Moreover, Aunt Evelina-who "very early on . Later in life, Sibelius claimed that his first composition had been a piano piece for children's theatre called Desert Scene ( Ökenscen) no trace of this work has ever been found, perhaps because he never committed it to paper. Sibelius's first attempts at composition-improvisational in nature-were at the family piano, on which his Aunt Julia began teaching him at age seven. The children typically summered in Loviisa with their paternal grandmother, Katarina (née Åkerberg), and Aunt Evelina. Throughout his childhood, Sibelius-then called Janne-lived within this extended family circle, which moved around Hämeenlinna several times. Maria was forced to move back in with her widowed mother, Juliana Borg (née Haartman), and two unmarried sisters (Tekla and Julia) shortly thereafter, she gave birth to Sibelius's younger brother, Christian, on 27 March 1869. Sibelius's father, Christian Gustaf, died of typhus on 31 July 1868, leaving behind his pregnant, 26-year old wife Maria (née Borg), as well as two young children: Jean (then two) and his older sister Linda Christian had mismanaged his affairs, and following his death, his estate was declared bankrupt. Edition Fazer (now Fennica Gehrman) published the piece in 1994. Regardless, Water Droplets retains a degree of historical significance as Sibelius's earliest written work. Scholars nevertheless speculate that Sibelius wrote the duo sometime between 1875 (nine to 10 years old) and-more likely-1881 (15 years old). The "tiny piece", which is just 12 measures long, cannot be dated with precision, because the autograph manuscript is lost. Water Droplets (in Swedish: Vattendroppar in Finnish: Vesipisaroita occasionally translated to English as Water Drops or Raindrops), JS 216, is a chamber piece for violin and cello pizzicato written by the Finnish composer Jean Sibelius (then called Janne) when he was a schoolboy. Letting the jaw drop here a tiny, tiny bit can also help here with resonance, getting the air bubble into the flute.Sibelius's biographer, Erik Furuhjelm, made a copy of Water Droplets. The pressure is built up by squeezing whatever muscles you can (lips, cheek tongue, whatever works), then drawing the tongue quickly back. In the pizzicato with tongue on the lips (behind or between the lips, both are possible), the bubble’s roof is the roof of your mouth, the walls are the teeth and cheeks, and the floor is your tongue. When you feel the pressure, you can release front of the tongue and let the jaw drop a tiny, tiny bit, that will help the air bubble go down into the flute. The pressure to create the pop is made by trying to push the air bubble forward. There should be an air-tight chamber (bubble), with the hard palate as the roof and your tongue as the walls and floor. That’s a fancy word, but actually it only means the tip of the tongue is behind the hard palate, pointing up but not pointed. If on the palate, I find it more effective if the tongue is slightly retroflex. If you try to close your throat further down (as it is in the middle of a swallow), that won’t work (for me).įor a tongue pizzicato, the release of of the air bubble can be varied, tongue on the lips, or tongue on the palate. To block the air from the back, raise the back of the tongue as if you are beginning to swallow. I’ll now go into boring detail about what works for me. It’s a simple concept that each flutist can do differently. That is what we are doing, popping air after all. To get a good POP, you have to close off your air passage from behind and in front, compress the trapped air, then release it. This is the notation I prefer for tongue pizzicato Here is a link to a video where I demonstrate this effect (along with other percussive effects and air sounds). A question came up on the Flute List about how to produce tongue pizzicato effectively.
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