Tembrinė obojaus specifika ir jos naujovės
LTStraipsnyje siekiama atskleisti tembrinį obojaus spalvingumą, garsinių efektų raišką, jų amplitudės išplėtimą ir panaudojimą XX–XXI a. tiriamojoje literatūroje ir kompozitorių kūryboje. Obojininkas R. Beinaris siūlo konkrečius, naujus technologinius užsibrėžto tikslo sprendimus, pristato naujas raiškos galimybes suponuojančius pirštuotės variantus. Aptariami nauji preparavimo ir grojimo būdai: atskiromis obojaus dalimis, tik liežuvėliais, taip pat liežuvėlių gilzėmis arba obojumi su keliais liežuvėliais. Straipsnis papildo negausią literatūrą šiais klausimais, obojininko R. Beinario gvildenamais vadovaujant dr. A. Žiūraitytei.
ENMusic for oboe written and performed in the 20th and 21st centuries and the instrument’s timbre specifics are inseparable from the general tendencies of this period when timbre became an equal and sometimes even the most important object of composers’ search for innovations. After the instrument was perfected, its new colour potentials were opened during that period. The keys and new fingering tables produce non-traditional expression effects. The articulation is a necessary means of artistic expression of music. One of them – staccato – is of various types and has corresponding possibilities. The limits of performing abilities are determined by notes for tempo. Vibrato, one of the most traditional ways of changing timbre, can bes of several types: diaphragm, throat and lips. Other ways of producing timbral effects are: smorzato, frullato, various glissando, flageolets (Beinaris joined flageolets into a whole with fingering notes), tremolos, and trills. The oboe’s acoustic possibilities are expanded employing micro-intervals. The oboe, on which until recently only monophonic melodies have been performed, can perform multiphonic sounds. The specifics of these new means of expression are presented, as well as how they are expressed in notation and their use in writing music. New multiphonic sounds discovered by Beinaris that add to the arsenal of homogenous multiphonics, and examples of multiphonic sounds with different overtones, are also given. The possibilities of the expressive means of the oboe are enriched by new ways of preparation and performing with various parts of the instrument discovered during Beinaris’ performing practice.
