Английская Википедия:Flexatone

Материал из Онлайн справочника
Перейти к навигацииПерейти к поиску

Шаблон:Short description Шаблон:Use dmy dates Шаблон:Infobox instrument

Файл:Flexatone notational guidelines.png
Suggested notation of music for flexatone, using roll symbols for the tremolo and approximate pitch[1]
Файл:Flexatone rhythm pattern notation.png
Rhythmic pattern easily playable on the flexatone[2]

The flexatone or fleximetal is a modern percussion instrument (an indirectly struck idiophone) consisting of a small flexible metal sheet suspended in a wire frame ending in a handle.[3] Used in classic cartoons for its glissando effect, its sound is comparable to the musical saw.[2]

History, construction and technique

Шаблон:Quote

An invention for a flexatone occurs in the British Patent Records of 1922 and 1923. In 1924 the 'Flex-a-tone' was patented in the USA by the Playatone Company of New York. "An instrument called the 'Flex-a-tone' was patented in the U.S.A. in 1924 by the Playertone Company of New York. It was introduced as a new instrument, making 'jazz jazzier' and announced as combining the tone effect of musical saw, orchestra bells, and song whistle."[4] "Small sheet of spring steel in a frame with wooden strikers mounted on either side. The player shakes the beater while bending the steel in order to change the pitch."[5]

The instrument was first used in 1920s jazz bands as an effect but is now mainly and rarely used in orchestral music.[6]

Шаблон:Quote

Wooden knobs mounted on strips of spring steel lie on each side of the metal sheet. The player holds the flexatone in one hand with the palm around the wire frame and the thumb on the free end of the spring steel. The player then shakes the instrument with a trembling movement which causes the beaters to strike the sides of the metal sheet. While shaking the handle, the musician makes a high- or low-pitched sound depending on the curve given to the blade by the pressure from his or her thumb: "As the thumb depresses the vibrating metal sheet, the relative pitch of the instrument ascends; as the thumb pressure is released, the relative pitch of the instrument descends."[1] A vibrato is thus produced. While the instrument has a very limited dynamic range, volume can be controlled by how vigorously or delicately the player shakes the Flexatone.[7]

Шаблон:Quote

"Vibes generally make a perfectly acceptable alternative, especially when the music is somewhat indeterminate anyway."[8]

An alternate technique involves removing the two wooden knobs and their mounting springs, and then using a small metal rod (e.g., a triangle beater) held in the free hand striking the strip of spring steel. The pitch is altered in the same manner as the previous technique. "This method give the player greater control of the sound of the flexatone as it eliminates the need to shake the instrument."[1] This method of playing results in a different, more constrained sound. The flexatone may also be bowed along its edge with an orchestral string instrument bow.

The flexatone is notated using tremolo lines (rolls) to indicate shaking the instrument and lines to indicate the desired direction of the glissando or a wavy line (chevron) to indicate alternating thumb pressure. If using the instrument with the balls removed, indicate strikes with single notes followed by arrows indicating the direction of the glissando (similar to a guitar tab pitch bend). It is recommended that pitch designation should only be approximate,[1] as, "specific pitches are difficult but possible; glissandi without specific pitch are easily executed."[9]

Double meaning of the term "Flexatone"

In contemporary music of the 20th century between around 1920 and 1970 the term "Flexatone" has been used on one hand for the instrument flexatone, on the other hand for the musical saw. Composers who used it for the musical saw were: Arthur Honegger (Short opera Antigone, 1924/1927),[10][11][12] Ernst Krenek (opera Jonny spielt auf, 1927),[13]Шаблон:Citation needed Dmitri Shostakovich (The Nose (1929),[14][15][16] Lady Macbeth of the Mtsensk District (1934), and film music for The New Babylon (1929)), Aram Khachaturian (Piano Concerto 1936),[14][17][18] and Hans Werner Henze (opera Elegy for young lovers, 1961).[19]

Uses

The flexatone is sometimes heard in funk music, and occasionally in pop music for special effect. It is occasionally used in the soundtracks of films or cartoons to represent "ghosts" or other paranormal phenomena.

The instrument is not often used in classical music, but it appears in the work of Arnold Schoenberg, Hans Werner Henze, Sofia Gubaidulina, György Ligeti and others.[20] Schoenberg employed it, "unrealistically...accurate bursts of widely spaced sounds being hardly obtainable with such abruptness,"[21] in his Variations for Orchestra Op.31 (1928) and his unfinished opera Moses und Aron (1932).[20] The cellist in Sofia Gubaidulina's The Canticle of the Sun (1998) plays a bowed flexatone before the final section.[22] Alfred Schnittke used it in his Faust Cantata (1983), in the Tuba Mirum movement of his Requiem (1975), in his Viola Concerto (1985),[23] and in his score for the ballet Peer Gynt (1987), the flexatone represents the sound of the moaning wind. György Ligeti used it in many of his works, such as his 1988 concerto for piano[24][25][26][27] second movement and his opera Le Grand Macabre (1977).[27] Peter Maxwell Davies uses it in the third movement of his Symphony No. 1 (1976),Шаблон:Citation needed as well as three of them at the climax of his opera The Lighthouse (1980).[28] Vivian Fine owned a flexatone,[29] and used flexatone music in compositions such as The Race of Life (1937).[30]

Samples

Шаблон:Listen Шаблон:Listen Шаблон:Listen

See also

References

Шаблон:Reflist

Further reading

  • Rossing, Thomas D. (2000). Science of Percussion Instruments, p. 105. Шаблон:ISBN.

