🇮🇹 Quando e come fare un crescendo o un diminuendo al violoncello?🇪🇦 ¿Cuándo y cómo hacer un crescendo o diminuendo en el violonchelo?

📖 Consiglio del giorno. Quando e come fare un crescendo o un diminuendo al violoncello?

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Consiglio del giorno di oggi riguarda le indicazioni dinamiche (crescendo e diminuendo). Quando leggiamo un crescendo non facciamolo dove lo leggiamo ma poco dopo o ancora dopo.

Come fare un crescendo o un diminuendo al violoncello? ci sono diverse possibilità possiamo utilizzare una quantità di Arco man mano crescente, per ottenere un volume più alto rispetto alla precedente oppure aumentando la pressione del crine sulla corda o spostando il punto di contatto dalla tastiera al ponticello dove la corda esprime più tensione quindi può trasmettere più vibrazioni con un conseguente incremento di volume e con produzione di un timbro più tagliente. Ad esempio suonando una Musette tratta dal Suzuki Cello School e ad un certo punto troverò un crescendo e nn diminuendo nell’ ambito della stessa battuta (vedi immagine sotto).

Quindi aumentando la quantità di arco proporzionalmente su ogni nota, oppure o aumentato la pressione e non la quantità di arco utilizzata oppure spostando il punto di contatto dell’Arco sulla corda più vicino al ponticello otterrò un incremento sonoro e un’apertura timbrica e la stessa cosa dicasi per il diminuendo, sullo stesso punta della corda e man mano diminuendo la pressione, spostandoci anche verso la punta dell’ Arco o comunque alla metà superiore otterremo una sonorità più attenuata. Quindi miscelando il punto di contatto rispetto la corda, la pressione sul crine possiamo modulare un crescendo e un diminuendo come meglio ci pare. Questa caratteristica rappresenta una connotazione di bellezza che contraddistingue gli strumenti ad arco, poter modulare come una voce umana il suono durante la sua emissione. Poc’anzi dicevo che quando si legge il simbolo di diminuendo o di crescendo di è portati intenzionalmente a modificare quasi di getto il volume sonoro. La tentazione è forte ma dobbiamo posticipare il crescendo ad una fase successiva soprattutto se riguarda una frase lunga faccio un esempio. Se vogliamo che la massima apertura coincida con questo re in prima corda (vedi seconda immagine)

e poiché il crescendo è scritto a partire dalla terza nota si deve evitare di iniziarlo con un accento su questa nota. Dobbiamo studiare come ben distribuire il crescendo ed evitare accenti non dovuti. Spero che questo articolo di oggi sia stato interessante e che possa essere per voi utile. Grazie mille sempre per la vostra attenzione. A presto e un forte abbraccio! 🤗

📖 Consejo del día. ¿Cuándo y cómo hacer un crescendo o diminuendo en el violonchelo?

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Consejo del día de hoy en cuanto a indicaciones dinámicas (crescendo y diminuendo):

Cuando leemos un crescendo no lo hagamos donde lo leemos sino poco después o aún después. ¿Cómo hacer un crescendo o diminuendo en el violonchelo? Hay varias posibilidades. Podemos usar una cantidad de arco aumentando gradualmente, para obtener un volumen mayor que el anterior o aumentando la presión del cabello sobre la cuerda o moviendo el punto de contacto desde diapasón al puente, donde la cuerda expresa más tensión para que pueda transmitir más vibraciones con el consiguiente aumento de volumen y con la producción de un tono más intenso. Por ejemplo, tocando un Musette de la Suzuki Cello School y en algún momento encontraré un crescendo y nn diminuendo dentro del mismo compás (ver imagen a continuación).

