{"id":342,"date":"2009-05-11T06:32:56","date_gmt":"2009-05-11T06:32:56","guid":{"rendered":"http:\/\/www.artsjournal.com\/pianomorphosis\/wp\/2009\/05\/roll\/"},"modified":"2012-01-18T15:59:19","modified_gmt":"2012-01-18T20:59:19","slug":"roll","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/pianomorphosis\/2009\/05\/roll.html","title":{"rendered":"Roll"},"content":{"rendered":"<p>Some elaborate preparations to long notes in piano music are attempts to mimic the ways singers can begin a sound. The many shadings and extensions of initial consonants may get translated into piano music as multiple short notes, usually notated in small print. Though often marked with a slur, this kind of writing can still be confusing. The articulateness of the keyboard is certainly what&#8217;s not wanted &#8212; these are compound sounds.\n<\/p>\n<p>\n<span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"><a href=\"http:\/\/www.artsjournal.com\/pianomorphosis\/ChopinVocalAJ.jpg\"><img loading=\"lazy\" decoding=\"async\" alt=\"ChopinVocalAJ.jpg\" src=\"http:\/\/www.artsjournal.com\/pianomorphosis\/assets_c\/2009\/03\/ChopinVocalAJ-thumb-170x128-4148.jpg\" width=\"170\" height=\"128\" class=\"mt-image-center\" style=\"text-align: center; display: block; margin: 0 auto 2px;\" \/><\/a><\/span>\n<\/p>\n<p>\nI believe the practice of variously arpeggiating chords, and delineating multiple lines through hesitations and anticipations was pervasive in old music. Let&#8217;s welcome back a nuanced &#8220;style brise\u00e9.&#8221; An unbending insistence on &#8220;simultaneity&#8221; robs us of subtleties of timbre, inflection, and even just of hearing fully all the pitches being played &#8212; particularly in dense textures, or in really large rooms.\n<\/p>\n<p>\nSometimes, J. S. Bach marks a specific arpeggiation in a keyboard piece:\n<\/p>\n<p>\n<span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"><a href=\"http:\/\/www.artsjournal.com\/pianomorphosis\/FS3AJ2.jpg\"><img loading=\"lazy\" decoding=\"async\" alt=\"FS3AJ2.jpg\" src=\"http:\/\/www.artsjournal.com\/pianomorphosis\/assets_c\/2009\/03\/FS3AJ2-thumb-225x126-4173.jpg\" width=\"225\" height=\"126\" class=\"mt-image-center\" style=\"text-align: center; display: block; margin: 0 auto 2px;\" \/><\/a><\/span>\n<\/p>\n<p>\nIn American English, we might refer to such a sound as a &#8220;rolled chord.&#8221; And for me, this is closely related to an opera singer reaching up, through a long rolled Italian &#8220;r,&#8221; to achieve a sustained high note, and continue the word with an extended vowel&#8230;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Some elaborate preparations to long notes in piano music are attempts to mimic the ways singers can begin a sound. The many shadings and extensions of initial consonants may get translated into piano music as multiple short notes, usually notated in small print. Though often marked with a slur, this kind of writing can still [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":1571,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[495,494,237,497,100,221,493,380,496],"class_list":{"0":"post-342","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-uncategorized","8":"tag-arpeggiating","9":"tag-arpeggiation","10":"tag-bach","11":"tag-broken-chord","12":"tag-chopin","13":"tag-representation","14":"tag-rolled-chord","15":"tag-singing","16":"tag-style-brisee","17":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/342","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/comments?post=342"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/342\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media\/1571"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media?parent=342"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/categories?post=342"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/tags?post=342"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}