very high, not only should pay attention to distinguish the breath changes used in different phrases when practicing, but also make reasonable use of performance skills, which requires continuous improvement of the player.

First of all, the most typical is the second movement's declarative tone (47-53 bars), although only 7 short bars, but 186 notes, the range of volts ranges from C in one group of small words to G in three groups of small words. Especially in the last 5 bars, the composer uses notes in the highest range of the oboe, which are the most difficult notes for the oboe to play.

For the performance of this section, this is a very test of breath skills, because this section not only needs to be played in one breath, but also according to the phrase to divide different tones, play different levels of sound quality. Take two contrasting examples:

For example, the syncopated sound pattern of the decorative tone in Score 2-9 should be exaggerated when playing the decorative tone and voice change, the sound quality needs to be firmer, angular, and the musical expression is full, which must fully reflect the inner anxious mood.

For example, in Scores 2-10, the last 5 bars of the narrative are also the climax of this section. As the highest range in the oboe playing range, the timbre is high-pitched and sharp. But on the contrary, under the suggestion of the instructor, the author was made to deal with the volume of the B sound to be abruptly weak, so that the timbre and tone temporarily became soft and beautiful, which played a role in promoting and suppressing the emotions in a violent manner later.

In breath playing, in addition to the player should pay attention to the rapid flow of breath, but also pay attention to the degree of grasp of the quality of the breath during rapid ventilation, both to be full of breath and to relax the body, so that the instrument can be fully vibrated by the breath.

Through the comparison of the two examples, the way of using the breath can be reflected. The speed of the breath is not too fast when playing the phrase, but it is necessary to stay alert and retract freely. The speed of the performance needs to flow quickly, and it is important not to suppress the breath to ensure the quality of the pitch and volume of the performance.

Secondly, when playing long time notes, in order to enhance the fluidity and lyricism of the melody. The use of Vibrato on notes and the kneading of strings of string instruments are the same acoustics. Well, there are differences in the Vibrato played according to different musical tones.

For example, in Score 2-丨], it is the first theme section of the first movement. Because the composer marked the melody of this section as singing and strong, perhaps to express a violent mood for the disturbances of the world, Vibrato can be used more technically to enhance the singing nature of the melody. Through analysis, the author found that not only did the composer deliberately design the time value of the notes to be very long with the connection method, but also the phrases were written very long and continuous, so Vibrato had to increase the frequency when playing. It is necessary to play the vibrato rate more than 6 times on a note of more than two beats, and the speed of breath is increased, so as to interpret the emotions that are boring and want to be urgently confided.

It is worth noting that while using vibrato, it is also necessary to pay attention to the change of tone of the music, the melody is played until the end of the phrase, and the frequency of Vibrato is slowed down and gentled. In order to start the next phrase more naturally.

For example, in Notation 2-12, it is the second movement bars 54-69. This section is the third part of this movement, transitioning the violent musical atmosphere of the second part to calm, soft colors.t Because the score is marked with sweet and soft (dolce), the inner emotions to be expressed are leisurely and comfortable, so when playing Vibrato, the frequency should be calm, soothing, and as the tone rises and falls, the frequency should be slightly accelerated or slowed down.

One is in the fourth bar of the fifth bar, which I deal with this way, because B is the note with the strongest relative volume, and the frequency of Vibrato starts with B. At the end of the time value, the vibrato suddenly stops and is played quietly and softly in the next bar.

The other is in the bar before the sixth, because A-B has to light down quickly in volume, so the flutter rate of the B note also changes rapidly. The frequency is no more than one beat from fast to slow, and the next frequency is slowed down to a smooth end of the phrase, so that the next phrase is played.

From these two specific lists, it can be seen that the design and use of Vibrato is an important factor affecting the expression of musical tone. Therefore, in the process of learning music performance, we should pay attention to learning to deal with the tone of analytical phrases, in addition to teaching from the experience of the instructor, you should also need to take more initiative to learn the ability to design musical sentences, so that when playing music, it will make the music more moving.