Entonces, al aumentar la cantidad de arco proporcionalmente en cada nota, o al aumentar la presión y no la cantidad de arco utilizado o al mover el punto de contacto del arco en la cuerda más cerca del puente, esto resultará en un aumento en sonido y un timbre mas fuerte. Lo mismo puede decirse del diminuendo, en la misma punta de la cuerda y disminuyendo gradualmente la presión, moviéndose también hacia la punta del arco o en todo caso hacia la mitad superior obtendremos un sonido más atenuado. Así, mezclando el punto de contacto con la cuerda, la presión sobre la crin podemos modular un crescendo y un diminuendo como más nos guste. Esta característica representa una connotación de belleza que distingue a los instrumentos de cuerda, pudiendo modular el sonido durante su emisión como una voz humana. Cuando lees el símbolo diminuendo o crescendo de ti te llevan intencionalmente a modificar casi instantáneamente el volumen del sonido. La tentación es fuerte pero tenemos que posponer el crescendo para una etapa posterior, sobre todo si se trata de una frase larga, daré un ejemplo.

Si queremos que la apertura máxima coincida con la nota Re en la primera cuerda (ver imagen) y dado que el crescendo se escribe a partir de la tercera nota del piano, debemos evitar comenzar con acento en esta nota. Debemos distribuir bien el crescendo y evitar acentos innecesarios. Espero que este articulo de hoy haya sido interesante y pueda serte útil. Muchas gracias siempre por su atención.

