Roulade (music)

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A roulade is a type of music ornamentation. [1] The term has been used with some variation in meaning. [1] While the term has had some usage in instrumental music, it is most frequently used in the context of vocal music to refer to a florid embellishment of several musical notes sung on a single syllable. The word has sometimes been used interchangeably with the term coloratura to refer to any difficult vocal run requiring great vocal dexterity, [2] or as a synonym for or a specific type of virtuosic melisma. [3] [4] The term roulade has also been used more specifically to refer to the ornamental practice of splitting up the melodic line of a piece of music into many smaller notes. [2]

The term roulade has sometimes been defined as a vocal ornamental passage specifically limited to opera arias of the Classical and Romantic music periods. However, this limited definition is contradicted in the historical record, and other writers have used the term in contexts to other forms of music, such as oratorio, gospel music, and rock and roll.

History and use of the term

The term roulade has been used with variation in meaning. [1] It has sometimes been defined as a vocal ornamental passage specifically limited to opera arias of the Classical and Romantic music periods; including in musicologist Theodore Cyrus Karp's Dictionary of Music (1983). [5] However, this limited definition does not match the historical use of the term. [1]

The first published use of the word roulade in a music context was in Elizabeth Burwell's Burwell Lute Tutor (c1660–72); an instructional guide for the lute. [1] In that work a 'single roulade' referred to a short appoggiatura, first ascending and then descending, applied on the beat to conjunct notes or notes a 3rd scale degree apart; and a 'double roulade' referred to a slide or double backfall descending the interval of a 3rd into the main note. [1] Some writers later used the term roulade in reference to florid ornamental passages for woodwinds within oratorios. [6]

In vocal music a roulade is an elaborate embellishment of several notes sung to one syllable. [7] The writer James Grassineau in his 1740 publication A Musical Dictionary defined the roulade as a "trilling or quavering", and "the act of trilling or shaking, or running a division with a voice". [1] The 19th century Spanish music theorist José Joaquín de Virués y Spínola wrote that, "The Roulade is a smooth but rapid course of notes interspersed into the course of an air without breaking the time or disturbing the subject matter of the composition." [8]

In opera, the term roulade has become closely associated with coloratura vocal ornamentation; and the terms have been used synonymously with one another to refer to any difficult run requiring great vocal dexterity. The term roulade has also been used more specifically to refer to the ornamental practice of splitting up the melodic line of a piece of music into many smaller notes. [2] It has also been defined as a specific type of melisma that is virtuosic in character. [3] Composer Jean-Jacques Rousseau expressed his opinion that the roulade was useful for its dramatic impact within the aria parlante; a declamatory aria known for emotive passion. [9] Rousseau wrote:

"As violent passion has a tendency to choke the voice, so in the expression of it by musical sounds, a roulade, which is a succession of notes rapidly uttered on one vowel, has often more powerful effect than distinct articulation." [9]

While mainly used in the context of opera arias, the term roulade has also been applied by some writers to melismas in choral music. Some sources have defined a melisma as a type of roulade or as synonymous with a roulade. [4] [3] In D. E. Hervey's 1894 essay, Handel in the Nineteenth Century, he wrote of the melismas extent in Handel's Messiah :

"From other duets in the same volumes were constructed the four choruses "And He Shall Purify", "For Unto Us A Child Is Born", "All We Like Sheep", and "His Yoke is Easy". The light hearted roulades that so offend the religious and even serious-minded in these choruses were perhaps admissible in love-duets, but we cannot admit that they are proper in oratorio, and especially in such a solemn oratorio." [10]

Aside from classical music, the term roulade has been applied to other genres including gospel music and rock and roll. Operatic roulades have been utilized by some gospel singers in a blending of styles. [11] Jerry Garcia's vocals in the rock band Grateful Dead's "Black Peter" has been described as containing roulades. [12] A line in the Steely Dan track, Your Gold Teeth, remarks, "Even Cathy Berberian knows there's one roulade she can't sing"

Related Research Articles

<span class="mw-page-title-main">Aria</span> Musical piece for a single voice as part of a larger work

In music, an aria is a self-contained piece for one voice, with or without instrumental or orchestral accompaniment, normally part of a larger work.

A soprano is a type of classical female singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C4) = 261 Hz to "high A" (A5) = 880 Hz in choral music, or to "soprano C" (C6, two octaves above middle C) = 1046 Hz or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which often encompasses the melody. The soprano voice type is generally divided into the coloratura, soubrette, lyric, spinto, and dramatic soprano.

A countertenor (also contra tenor) is a type of classical male singing voice whose vocal range is equivalent to that of the female contralto or mezzo-soprano voice types, generally extending from around G3 to D5 or E5, although a sopranist (a specific kind of countertenor) may match the soprano's range of around C4 to C6. Countertenors often have tenor or baritone chest voices, but sing in falsetto or head voice much more often than they do in their chest voice.

