Presentation designation

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A performance designation ( performance instruction , performance indication , expression designation ) tells the musician how he should perform a musical work after the composer's performance .

In Western music, performance designations are information provided by the composer in the musical text , which are intended to provide the performer with further information on performing the piece of music. They determine various parameters of the music in more detail and relate primarily to tempo, volume, articulation or various instrumental or vocal techniques, but also to the character of the piece, its emotional content or its music-making "attitude". The instruction is described in the respective notation . Mainly until the 18th century, but still widely used today, the information given for lectures is in Italian ; however, since the 19th century, information has increasingly been given in the composer's language. Information in German , French or English is therefore also essential for today's music practice . The title of a musical work can also indicate the performance at the same time. So called z. For example, the term Viennese waltz not only has a time signature and a tempo, but also a certain "weighting" of the beats that make up a special character of this genre; a piece called a rhapsody or toccata , on the other hand, indicates to the performer to deal with certain parts of the work rhythmically and relatively “freely”.

The performing musicians usually have a certain scope for interpretation .

Examples

Examples of this are the following statements:

Execution on dynamics

To this day, the volume specifications are almost exclusively referred to using Italian terms and their abbreviations. The Italian adjectives forte (strong, loud) and piano (flat, quiet) are decisive for this .

  • piano pianissimo (as quietly as possible)
  • pianissimo (very quiet)
  • piano (softly)
  • mezzo piano (semi-quiet)
  • mezzo forte (semi-strong)
  • forte (strong)
  • fortissimo (very strong)
  • forte fortissimo (as strong as possible)

Character or associative presentation information

Execution of the characteristics of a lecture (often accompanied by the tempo indication ). The classic information in Italian for the emotional content of a work includes such as

  • mesto (sad)
  • lugubre (mourning)
  • capriccioso (moody)
  • giocoso (funny)
  • vivace (lively, fast)
  • grave (hard, slow)
  • amabile (lovely)

Tempo indications

Not only adjectives of speed are used to describe the tempo - often the characteristics characteristic of feeling were also transferred to tempo indications.

The most common of these tempo indications are

  • Largo (wide)
  • Lento (slowly)
  • Adagio (leisurely)
  • Andante (outgoing)
  • Moderato (moderate)
  • Allegro (cheerful)
  • Vivace (lively)
  • Presto (quickly)
  • Prestissimo (extremely fast)

Further information relates to changes in or fluctuations in tempo, e.g. B.

Articulation information

Here, too, the Italian language is decisive to this day. The most common terms here are

Technical specifications

This includes playing instructions and information on certain vocal techniques to achieve special timbres or effects , e.g. B .:

  • Col legno : Instructions for string instruments to strike the strings with the wood of the bow. In col legno battuto the strings are struck with a bow stick.
  • Flageolets are overtones that are created on string and plucked instruments by not pressing the string down completely with the finger of the left hand, but only touching it lightly. For this purpose, either the sounding note is noted with a small zero above, or the root note and the handle note with a head in the shape of a diamond.
  • Flautando : Instructions for string instruments to bow with very little bow weight in order to let the string cross over into the octave.
  • Glissando lets the singer, string player or trombonist slip the note continuously into the next. This is noted by a line between the tones.
  • Portamento is a glissando only at the very end of the first note. The name is usually added here.
  • Con sordino instructs to put a damper on the instrument. Senza sordino (for winds: ouvert ) removes the mute.
  • Pedal (usually " Ped. ") Is the instruction for the piano player to press the right pedal (is Music-pedalup.svgcanceled by a snowflake-like symbol ( )).
  • Pizzicato : Instructions for strings to pluck the strings.

Since the 19th century, more and more free information has been found that relate to the character of the piece of music or try to inspire the speaker through associative terms.

One of the oldest names of this kind is in Italian alla ... (short for alla maniera di ) or French à la manière de ... ("in the manner of ..."). For example, Mozart's instruction in the last movement of his Piano Sonata No. 11 KV 330, alla turca , refers to a stylized form of Turkish Janissary marches. Composers of the 20th century in particular wrote increasingly complex instructions for the interpreters into their works, an example of this is Erik Satie , whose lecture information comes close to independent small literary works and sometimes seems to want to evoke downright contemplative states of consciousness. Charles Ives opened each movement of his second piano sonata with an essay on one of the American philosophers, to whom the corresponding movement was assigned.

See also

Individual evidence

  1. ↑ Wieland Ziegenrücker: General music theory with questions and tasks for self-control. German Publishing House for Music, Leipzig 1977; Paperback edition: Wilhelm Goldmann Verlag, and Musikverlag B. Schott's Sons, Mainz 1979, ISBN 3-442-33003-3 , p. 193.
  2. ↑ Wieland Ziegenrücker: General music theory with questions and tasks for self-control. German Publishing House for Music, Leipzig 1977; Paperback edition: Wilhelm Goldmann Verlag, and Musikverlag B. Schott's Sons, Mainz 1979, ISBN 3-442-33003-3 , pp. 55 and 193.