Шаблон:Percussion Шаблон:Shaken idiophones

  1. 1,0 1,1 1,2 1,3 Miller, R.J. (2014). Contemporary Orchestration: A Practical Guide to Instruments, Ensembles, and Musicians, p.34. "The instrument has traditionally been used to create a comic glissando effect." Routledge. Шаблон:ISBN.
  2. 2,0 2,1 Kalani (2008). All About Hand Percussion: Everything You Need to Know to Start Playing Now!, p.27. "The flexatone is primarily use as a sound effect, often heard in classic cartoon sound tracks. The sound of this instrument can be compared to that of the musical saw, a 'flexible' tone that changes smoothly in pitch." Шаблон:ISBN.
  3. "Flexatone Sound Samples", CompositionToday.com.
  4. Blades, James (1992). Percussion Instruments and Their History, p.393. Connecticut: The Bold Strummer, Ltd. Шаблон:ISBN. Quoted in Keller, Renee E. (June 2013). "Compositional and Orchestrational Trends in the Orchestral Percussion Section Between the Years of 1960-2009", p.102, n.166, Pas.org.
  5. Beck, John H. (2013). Encyclopedia of Percussion, p.29. Routledge. Шаблон:ISBN.
  6. Holland, James (2005). Practical Percussion: A Guide to the Instruments and Their Sources, p.23-4. Шаблон:ISBN. "Perhaps the most famous example is probably still Khachaturian's Piano Concerto (1946)...However, when Khachaturyan came to the London Symphony Orchestra in the early 1970s he immediately ruled out the flexatone on sight, before a note had been played, and wanted a musical saw or nothing! Just how the flexatone came to appear in the score in the first place remains a complete mystery."
  7. Peinkofer, Karl and Tannigel, Fritz (1976). "Handbook of Percussion Instruments", p.75. Mainz, Germany: Schott.
  8. Spiegl, Fritz (1984). Music Through the Looking Glass: A Very Personal Kind of Dictionary of Musicians' Jargon, Shop-talk and Nicknames, and a Mine of Information about Musical Curiosities, Strange Instruments, Word Origins, Odd Facts, Orchestral Players' Lore, and Wicked Stories about the Music Profession, p.123. Routledge. Шаблон:ISBN.
  9. Ошибка цитирования Неверный тег <ref>; для сносок Solomon не указан текст
  10. Шаблон:YouTube
  11. Spratt, Geoffrey K. (1987). The Music of Arthur Honegger, p.124. Cork University. Шаблон:ISBN. Act 2, Scene VIII, "opens with a long treble melismatic line of quite astounding expression and profundity—qualities in no small way attributable to its scoring for saxophone and musical saw."
  12. Halbreich, Harry (1999). Arthur Honegger, p.464. Hal Leonard. Шаблон:ISBN.
  13. Шаблон:YouTube
  14. 14,0 14,1 Nardolillo, Jo (2014). All Things Strings, p.90. Scarecrow. Шаблон:ISBN. "Khachaturian included a musical saw in the score for his first piano concerto, a part now usually played by a violin."
  15. Conway, David (2004). "Gogol in St. Petersburg", SocialAffairsUnit.org.uk. Report of a performance of "The Nose" in St. Petersburg 2004: "intriguing duet for balalaika and musical saw".
  16. Micada, Katharina. "The flexaton (Musical saw) part in Shostakovich's opera 'The nose'", Singende-Saege.com.
  17. Micada, Katharina. "The flexaton (Musical saw) part in Khachaturian's piano concerto", Singende-Saege.com.
  18. Clements, Andrew (2014). "LPO/Vänskä – review", TheGuardian.com. "The piece is memorable for including a musical saw in the slow movement..."
  19. Bachmann, Claus-Henning (1961). "Henze: "Elegie für Junge Liebende” Uraufführung bei den Schwetzinger Festspielen", DeGruyter.com Шаблон:In lang. Report of the premiere of "Elegy for young lovers" with mention of the musical saw.
  20. 20,0 20,1 Holland (2005), p.169.
  21. Ошибка цитирования Неверный тег <ref>; для сносок Anatomy не указан текст
  22. von Rhein, John (2002). "Gubaidulina: The Canticle of the Sun" review, ChicagoTribune.com.
  23. "Concerto for Viola and Orchestra (1985)", MusicSalesClassical.com.
  24. Steinberg, Michael (2000). The Concerto: A Listener's Guide, unpaginated. Oxford University. Шаблон:ISBN.
  25. Lochhead, Judy and Auner, Joseph; eds. (2013). Postmodern Music/Postmodern Thought, p.134. Routledge. Шаблон:ISBN.
  26. Joseph Henry Auner, Judith Irene Lochhead (2002). Postmodern Music/Postmodern Thought, p.134. Psychology. Шаблон:ISBN.
  27. 27,0 27,1 Holland (2005), p.145.
  28. "The Lighthouse (1979)", MusicSalesClassical.com.
  29. Cody, Judith (2002). Vivian Fine: A Bio-bibliography, p.168. Greenwood. Шаблон:ISBN.
  30. Шаблон:IMSLP