A contralto is a type of classical female singing voice whose vocal range is the lowest female voice type.

An oratorio is a musical composition with dramatic or narrative text for choir, soloists and orchestra or other ensemble.

<i>Messiah</i> (Handel) 1741 sacred oratorio by Handel

Messiah is an English-language oratorio composed in 1741 by George Frideric Handel. The text was compiled from the King James Bible and the Coverdale Psalter by Charles Jennens. It was first performed in Dublin on 13 April 1742 and received its London premiere a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music.

A mezzo-soprano or mezzo (; Italian:[ˌmɛddzosoˈpraːno]; meaning "half soprano") is a type of classical female singing voice whose vocal range lies between the soprano and the contralto voice types. The mezzo-soprano's vocal range usually extends from the A below middle C to the A two octaves above (i.e. A3–A5 in scientific pitch notation, where middle C = C4; 220–880 Hz). In the lower and upper extremes, some mezzo-sopranos may extend down to the F below middle C (F3, 175 Hz) and as high as "high C" (C6, 1047 Hz). The mezzo-soprano voice type is generally divided into the coloratura, lyric, and dramatic.

Melisma is the singing of a single syllable of text while moving between several different notes in succession. Music sung in this style is referred to as melismatic, as opposed to syllabic, in which each syllable of text is matched to a single note. An informal term for melisma is a vocal run. The term roulade is also sometimes used interchangeably with melisma.

<span class="mw-page-title-main">Recitative</span> Ordinary speech-like singing in opera, cantata, mass or oratorio

Recitative is a style of delivery in which a singer is allowed to adopt the rhythms and delivery of ordinary speech. Recitative does not repeat lines as formally composed songs do. It resembles sung ordinary speech more than a formal musical composition.

<span class="mw-page-title-main">Coloratura</span> Type of elaborate melody

Coloratura is an elaborate melody with runs, trills, wide leaps, or similar virtuoso-like material, or a passage of such music. Operatic roles in which such music plays a prominent part, and singers of these roles, are also called coloratura. Its instrumental equivalent is ornamentation.

<i>Agrippina</i> (opera) 1709 opera seria by G. F. Handel

Agrippina is an opera seria in three acts by George Frideric Handel with a libretto by Cardinal Vincenzo Grimani. Composed for the 1709–10 Venice Carnevale season, the opera tells the story of Agrippina, the mother of Nero, as she plots the downfall of the Roman Emperor Claudius and the installation of her son as emperor. Grimani's libretto, considered one of the best that Handel set, is an "anti-heroic satirical comedy", full of topical political allusions. Some analysts believe that it reflects Grimani's political and diplomatic rivalry with Pope Clement XI.

A coloratura soprano is a type of operatic soprano voice that specializes in music that is distinguished by agile runs, leaps and trills.

Bel canto —with several similar constructions —is a term with several meanings that relate to Italian singing.

<i>Saul</i> (Handel)

Saul is a dramatic oratorio in three acts written by George Frideric Handel with a libretto by Charles Jennens. Taken from the First Book of Samuel, the story of Saul focuses on the first king of Israel's relationship with his eventual successor, David—one which turns from admiration to envy and hatred, ultimately leading to the downfall of the eponymous monarch. The work, which Handel composed in 1738, includes the famous "Dead March", a funeral anthem for Saul and his son Jonathan following their deaths in the Battle of Mount Gilboa at the hands of the Philistines, and some of the composer's most dramatic choral pieces. Saul was first performed at the King's Theatre in London on 16 January 1739. The work was a success at its London premiere and was revived by Handel in subsequent seasons. Notable modern-day performances of Saul include that at Glyndebourne in 2015.

<i>Solomon</i> (Handel) Oratorio by George Frideric Handel

Solomon, HWV 67, is an oratorio by George Frideric Handel. The anonymous libretto – currently thought to have been penned by the English Jewish poet/playwright Moses Mendes (d.1758) – is based on the biblical stories of the wise king Solomon from the First Book of Kings and the Second Book of Chronicles, with additional material from Antiquities of the Jews by ancient historian Flavius Josephus. The music was composed between 5 May and 13 June 1748, and the first performance took place on 17 March 1749, with Caterina Galli in the title role at the Covent Garden Theatre in London, where it had two further performances. Handel revived the work in 1759.

Structure of Handels <i>Messiah</i>

Messiah, the English-language oratorio composed by George Frideric Handel in 1741, is structured in three parts, listed here in tables for their musical setting and biblical sources.

