{"id":17488,"date":"2016-07-31T03:37:39","date_gmt":"2016-07-31T07:37:39","guid":{"rendered":"https:\/\/www.classicalguitarcorner.com\/?p=17488"},"modified":"2021-11-26T14:43:02","modified_gmt":"2021-11-26T19:43:02","slug":"vocal-influences-in-classical-guitar","status":"publish","type":"post","link":"https:\/\/www.classicalguitarcorner.com\/vocal-influences-in-classical-guitar\/","title":{"rendered":"Vocal influences in classical guitar"},"content":{"rendered":"<div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1216.8px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-0 fusion_builder_column_1_1 1_1 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:0px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-text fusion-text-1\"><p>If you are familiar with my teaching style, you might know that I often resort to singing lines to understand how we might play them. We can learn a lot about phrasing, melodic contour, and legato note connection from listening to singing and singing ourselves.<\/p>\n<p>So, to add to this appreciation of sung melody and to perhaps spark some curiosity, I have compiled some wonderful performances that offer some interesting juxtapositions. I encourage you to listen to the nuances in each of the vocal recordings, to notice shaping of phrases, pauses, breaths, tempo, and the continuity of tone.<\/p>\n<p>By no means is this meant to be a definitive collection, or an in-depth history lesson. Rather, food for thought, and possibly fuel for practice.<\/p>\n<p><strong>Dido and Aeneas <\/strong><em><strong>&#8211;<\/strong> Dido&#8217;s Lament, Remember Me<\/em><\/p>\n\n      <div class=\"video-wrapper\">\n        <div class=\"video-container\">\n          <iframe src=\"\/\/www.youtube.com\/embed\/ou8A0g_jYyA?rel=0&showinfo=0&theme=light\" frameborder=\"0\" allowfullscreen><\/iframe>\n        <\/div>\n      <\/div>\n    \n<p><strong><em>Nigel North: <\/em>Weiss<\/strong><em><strong> &#8211; <\/strong>Sarabande from Partita in G minor<\/em><\/p>\n\n      <div class=\"video-wrapper\">\n        <div class=\"video-container\">\n          <iframe src=\"\/\/www.youtube.com\/embed\/cz6M98-LcTo?rel=0&showinfo=0&theme=light\" frameborder=\"0\" allowfullscreen><\/iframe>\n        <\/div>\n      <\/div>\n    \n<p>Dido&#8217;s Lament is one of the jewels of western music. It comes from Purcell&#8217;s opera &#8220;Dido and Aeneas&#8221; a work from the English baroque period. It is often used as an example of the &#8220;lament bass&#8221; which uses a descending series of stepwise notes that span a perfect fourth. In this case the descending scale is chromatic.<\/p>\n<p>You may hear a similarity between the Weiss and Purcell at the opening, and this is because the Weiss Sarabande employs the same lament bass at the outset of the piece.<\/p>\n<p>Hearing these two pieces side by side might give you an insight into how the Weiss piece lives very much in the world of melody and accompaniment that is so clear in the aria.<\/p>\n<p><em>Exsultate Deo<strong> &#8211; Palestrina<\/strong><\/em>\n      <div class=\"video-wrapper\">\n        <div class=\"video-container\">\n          <iframe src=\"\/\/www.youtube.com\/embed\/nRmkj19i4Yk?rel=0&showinfo=0&theme=light\" frameborder=\"0\" allowfullscreen><\/iframe>\n        <\/div>\n      <\/div>\n    <\/p>\n<p><em>Ricercare &#8220;La Compagna&#8221;<\/em>, <strong>Francesco Da Milano<\/strong><br \/>\nBogdan Mihailescu\n      <div class=\"video-wrapper\">\n        <div class=\"video-container\">\n          <iframe src=\"\/\/www.youtube.com\/embed\/qt4jRI3n7uk?rel=0&showinfo=0&theme=light\" frameborder=\"0\" allowfullscreen><\/iframe>\n        <\/div>\n      <\/div>\n    <\/p>\n<p>Polyphony means &#8220;many voices&#8221; and the renaissance had a grand master of vocal polyphony in the Italian composer Giovanni Palestrina. <em>Exultate Deo<\/em> has five vocal parts that intertwine and weave around one another.<\/p>\n<p>The famous <em>Ricercare<\/em> by Francesco Da Milano draws from this polyphonic style in a style that precedes the baroque fugue. You might notice that the work starts out in a similar vocal style, but quickly becomes agile and virtuosic as it moves into a more instrumental style of writing.<\/p>\n<p><strong>Barbara Hendricks<\/strong>: <em>Schubert, &#8216;St\u00e4ndchen&#8217;<\/em>\n      <div class=\"video-wrapper\">\n        <div class=\"video-container\">\n          <iframe src=\"\/\/www.youtube.com\/embed\/DkrCF4MrLXE?rel=0&showinfo=0&theme=light\" frameborder=\"0\" allowfullscreen><\/iframe>\n        <\/div>\n      <\/div>\n    <\/p>\n<p><strong>Marcin Dylla:<\/strong> <em>St\u00e4ndchen by Franz Schubert<\/em>\n      <div class=\"video-wrapper\">\n        <div class=\"video-container\">\n          <iframe src=\"\/\/www.youtube.com\/embed\/BjmWCqAZRpM?rel=0&showinfo=0&theme=light\" frameborder=\"0\" allowfullscreen><\/iframe>\n        <\/div>\n      <\/div>\n    <\/p>\n<p>Franz Schubert wrote over 600 <em>lied<\/em>, which translates simply to &#8220;song&#8221;. This very famous lied,\u00a0<i>St\u00e4ndchen (Serenade)\u00a0<\/i>was expertly adapted for guitar my Johann Kaspar Mertz. The clear vocal line is independent from the accompaniment, although true to Schubert&#8217;s style of writing the accompaniment and melody often interact. The challenge on the guitar is to sustain this beautiful vocal line while offering a supportive, and sometimes interactive accompaniment.<\/p>\n<p>One aspect that I feel is highlighted here is the free use of tempo change by Marcin Dylla. What do you think of this freedom?<\/p>\n<\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":5,"featured_media":42731,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[27,473],"tags":[],"class_list":["post-17488","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","category-musicianship"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Vocal Influences in classical guitar repertoire<\/title>\n<meta name=\"description\" content=\"Classical guitar repertoire is heavily influenced by vocal music. 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