Marilynn Mair

A Night At The Opera

Music for this workshop

Some of the most dramatic and beautiful melodies in the world were written in Italy during the nineteenth century. Italian operas of the Romantic era were hugely popular theatrical events featuring singers who were the super-stars of their day. From early "bel canto" to the emotional overload of "opera verismo," Romantic-era opera arias were written to create an attention-grabbing force -- live and on stage -- capable of melting the most cynical hearts, and reducing the more voluble to tears and choruses of "bravo!" If you have ever heard an exquisitely sung aria performed live you realize the power of the human voice, and the beautifully written vocal line, to open the heart to an appreciation of wonder. Opera, live, is powerful stuff!

There are musical lessons that a well-sung opera aria can teach instrumentalists as well. Phrasing, modulation of dynamics, varying the level of intensity, dramatically shaping the musical line -- all of these have application in instrumental music to create a performance with impact.

For those of you who have been working with my articles for the past few months to develop your tremolo technique, this is the next step. Technical mastery is never the endpoint for a musician; it simply gives you a language with which to speak.

What you say with your technique is what matters. And it's your responsibility, as an aspiring artist and mandolinist, to use your technique to create unforgettable music.

The goal of developing a strong tremolo is to be able to use it to spin out a beautiful, emotional, musical line. In this issue we'll look to the masters of vocal music for some lessons in developing an expressive tremolo.

The tremolo technique, by itself, can sound rather like a sewing machine, as you practice to make it consistent and densely packed with maximum notes-per-second. You are working to create an illusion -- hundreds of fast repeated tones that will blend, at a distance, to create the sound of an unbroken musical line. You have to work until you become comfortable enough to be able to forget about the technique -- all that hard work -- and believe in the illusion. Then you can begin to shape that illusion into a vehicle to give voice to your musical intentions.

I've written out Guiseppe Verdi's beautiful aria, Celeste Aida, for this issue's column. Although I've given some phrasing instructions, you'll really learn more by listening to a recording of this piece sung by a great operatic voice. Sing along -- it doesn't matter how you sound -- and be drawn into the intensity of the performance.

Then, as you approach the piece as a mandolinist, try to remember and capture the feeling of power in the vocal original. Overplay -- really! Build your crescendos to glorious heights and draw them down to pianissimo whispers.

Feel the line of your tremolo float out effortlessly, carrying the well-loved melody on its wings. Believe me, you can knock yourself out! And you'll take a huge step beyond student and toward artist.

I've included chord symbols with the melody, so you can grab a friend to accompany you on your musical adventure. Verdi's orchestration is not very complex -- in fact his writing has been likened to a "giant guitar" -- so an eighth-note pick-strum-strum will suffice. Relax and enjoy yourself.

Once you get the hang of it, expressive tremolo is as addictive and delicious as chocolate. It's a great journey getting there, and the results are absolutely worth the effort.

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Marilynn Mair is a mandolinist best known for her work in chamber music and Brazilian choro. She has performed throughout Europe, North America, and the Far East, has released nine highly acclaimed recordings, and appears on numerous compilations. Her latest CD, Mandolin in the 18th Century, was released in July, 2003.

Ms. Mair has been active in commissioning new music, and has premiered and recorded some of the most significant twentieth century works for mandolin. In addition to her solo work, she directs the Boston-based mandolin octet, Enigmatica, and has directed the annual American Mandolin & Guitar Summer School, since 1986.
 

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