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My Life

PIER PAOLO MACCARRONE born in Catania in 1978 undertook the study of the cello at the age of 10 under the guidance of maestro Alfredo Borzì. He then continued his musical studies at the V. Bellini Music Institute in Catania with the teachers Giuseppe Rizzari, Paolo Ognissanti and for a long time with the teacher Benedetto Munzone under whose guidance he graduated. Later he perfected himself at the Hipponiana Academy of Reggio Calabria with the masters Arturo Bonucci, Claudio Marini, Demetrio Comuzzi and Luca Signorini and at the Music Academy of Santa Cecilia with the maestro Francesco Strano. Also in November 2004 he graduated in Pharmacy with specialization in phytotherapy at the University of Catania. In March 2007 he graduated in Music Disciplines from the V. Bellini Music Institute in Catania. In June 2010 he graduated with a II level qualification to teach the cello in secondary schools. In July 2010, to study the conducting in greater depth, he attended a master class held by the illustrious maestro Daniele Belardinelli. In October 2010, under the guidance of maestro Antonio Mosca, he obtained the qualification for teaching cello with the Suzuki method in Turin at the Italian Suzuki Institute. In recent years he has deepened the study of the execution practice on ancient instruments and at the Vincenzo Bellini Conservatory in Palermo he achieved the II level Degree in Baroque Cello and Basso Continuo at the Vincenzo Bellini Conservatory in Palermo and in 2017 under the guidance of the maestro Cristiano Contadin the first level Degree in Viola da gamba. He attended the Music Interpretation Course held by the famous conductor Francisco Navarro Lara and the Conducting course held by him in the “Escuela de Dirección de Orchestra y Banda” of Huelva in Spain endorsed by ABRSM (Royal College of Music of London) and in August 2019 he obtained the Advanced Diploma. In December 2022 he took the exams to obtain LRSM (Licentiate of the Royal School) in Orchestral Conducting from the Royal College of Music in London. He also attended masterclasses of Cello and Chamber Music with the teachers: A. Niculescu, M. Kougel, V. Taddeo, A. Meunier, S. Laffranchini, E. O. Hutter, R. Bovino and W. Ranck, M. Flaksman , M. Chen, L. Toten, A. Lefevbre, V. Pavlov, E. Bronzi, R. Filippini, B. Canino, S. Girscenko. Winner in numerous national and international competitions such as: Magma di Gravina of Catania, “Alfio Pulvirenti” from Comiso, “P. Mandanici “City of Barcellona Pozzo di Gotto (Messina)” Luigi Denza “of Castellammare di Stabia, Campobello di Licata (Agrigento), City of Palmi (Reggio Calabria), Competition” B. Albanese ”City of Caccamo (Palermo). Awarded in the following music competitions: FIDAPA SICILY “Young Talents”, “Dino Carovita” of Fusignano (Ravenna), Young Musicians “Napolinova”, “City of Palermo”, “B. Albanese ” in Caccamo, Promenade of Vibo Valenzia, City of Massafra (Taranto), TuttArte of Catania, City of Sol of Portopalo di Capopassero, National Music Competition Amygdala – Giuseppe Raciti Prize of Viagrande (Catania), International Music Competition” Lucio Stefano D’Agata ” of Acireale (Catania), National Music Competition “Salvatore Gioia” of Villarosa (Enna). Having supported the selections at the RAI TV Studios in Naples, he was eligible for auditions for the Italian Youth Orchestra of Fiesole for the academic year 2002-2003. He has performed in numerous concerts as a soloist and in orchestral training in numerous Italian and foreign cities such as: Catania, Syracuse, Ragusa, Palermo, Enna, Caltanissetta, Agrigento, Messina, Sorrento, Reggio Calabria, Naples, Macerata, Camerino, Perugia, Turin, Lucca, Florence, Cividale del Friuli, Rome, Graz, Nancy, Huelva, Palos with famous soloists such as: G. Sobrino, L. Degani, S. Zorza, P. Berman, S. Pagliani, C Marini, J. Lee, B. Giraud, A. Niculescu, E. Ligresti, D. Comuzzi, D. Schillaci, L. Aliberti, S. Piazzola, L. Lanzarini, K. Ricciarelli, M. Giordani, S. Girscenko , C. Gigli, M. Drapello, D. Russo, G. Di Stefano, D. Sinkosky, Luis Santana, Montserrat M. Caballè. He has collaborated with renowned directors R. Muti, C. Rizzari, T. Bugaj, M. Brousseau, O. Pulin, S. Ranzani, D. Soga, C. Volpini, G. Latil, W. Themel, G. Meditz , C. Patanè, G. Bufalini, M. Incarbone, A. Florio, Montserrat De La Cruz, C. Cavero Garcia, G. Estrada, J. Rodriguez, M. Baghboudurian, Juan Carlos Dos Santos, Leandro Botto Schuhmacher, F. Navarro Lara, Elisabetta Maschio. He has published books for publishing houses: Simple from Macerata, BookSprint from Salerno. In recent years he has achieved some qualifications for teaching Cello, Theory, Rhythm and Musical Perceptions and Ensemble Music for Bowed Instruments in the Music Conservatories of Palermo, Vibo Valentia, Reggio Calabria, Trento, Avellino, Trapani, Cesena, Lucca, Cagliari, Verona, Vicenza at the Pareggiato Musical Institute of Ancona, at the G. Paisiello Pareggiato Musical Institute of Taranto, at the “Rinaldo Franci” Higher Institute of Musical Studies of Siena, at the Riccardo Zandonai Civic School of Rovereto (Trento) , At the G. Verdi Civic School of Music in Prato (Firenze), at the Musical Institute Città di Noto, at the Regina Margherita Music High School of Palermo and at the “Dante Alighieri” Musical High School of Enna.

He plays on a 1985 cello of the Stöhr Baieridori-Igelidori of Zurich, Stradivari model, on a 1994 cello by Luthier Claudio Giurba, Guarneri del Gesù model, and on a French low-leg viola model Jaye of Luthier Nicola Vendrame of 2008. He has been associated with S.I.E.M since 2008 and with the Suzuki Italia Institute since 2007.

In 2007 he founded the Suzuki Cello School of Catania. Some students of this have already distinguished themselves in music festivals of national importance such as: Regional Music Festival “Musical Meetings” promoted by Camerata Accentus in S. A. Li Battiati and in Trecastagni; Review for Young Musicians promoted by A.M.E.A. Mascalucia at the Expo Pedara exhibition center; they were also suitable in auditions for prestigious youth orchestras such as the Junior Orchestra of the National Academy of Santa Cecilia in Rome. Some students were also awarded in some music competitions such as: “Alfio Pulvirenti” of Comiso (Ragusa), “Placido Mandanici” of Barcellona Pozzo di Gotto (Messina), National competition “Nellina Cappellani-Costa” of Catania, Music Competition “Vittorio Blanco” of San Gregorio; Amigdala School Competition “Giuseppe Raciti” prize promoted by the Amigdala association of Viagrande (Catania).