<i>Messiah</i> Part I First part of Handels English-language oratorio Messiah

Messiah, the English-language oratorio composed by George Frideric Handel in 1741, is structured in three parts. The wordbook was supplied by Charles Jennens. This article covers Part I and describes the relation of the musical setting to the text. Part I begins with the prophecy of the Messiah and his virgin birth by several prophets, namely Isaiah. His birth is still rendered in words by Isaiah, followed by the annunciation to the shepherds as the only scene from a Gospel in the oratorio, and reflections on the Messiah's deeds. Part II covers the Passion, death, resurrection, ascension, and the later spreading of the Gospel. Part III concentrates on Paul's teaching of the resurrection of the dead and Christ's glorification in heaven.

<i>Messiah</i> Part II Second part of Handels English-language oratorio Messiah

Messiah, the English-language oratorio composed by George Frideric Handel in 1741, is structured in three parts. This listing covers Part II in a table and comments on individual movements, reflecting the relation of the musical setting to the text. Part I begins with the prophecy of the Messiah and his birth, shows the annunciation to the shepherds and reflects the Messiah's deeds on earth. Part II covers the Passion in nine movements including the oratorio's longest movement, an air for alto He was despised, then mentions death, resurrection, ascension, and reflects the spreading of the Gospel and its rejection. The part is concluded by a scene called "God's Triumph" that culminates in the Hallelujah chorus. Part III of the oratorio concentrates on Paul's teaching of the resurrection of the dead and Christ's glorification in heaven.

<i>Messiah</i> Part III Third part of Handels English-language oratorio Messiah

Messiah, the English-language oratorio composed by George Frideric Handel in 1741, is structured in three parts. This listing covers Part III in a table and comments on individual movements, reflecting the relation of the musical setting to the text. Part I begins with the prophecy of the Messiah and his birth, shows the annunciation to the shepherds as a scene from the Gospel of Luke, and reflects the Messiah's deeds on Earth. Part II covers the Passion, death, resurrection, ascension, and the later spreading of the Gospel. Part III concentrates on Paul's teaching of the resurrection of the dead and Christ's glorification in heaven.

<i>Der Messias</i>

Der Messias, K. 572, is Wolfgang Amadeus Mozart's 1789 German-language version of Messiah, George Frideric Handel's 1741 oratorio. On the initiative of Gottfried van Swieten, Mozart adapted Handel's work for performances in Vienna.

References

  1. 1 2 3 4 5 6 7 Kenneth Kreitner, Louis Jambou, Desmond Hunter, Stewart A. Carter, Peter Walls, Kah-Ming Ng, David Schulenberg and Clive Brown (2001). "Ornaments". Grove Music Online . Oxford Music Online. Oxford University Press. doi:10.1093/gmo/9781561592630.article.49928. ISBN   9781561592630.{{cite encyclopedia}}: CS1 maint: multiple names: authors list (link)
  2. 1 2 3 William Berger (2002). NPR The Curious Listener's Guide to Opera. Penguin Publishing Group. ISBN   9781101221174.
  3. 1 2 3 Piero Weiss, Richard Taruskin (2007). "Glossary: Roulade". Music in the Western World. Cengage Learning. p. 555. ISBN   9781111793449.
  4. 1 2 Louis C. Elson, ed. (1911). "Melisma". Modern Music and Musicians; Part Two: Encyclopedia. University Society. p. 803. ISBN   9781404706750.
  5. ↑ Theodore Karp (1983). Dictionary of music. Northwestern University Press. p. 340. ISBN   9780810106598.
  6. ↑ Howard E. Smither (2012). A History of the Oratorio, Vol. IV. University of North Carolina Press. p. 549. ISBN   9780807837788.
  7. ↑ Burton D. Fisher (2005). A History of Opera: Milestones and Metamorphoses. Opera Journeys Publishing. p. 422. ISBN   9781930841987.
  8. ↑ José Joaquín de Virués y Spínola (1850). An original and condensed grammar of harmony, counterpoint, and musical composition ; or, The generation of euphony reduced to natural truth : preceded by the Elements of music. Longman, Brown, Green, & Longman. p. 17.
  9. 1 2 Esther Singleton (1902). A Guide to the Opera: Description & Interpretation of the Words & Music of the Celebrated Operas. Dodd, Mead & Co. p. xvi.
  10. ↑ D. E. Hervey (1894). William Smythe Babcock Mathews (ed.). "Handel in the Nineteenth Century". Music: A Monthly Magazine, Devoted to the Art, Science, Technic and Literature of Music. 5: 660.
  11. ↑ Glenn Hinson (2010). "Fire in My Bones: Transcendence and the Holy Spirit in African American Gospel". University of Pennsylvania Press. p. 194. ISBN   978-0812203011.
  12. ↑ The Foundations of Rock: From "Blue Suede Shoes" to "Suite: Judy Blue Eyes". Oxford University Press. 5 March 2009. p. 169. ISBN   9780195310238.
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