The sforzato is based upon the principle of the held-back attack (see previous article).
This means that if we want to produce a sforzato we have to give a preparatory gesture just in front of the passage for which we want it
Keep in mind that the earlier you make this gesture the more incisive the sforzato could be.
now I am going to show you this concept applied to a famous passage
But if we are conducting in quick time and we cannot make this preparatory gesture we could resort to other devices ; for example, we could emphasize the sforzato, or accents or chords, with a sharp gesture of the hand, softening at the same time the gestures with no sforzato. Here there are two famous example
From Beethoven III
and from Sheherazade
NEXT WORKSHOP IN PALERMO (SICILY) 17-21 JULY 2017! INTENSIVE WEEK WITH PIANO DUO IN VILLA DEL PIGNO – ISTITUTO DEI CIECHI FLORIO E SALAMONE.
Masterclass 17-21 July 1 position available.
We are preparing a supplementary course the following week 24-28 July.
Last position still available
Haydn sinfonie 88, 104.
Mozart sinfonie 35,39,40,41 , Don Juan Ouverture
Carl Maria von Weber Oberon, Euryanthe Ouverture
Beethoven Egmont, Coriolano, sinfonie 1,2 4,5,7
Mendelssohn The Hebrides ouverture
Brahms Sinfonie 1,2,4 Overture Tragica
Rimsky-Korsakov Sheherazade 1,2,3 mov
Tchaikovsky Romeo e Giulietta, Capriccio Italien
sinfonie 4,5,6, Serenade op.48
Moussorgsky Night on the bare Mountain
R.Wagner Tannhäuser , Meistersinger overtures
Ravel La valse
Debussy L’apres-midi d’un Faune