President of the A.M.A.C. Association since 2010 (Music and Art Association) of Gravina in Catania which deals with promoting musical editions and the diffusion of music in the Sicilian territory, organizing courses on musical instrument, theory and propaedeutics (with particular attention to teaching at an early age and to study and performance practice of Baroque music) and musical events such as: Classical music concerts, five editions of the “Nellina Cappellani Costa” Music Competition and two editions of the Santa Cecilia Music Festival at the Rex Theater in Giarre in collaboration with the Music Academy Etnea Santa Cecilia in Giarre (Catania). The association actively collaborates with the Haffner Orchestra of Catania and has collaborated with: the S. Giorgio Polyphonic Choir, the Sicilian Grand Opera Choir, Banca Mediolanum, Physics Department of the University of Catania, Municipality of Catania – Municipality II, AFEM (Euro Mediterranean Festival Association) for the organization of concerts at the Ancient Theater of Taormina in the summer season of 2017 in concert with the Haffner Orchestra in the concerts “Hollywood Music Movie” and “Opera Gala I & II” alongside internationally renowned singers such as Gonga Dogan, Filippo Micale, Giovanni Di Mare and Maria Ratkova; he also collaborated with the “L’Impulso” Association of Acireale and recently with Inside Events.
The A.M.A.C. association It also collaborates with numerous charitable and voluntary associations of the Sicilian territory such as: the non-profit association “Progetto Madagascar” of Messina, the non-profit association “Anfass” of Messina, the Donors Association San Marco of Catania, AVIS of Catania, Caritas of Catania.
He has recorded for the record companies PDR of Catania and Shine Records of Ragusa. He is co-author of two books with the famous conductor F. Navarro Lara bestsellers on Amazon “El Gran Libro de la Interpretation Musical” and “La Forja de un Maestro” published in 2018. From 2019 they are available in three languages (English, Spanish and Italian) on Amazon also in e-book format his books on the cello, on the bow, on their history and structure and on the Six Suites by J. S. Bach for solo cello.
He participated in the Cumbre Mundial de Dirección Orquestal 2018 and 2019 in Huelva and he also performed as the cello of the O.I.D.O. (International Orchestra of Conductors) also interpreting Haydn’s Cello Concerto in C major conducted by Monserrat De La Cruz. In March 2019 he founded the “Vincenzo Bellini” Chamber Orchestra of Catania of which he is director, the orchestra composed of young talents from the Sicilian territory debuted in the Opening Concert of the Holy Week Rites of Enna flanked by the Band Band “City of Enna ”and from the Polyphonic Choir Passio Hennensis of Enna with unanimous approval.
In May 2020 he obtains the Mindfullness Educator certification recognized by IPHM Holistic Accredited Board and becomes a member of the International Practitioners of Holistic Medicine. He was a cello teacher at the Didactic Center of Catanzaro – “Fausto Torrefranca” Conservatory of Vibo Valentia. From 2011 to 2015 was engaged in the Cello Suzuki Music Workshop at the “Michelangelo Virgillito” Primary School in Paternò. Later he taught violoncello at the Liceo Musicale of Enna, at the laboratory of musical instrument of the III Scholastic Institute of Giarre and at the laboratory of musical propaedeutics promoted by the School of Music Mousikè of Enna. He also taught cello with the Suzuki method at the Bruno Maderna Conservatory of Music in Cesena.

He teached cello in sicilian Secondary School: “F. Petrarca”, “Montessori-Mascagni” in Catania, “De Cruyllas” in Ramacca (Catania) and currently in “Don Lorenzo Milani” Secondary School in Misterbianco (Catania).

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