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The 5epublic of Ta4ikistan $figure 6%, is a mountainous countr" in Central Asia. The slap tongue is a syllable-like sound that pops repeatedly. The example below shows the continuous slap-tongue section. ''ot onl" do # give them a linguistic content $a sense of diction or phrasing% and form but # use them as expressive elements&' said Christian Lauba.
The 5epublic of Ta4ikistan $figure 6%, is a mountainous countr" in Central Asia. The slap tongue is a syllable-like sound that pops repeatedly. The example below shows the continuous slap-tongue section. ''ot onl" do # give them a linguistic content $a sense of diction or phrasing% and form but # use them as expressive elements&' said Christian Lauba.
The 5epublic of Ta4ikistan $figure 6%, is a mountainous countr" in Central Asia. The slap tongue is a syllable-like sound that pops repeatedly. The example below shows the continuous slap-tongue section. ''ot onl" do # give them a linguistic content $a sense of diction or phrasing% and form but # use them as expressive elements&' said Christian Lauba.
notes and the consecutive popping sound of slap tongue.
The example below shows the
continuous slap-tongue section. Example 4-. Jungle p. 16, line 68. According to Christian Lauba, speaking of the slap tongues found here: !ot onl" do # give them a linguistic content $a sense of diction or phrasing% and form but # use them as expressive elements& $'mble ())), (*+%. #n Chopin,s -onata for .iano no. ( in / flat minor op. 0*, the famous 1uneral 2arch& of its third movement and 1inale-.resto& of the fourth movement both have a ver" similar texture and the sense of storm" breath-taking driving. 3nl" after having written this piece, did # notice the similarit" between this work and the final movement of Chopin,s second sonata,& said Christian Lauba $'mble ())), (*+%. Tdj Ta4ikistan, officiall" the 5epublic of Ta4ikistan $figure 6-*%, is a mountainous countr" in Central Asia. #t borders with Afghanistan to the south, '7bekistan to the west, 8"rg"7stan to the north, and .eople,s 5epublic of China to the east. Ta4ikistan also lies ad4acent to .akistan but is separated b" the narrow 9akhan Corridor. 2ost of Ta4ikistan,s population belongs to the Ta4ik ethnic group, who shares culture and histor" with the #ranian peoples and speak the .ersian language $officiall" referred to as Ta4iki in Ta4ikistan%. 3nce part of the -amanid :mpire, Ta4ikistan became a constituent republic of the -oviet 'nion in the twentieth centur", known as the Ta4ik -oviet -ocialist 5epublic $Ta4ik --5%. Figure 4-1. Tajikistan and Central Asia. $http:;;www.reliefweb.int;mapc;cis;reg;cau;caucia.html% #n the first book of Neuf tudes, the four etudes have <uite clear aims of developing certain techni<ues and the content of the four compositions sta"s within a certain degree of simplicit", which b" no means implies eas". Tdj is the first etude of the series to which the composer does not assign specific techni<ues, although it still contains techni<ues like <uarter-tone vibrato, slap tongue, bisbligando, multiphonics and so on. #n addition, it is the first etude with an extended length of twelve pages with a total performing time of eight minutes, which is two or even three times the length of an" of the first four etudes. The complexit" of the content also lifts the etude out of the frame of a stud" or an etude-like composition and makes the etude incline more toward a concert piece. The constant switching demands extended techni<ues, similar to the wa" Lis7t,s tudes dExcution Transcendante differs from the earlier concert piano etudes= the work does not offer enough repeated patterns or exercises and makes the etude drift further from its original definition and more toward a concert piece. /ecause of its length, this etude is divided into several sections with different textures, which gives the audience the impression of a form of fast-slow-fast, contrar" to Lauba,s common approach of slow-fast-slow in other etudes such as Balafon, Savane, and Gyn. Tdj is based on three modes: The beginning of Tdj evokes the music which is pla"ed in T>d4ikistan or #ran where "ou can find three modes in the same song: our occidental mode, the pentatonic scale $Chinese mode% and the Arabic mode with ?;0 and ?;6 tones. 6-0 6-0 Christian Lauba, e-mail to author, 1ebruar" ?6, ())@. Example 4-. Tdj p. 1, line 13. The whole first page is mainl" composed of onl" two notes: the A $tonic% and the A $dominant% in a modal s"stem, which <uickl" establishes the musical traits from middle eastern and central Asia. The strict definitions and articulation of different attacks are ver" important through the entire piece. :speciall" in the first pages, the nuances of the subtle differences within each of the different articulations are so vital. The" are not onl" the languages of the etudes but also the expressions of the phrases. Bean-2arie Londeix has suggested the saxophonist pla" the first seven lines while circular breathing $'mble ())), (*+%. Gyn As notated on the first page of the score, Gyn is the etude based upon the stud" of attack and resonance.& The main foci of techni<ues in this etude are multiphonics and bisbligando, although some extremel" wide interval leaps, along with contrasting articulations and extremel" d"namic changes, are also extremel" challenging to the performer. Calf of the piece is devoted to bisbligando, which is the ver" subtle timbre trill. The numeration, $or rh"thmi7ation& b" Londeix% of the bisbligando, which