![]() One technique beloved of 20th century composers is the ‘attack-sustain’ or ‘resonance’ effect. ![]() (Note also the cello-viola dovetailing here.)īrahms 4 i For the “attack-sustain” (“resonance”) effect It is the oboe again that Brahms adds to round out the first cadence of Brahms 4/i. ![]() Brahms 2/iii opens with a gracious oboe theme and it is the return of the oboe (in tandem with motivic handling and other matters) that finesses the return to the A section at m.101/107. Timbral additions can also be used in the opposite sense: to finesse a structural boundary and actively connect the two sections. For instance, Blink 182 use the same effect to close verses in the song I Miss You: here the ‘timbral cadence’ is achieved by the addition of the other vocalist (e.g. This device is not unique to orchestral music. In the following recording, the theme plays from 0’50” and the timbral cadences fall at the ends of the sections (4’50” and 12’40”). The melodic contour and discontinuation of the counter subject are also contributing, but the harmony is deeply ambiguous. The outer sections of this movement are effectively one long viola solo and the timbral addition of unison violins at the end is integral to formalizing the end of the theme. Consider the end of Shostakovich 11 / iii. Shostakovich provides some extraordinary 20th century examples of this device. The strings begin, and the ‘timbral cadences’ are marked by the addition of winds (highlighted in the example). Here’s an example from the opening of Mozart’s Piano Concerto K453, movement 3. This is related to the more formal considerations of holding back a timbre discussed in the first chapter.Ĭlassical-era orchestral composers sometimes use winds parts in this way.
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