TromboneChat

Hello all,

I’m working on the Saint-Saëns Sonata for Cello on C Minor, and there’s a deliberate pizzicato section that emphasizes the difference between pizzicato, staccato’d, and legato Arco. I’m not sure how best to do this, I’ve even considered using a copper straight mute to achieve the pizz, but it’s not quite possible to change it that fast. Maybe a bucket mute on a stand?

Any suggestions? Preferably without mutes, I just want the pizz and staccatos to be completely distinct.

I won't even speculate on how to do this on trombone (partly because I'm not entirely sure of what you're looking for except some kind of "difference"), but ...

If you're trying to mimic a string bass pizzicato on your tuba (e.g. for walking bass), an essential part of that is to mimic what's normally referred to as the sound of the "string decay" (as the string damps out). If you listen to tuba players do this (often in trad jazz pieces), you'll hear the difference between that and staccato. So maybe that's what you want to go for on your cello piece

Exactly. Do it by varying your articulation, not with mutes.

HornboneandVocals wrote: ↑Tue Jun 11, 2024 11:35 pm Saint-Saëns Sonata for Cello on C Minor, and there’s a deliberate pizzicato section that emphasizes the difference between pizzicato, staccato’d, and legato Arco.

First off, say "staccato" to a string player and you get something different than what you get when you say "staccato" to a wind player. It's a thing they do with the bow.

Second, I'm sure you're aware that "pizzicato" means "plucked." Strings use the bow in lots of ways. Arguably the most important use is to control articulation, but right behind articulation is the use in sustaining the sound. Pluck a string, and there is no sustain...the decay starts immediately. The decay rate depends on the mass of the string, so pizzicato on violin is different in sound from pizzicato on bass. Viola and cello are in between.

So, keeping those things in mind, start listening to string performances while reading the score (or solo part).

I'd probably start my listening with Saint-Saens Cello Concerti (he wrote two), because it's the same composer, and because I don't like to listen to other performances of the pieces I'm working on while I'm developing my realization of the ink. While listening pay careful attention to the sound made in the various articulations, and figure out how to achieve the same effect with your trombone.

GH Merrill's suggestion to listen to trad jazz tuba players is a good one. I'd suggest the Boston Brass CD Ya Gotta Try. The tubist does an outstanding job of achieving a pizzicato effect, particularly on Autumn Leaves.