Music Theory 101 #7: The Basic Skills of Music; Timbre

Ok, no more playing around! I will finish this post today. I've been busy with the convention, and being sick but today is the day I finish this post and get to finishing the series for the new one I have planned!

Continuing on from where we left off way too long ago, we shall talk about timbre, or more commonly called tone color. Timbre (pronouced tam-ber) is basically the characteristics that make any instrument sound the way it does. Think about it as if this would be the instrument's accent. Every language we speak has an accent to where it was created, and there is no difference with musical instruments. The major difference here is the science behind why it happens.


Looking on to why this happens, we have to get some what technical about how it works. The basic explanation is the sound wave itself has changed shapes, which then changes how we hear it. Think about the differences between the four basic sound waves: Sine/Cosine, Square, Triangle and Sawtooth. Each one has their own definite shape and sound very different. There is A LOT that is involved into explaining that, and if you are interested then click here to read what HyperPhysics.Edu have done on the topic. For those whom don't want all the details, there are two basics things to consider. The first way to analyze a sound wave is by analyzing the harmonic content of the sound, or how the overtones and harmonics are heard in relation to the primary sound wave. An organic sound wave (that being by a live instrument) is created by playing a primary frequency or fundamental pitch. That then triggers all the overtones, harmonics, and in the case of instruments with strings, similarly divided strings to play simultaneously. Sometimes these overtones and harmonics can be directly heard while other times aren't even recognizable. The second way is how the sound wave envelope is created. Every instruments has a certain way to make sound. For example, a cello normally has to bow a string. The energy to get started with the bow moving across the string helps define strings musicians because of the "lag" from the energy transfer. Compare to guitarist and pianist whom strike the string with their fingers, pick or by a hammer. The energy is transferred differently, and is creates a different sound. In case you are interested in hearing so, then check out this piece. It has played piano and bowed piano. 

After all the scientific gibberish followed by a crazy videos, what does this all mean for a simple composer? Why should timbre matter this much in my piece?

Because it can change to context of your piece extremely. The best example I think I've ever seen are these two videos: Both of a song called "Raining Blood" by Slayer. This first one is the studio version of the song by Slayer (in case the video doesn't do this automatically, skip to around 0:30 to avoid the intro)


Now let's show what happens when you go from electric guitar to another guitar-like instrument and play the same song:


The differences are really staggering here. This is a bit of an extreme juxtaposition of the song but it does show what is possible. Another example I like to share (that is a little more socially accepted) is orchestrated version of Stairway to Heaven. This one is by Triple Door Cello Quartet


Finally, let's look at one from a classical example. While this isn't the best example I can think of, this one combines the past topics to express itself.


If you would like another example, listen to Stravinsky's Rite of Spring. He does a lot of things in terms of building timbres up and pushing the limits of the instruments and musicians. I hope this was worth the wait! I am really sorry about the delay on this one but between the convention (which I will share the videos once they're available to me) and being sick, I was loaded down. However, once we finish this series and then go into our next series: Explaining how all these topics and more convert into composing. Perhaps even some workshop like episodes and analysis. Also, if anyone is interested in listening to me break down music books and explain them differently then let me know! Thanks for reading!

Jean-Baptiste Lully: the Italian Frenchman

Wow! It's been a long time since I've posted, and I'm afraid I've rather forgotten the elaborate plan I had for conquering the Baroque period. Getting married will do that to you. So rather than go into great detail on the technical side of things, we'll look at the lives and works of three major Baroque composers from three different countries: the French composer Jean-Baptiste Lully; the master of the Italian baroque, Antonio Vivaldi; and likely the greatest genius of them all, the German Johann Sebastian Bach. Hopefully this will cover most of the ground needed to properly understand this pivotal period in music history.

Interestingly enough, while Lully is known for being a pioneer of the French baroque style, and especially of French opera, he was actually born Giovanni Battista Lulli, an undeniably Italian name, in the undeniably Italian city of Florence. As a child in a working class family, he picked up enough skill as a dancer and a violinist to earn extra cash as a street entertainer. When he was 14, he caught the eye of a passing French nobleman who had been instructed to visit Italy and bring back a companion for his royal niece, who needed practice with her Italian.

So it came to pass, that in 1646, the boy moved to Paris, and very quickly fell in love with the people and the culture of France. As a court entertainer, Lully had the opportunity to work with the best French composers of the day. It was not long before he began to develop a distaste for the practices and styles of the Italian music of his childhood.

When his employer moved away from the city, 20 year old Lully resigned in order to stay in Paris, making his living by writing and dancing in court ballets. It was one of these performances in which the young dancer impressed the 14 year old Louis XIV, who was to become Lully's lifelong patron. At this point, France was for all practical purposes ruled by the young king's guardian, which left Louis free to pursue entertainment. Ballet and music was one of his passions, and he took an instant liking Lully. It was not long before Lully replaced an older, and much more experienced, Italian composer as Louis XIV's personal music director.

Because the king's guardian was an Italian cardinal, there was considerable Italian influence in Paris at the time, including several productions of Italian opera. Many of the French noblemen did not appreciate this art form, and Lully whole-heartedly agreed. He took it upon himself to collaborate with various French poets and playwrights and create a whole new breed of opera.

These productions were in the French language and moved away from many of the Italian operatic practices. Instead, Lully mixed recitative and aria together, used more natural and predictable poetic forms, and scored his works for a variable ensemble.

In 1661, the year that Louis XIV took over the rule of France upon the death of his guardian, Lully
finally was granted full French citizenship. It was at this point that he changed the spelling of his name to reflect his love for his adopted country. For the next twenty years, Lully produced operas and ballets for the royal court and the people of Paris. He continued to hold considerable influence through his position in court, and was fairly proud of the fact. By 1681 he was signing his works: Monsieur de Lully, escuyer, conseiller, Secrétaire du Roy, Maison, Couronne de France & de ses Finances, & Sur-Intendant de la Musique de sa Majesté. (Don't ask me to translate all that!)

Unfortunately, in 1683 the king grew disenchanted with the entertainment that Lully provided. The new queen brought a much more puritanical air to the court, and Lully's liberal lifestyle choices were suddenly not nearly as acceptable as they had been previously. He retained his position at court but lost some of his friendship with the king.

Sadly, it was also his career that indirectly ended his life in 1687. As a baroque conductor, he did not use a baton but instead a staff which he thumped on the ground to keep the group together (similar to a middle school orchestra director banging his pen on the stand). Unfortunately, when Lully was conducting a piece in celebration of Louis XIV recovery from surgery, he impaled his own foot with the end of the staff. Whether this came about through carelessness or a little bit of pouting, it didn't end well... his foot developed gangrene and he died shortly afterwards from complications.

Despite his undignified exit from this world, Lully did much for the musical world of France during his life time. He brought liveliness and attitude to instrumental works, and made the whole genre of opera accessible to his country. He also introduced the French overture style, which carried over into much of baroque and classical music, French or otherwise. Even Beethoven used it to open his Pathetique sonata. This particular style was a slow, stately march in duple time, often used an an introduction or overture to a larger work. It is characterized by frequent dotted rhythms in the melody and thick, chordal accompaniment.

A classic example of Lully's French Overture style is the overture to his 1670 collaboration with  French playwright Moliere. La Bourgeois Gentilhomme is a comedie-ballet, or the French version of the ballad opera. The premier of this work boasted a start-studded cast, including both Moliere and Lully playing roles.