Overly rosined bow - textured dry wood, 'crunchy' when they're double stop staccatos Unsurprisingly, double stops and split chords produce insanely rich multi layered colours. fast bowed artificial harmonics in fortissimo- it's a blinding streak of light, in the colours of the note, very powerful. ![]() I can see faint coloured mist seeping from the f holes (where the sound is projected from, sorry it's the official term!) when I play very softly. When I play the violin, I feel the vibrations in my chest as it's in contact with the neck and collarbone. It is ethereal, and it's warm, very warm. (in contrast to O Sacrum Convivium, which I love!)Īs the strings shimmer with brasses and woodwinds (piccolos piercing through) on top, I see an almost blinding sunrise/broad sunbeam in the brightest yellow. Funny enough it's the least harmonically complex excerpt I could pick from his works. One of the most mind-blowing visuals I've ever had was from the final A major chord (held for almost 30 seconds, free bowing) in Olivier Messiaen's Zion Park et la Cité céleste (the finale). Occasionally, I physically feel temperatures from certain pieces or even just a chord. It could be a type of fabric, water, mist, smoke, hologram-ish (only happens with synths), glass, metal etc. ![]() Articulation has a huge impact on the texture (material), shape or form of the colours: (English is not my first language so please excuse the errors!)Īs a composer and violinist, I love exploring new textures and colours using extended techniques on string instruments in contemporary film scores. Given the fact that you wrote an MA essay on Synesthesia, I'll skip the generic info-dumping and jump right in. Hi Paul, thank you for the comment! I love meeting people who share the same interests in this topic.
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