![]() In fact, if you play those fast notes in a perfectly metronomic fashion it will sound awful.įirst, imagine you are an opera singer and this is your big aria. By that I mean you can slow down the hard parts and if you do it right you will sound like a very expressive performer. Here's a little secret about this style of music: you can use a certain amount of rubato. My knowledge isn't very wide as I've only played piano for 6 months! If there are more things that you might need to know then don't hesitate to ask! = 66 BPM) unless I do the right hand in a really fast motion.ĭoes anyone have any advice how I can get through this? I won't be able to contact my teacher until Monday next week unfortunately. The three notes for the left hand isn't enough to make the descending scale fit in if I'd play it in Tempo 1 (Andante, ♩. There are no live plays of this modified version on YouTube (from what I can find). This is a modified version of the song I think, which you can find in the book "The Library of Piano Classics". I have tried playing this slowly with both hands but there is no way I can make this sound right in 12/8. The last part there where I have to fit in a descending scale leaves me a big question mark. I've intentionally skipped this part as I cannot figure out how it works :( See what effect the different techniques have on your melody.I've almost completed John Field's Nocturne in B♭ Major that I've worked with for around 3 weeks but I cant seem to get this passage done. My advice is to write a short melody and then try experimenting with these techniques. Intervallic augmentation and diminution can be used to bring variety and development to melodies. Rhythmic diminution often brings increased “urgency” and “tension”. Rhythmic augmentation often brings a sense of increased “majesty” and “climax”. Rhythmic augmentation and diminution can be great techniques for bringing increased emotion and variety to your compositions. Composing Using Augmentation and Diminution The techniques of intervallic augmentation and diminution are really effective means of bringing variety and development to your melodic ideas. The next interval of a major 2nd has been reduced to a minor 2nd in the repeat. ![]() In the example above, the opening interval of a perfect 5th has been reduced to a major 3rd in the repeat. In intervallic diminution the process is reversed: This process is called intervallic augmentation. In the repeat of the melody, the interval has been increased to a major 10th (between the C and the E an octave higher).Įach of the successive intervals are also extended (in the opening melody the intervals are a major second, whilst in the repeat of the melody they have increased a minor 3rd). The melody has an interval of a perfect 5th between the C and the G in the 1st bar. Have a look/listen to the following example: However, you may also see composers use a technique that augments the size of the intervals of the melody. The most common form of augmentation and diminution is the lengthening and shortening of the note lengths. This process of shortening the note lengths is called rhythmic diminution. ![]() This is then repeated again to produce 6 thirty second notes (demisemiquavers) and one sixteenth note (semiquaver). The melody is repeated again and the notes are halved in length again to be 6 sixteenth notes (semiquavers) and one eighth note (quaver). The same pitches are then repeated, but this time the lengths of the notes are halved to be 6 eighth notes (quavers) and one quarter note (crotchet). In this example the opening melody again uses 6 quarter notes (crotchets) followed by a half note (minim). Have a look/listen to this example of diminution: This technique often brings a heightened sense of “urgency” or “tension” to the music. Diminutionĭiminution is the shortening of the time values of the notes of a melody. This lengthening of the note lengths is called rhythmic augmentation. The same pitches are then repeated, but this time the lengths of the notes are doubled to be 6 half notes (minims) and one whole note (semibreve). Have a look/listen to this example of augmentation:Ĭan you see how the opening melody uses 6 quarter notes (crotchets) followed by a half note (minim)? It is described as “a device which adds dignity and impressiveness”!! (Oxford Dictionary of Music, Kennedy, M.)Ĭomposers often use it as a technique to bring “majesty” or “climax” to the end of a section or piece. AugmentationĪugmentation is the lengthening of the time values of the notes of a melody. Let’s have a look at each technique in turn. They are great tools for you to be able to understand and use as a composer. Augmentation and diminution are two musical techniques used by composers to develop/vary a melody.
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