Translation for 'scordatura' from English to Russian

scordatura

скордатура {ж}муз.

• His own technique allowed him to easily reach the 6th and 7th positions, employ multiple stops in intricate polyphonic passages, and explore the various possibilities of scordatura tuning.
• 5 was originally written in scordatura with the A-string tuned down to G, but nowadays a version for standard tuning is included in almost every printed edition of the suites along with the original version.
• Many scordatura (alternate tunings) modify the standard tuning of the lute, especially when playing Renaissance music repertoire originally written for that instrument.
• Some contemporary composers specify highly specialized scordatura (intentionally changing the tuning of the open strings).
• This notion is contrary to that of scordatura, i.e.

• Scordatura notation exists in a number of different types.
• "Musicalische Ergötzung" ("Musical Delight") is a set of six chamber suites for two scordatura violins and basso continuo published sometime after 1695.
• Ysaÿe builds on the virtuoso pieces of the 19th century and utilizes devices such as "scordatura", in which the violin's lowest string is tuned down to give it a darker, warmer timbre.
• He called this tuning a "spectral scordatura". Rădulescu compared the droning nature of the sound icon to the Indian tanpura.
• It is similar in size to the latter instrument and likewise has six or seven strings of gut (typically D G C E A D, although "scordatura" was used), arranged over a fretted fingerboard and played with a bow.

• Biber's scordatura tuning helped create music that was relevant to the themes of each mystery. Apart from the first and last sonatas, each is written with a different scordatura.
• Relative to other stringed instruments, piano scordatura tuning is very rare, considering the relative difficulty of tuning and re-tuning a piano from equal temperament.
• The technique of scordatura (alternative tuning used for the open strings) is applied to the violin parts of all suites, but, unlike contemporary composers such as Heinrich Ignaz Biber, Pachelbel used it sparingly, not to produce special effects but to teach the amateur performers (for whom the work was probably intended) the basics of this technique.