Danielle, I really enjoy your videos. As a professional harpist I'm always thinking "Yes!" and "Excellent explanation!" throughout. And your playing is a joy to listen to.
Great video, you should say bisbigliando is the Italian for whispering. And the correct pronunciation is different, the g is not hard as in the word big but sweet (I don't know if the sound of Italian GL is used in English... see the words aglio, paglia, meglio...) love from Italy!
Great videos and appreciate the excellent insights into composing for harp. The closest explanation is that 'gli' is prounounced as in the word millionaire (eg bisbilliando)
Great channel and great videos. I'm here from "harp notation" fb group... I subscribe your channel. Thanks for share this examples and for your skills!
@@daniellekuntz one thing that is interesting looking at the notation and then hearing/watching you play it is how different those 3 and 4 note "tremolos" would be if played on piano . . .where the pianist would literally tremolo between two chords, the harpist at least sounds like its more like "fast as possible" motion between all the notes . . . that sound correct?
@@euph1958 That's exactly right! A pianist would always split a tremolo into two groups of notes and alternate between those. On the harp, we play each note individually as a fast arpeggio.
Fascinating! I've played the harp for several years progressing slowly. The is the first time I've heard of this technique. I'm going to try it. Wish me luck, please!
Great, your video just popped up during my lunch today and will definitely check out more of your videos. The technique is some I want to use for my electr. p. harp with gitar pedals sounds. I hope I will be able to do it as fast as you one day! 😁
Thank you! Finally a good explanation of what Bisbiglaindo is! I've written several pieces with harp and am currently working on a new one - love writing for the harp, but bisbigliando has always somewhat confused me, because I have seen many slightly different explanations of it 🙈😅
Hello! I am a harpist currently in middle school and I was watching your playing and I’m not sure If I saw right but it looked to me like you were resting your hands on the soundboard and i’m not sure how but resting your hands on the soundboard strains the muscles that control your fingers so ehm yeah, that was all I wanted to say other than I love this video, it was very helpful, thank you.
Good observation! A lot of it depends on how you were trained. Salzedo-influenced harpists tend to have higher arms, while French-trained harpists tend to let their arms slightly touch the soundboard. I typically avoid resting my arms on the soundboard, but I've found that it sometimes helps with extended bisbigliando to have a little extra support. Glad you enjoyed the video!
As a composer this is so helpful thank you! Just one question, most of the examples are in the upper half of the pitch range, is this because it's harder and slower to play in the lower octave?
Good question! Yes, bisbigliando usually works better in the mid to upper range of the harp. It's possible lower, but the thicker strings are a little slower to play. They are also more resonant and the bisbig will end up less clean and more buzzy.
Hi Danielle! As a composer, I admire your work a lot. I have a question, is it comfortable to crescendo or decrescendo, and is there a difference in difficulty between those (while staying on the comfortable pitch and dynamic range) during bisbigliando?
Really good question! Loud bisbigliando is definitely more physically demanding than quiet. It's fine to do a cres/deces, but you wouldn't want to write a loud bisbig for an extended period of time. I'll probably do a follow up video at some point of time to demonstrate a few more options for bisbigliando!
@@daniellekuntz Thank you so much, I'll look forward to your upcoming videos!
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@@daniellekuntz I'd love to watch a 'Bisbigliando part 2' video with more options and more examples from the litterature. This video is already so helpfull and I go back to it everytime I need to. Thanks again !
Hi Danielle! Love your channel! I'm studying film scoring, a huge part of the study is making mock-ups. Do you have any suggestions for notating and creating a harp bisbig in a DAW? Goal is for it to sound realistic! My bisbig is between 5 notes. My first take on this is to have the notes sound "arpeggiated" but not to tempo. If you were to write out each note of a bisbig, would it be in a sequential pattern or randomized? Thanks!
Thank you, I'm so glad to hear it's helpful! Yes, the bisbig is arpeggiated with the ascending figures, LH notes then RH notes. If you send me a message through my website, I can send you an example of what it would look like written out! www.daniellekuntz.com/contact
So helpful and cool! Definitely gonna reference this when writing for harp :) I was wondering, what do you think of those triplet parts in Ravels Alborada del Gracioso? Is it also bisbig.? I've heard some harpists play those as duples instead because they're so hard.
Ooh, I need to do a video on this excerpt! The triplets are generally played similar to a measured bisbig. It's easier to demonstrate than explain! (Maybe I'll do a RU-vid short in the meantime.)
Thanks so much ! So informative .I used your info in a children's piece with Solo harp and Strings and very very light brass and Winds . My only question is what do repeated fast notes sound like on a Harp . I'm going to check out some Harpists playing Scarlatti - they'll probably tune the harp with enharmonics where possible but I will look on your channel to see if "buzzing " occurs at a certain speed and if the buzzing is not harmful for the strings I imagine it would be good for a contemporary violent effect or harsher music . Ginastera's 2 Harp concerti are wonderful !
So glad to hear the video is helpful! If you can utilize enharmonics for repeated fast notes, that will help. Otherwise you'll be limited to a slower speed and still hear a stop in sound between each note. Buzzing isn't harmful for the strings, though! (Side note: I do offer Zoom consults if you want to experiment with sounds and techniques. Details on my website!)
Any tips on practicing these as a harpist? It’s an underdeveloped skill for me and it’s not used in everything, but it’s certainly used often enough to put some time into it
Great question! The goal is to stay relaxed while playing the bisbigliando, which is tricky! A few practice ideas: 1. use dotted rhythms or accent different fingers (use a slightly slow tempo), 2. play up to tempo, but stop when you get tense OR uneven (see if you can last longer each time), 3. Alternate slow and fast bisbigliando practice. Try to make the slow feel the same as the fast (articulation, finger placement, etc.). I hope this helps! I do offer zoom lessons, so feel free to reach out if you're interested in working through this together!
Good question! Timewise, the movement is slow enough and allows plenty of time for the pedal changes. The tricky part is making them quiet. Several of the pedals move all the way from flat to sharp (and visa-versa), which can be louder. Plus, this is a very quiet orchestral texture, so the pedal changes need to be inaudible. All that to say, it's just barely enough time to change the pedals quietly.
How to pronounce the "gli" of the word "bisbigliando" ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-97FoxsWfOw4.html Wich is a different sound from the sound of "Gli" of the word "glissando" that is right as you are saying now an hard sound g+l.
An enharmonic is respelling a note using a different accidental (ex. Eb and D#). This is especially on important on the harp since they are played on two different strings. I have a video on enharmonics too! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-_BgUDgd0tAo.html
