- Bisbigliando and color trill are microtonal trills, a special technique distinct from standard trills. They are used to create significant timbral changes or to produce a shimmering, trembling quality in the sound
- In saxophone performance, bisbigliando is a technique of producing nearly the same pitch using different fingerings to alter the timbre. Also known as alternate fingering, it is used in jazz contexts as well
- To execute bisbigliando, it is essential to find fingering combinations that produce nearly the same pitch with different finger positions. For example, on the note A, this can be achieved by independently pressing keys 4, 5, and 6 in various combinations
- The direction of the microtonal trill is not specifically required, but a significant change in timbre or a shimmering, trembling quality in the sound must be conveyed. It is important to produce a sense of vibration distinct from flutter tonguing
- When encountering bisbigliando or color trill markings, the key to improvement is finding fingerings that produce nearly the same pitch with different finger positions and experiencing the resulting changes in timbre
For those studying classical music, you may occasionally encounter the term "bisbigliando" when performing contemporary works. Many players are unsure of what this means. Bisbigliando and color trill are microtonal trills, a special technique distinct from standard trills. This article explains these concepts and provides a practical approach to experiencing them in actual performance.
The Concept of Bisbigliando and Color Trill: What Is a Microtonal Trill?
Bisbigliando is essentially a microtonal trill. In a standard trill, if there is a trill on the note A, you would alternate between A and B-flat, or A and B, trilling between intervals of a semitone or whole tone. However, when a bisbigliando marking appears, this must be performed using microtones. Microtones are intervals smaller than a semitone, referring to minute pitch differences that do not exist in the standard scale.
For example, when bisbigliando is written on the note A, the direction of the microtonal trill is not specifically required. It can go upward or downward; either direction is fine. What is important is that a significant change in timbre or a shimmering, trembling quality distinct from flutter tonguing must be conveyed. This is the fundamental difference from a standard trill and the essential characteristic of bisbigliando.
Building Physical Awareness on the Saxophone: Alternate Fingering
Color trill is simply a different notation for the same thing as bisbigliando. In jazz, bisbigliando and color trill are also referred to as alternate fingering. In essence, it is a method of producing nearly the same pitch using different fingerings to change the timbre.
In saxophone performance, to execute bisbigliando and color trill, it is essential to find fingering combinations that produce nearly the same pitch with different finger positions. For example, when bisbigliando is written on the note A, fluttering or independently pressing keys 4, 5, and 6 in various combinations creates a bisbigliando-like effect. By producing nearly the same pitch with different fingerings, the timbre changes and a shimmering, trembling quality can be expressed.
Causes and Solutions
- ① Find different fingering combinations: When encountering bisbigliando or color trill markings, try to find fingering combinations that produce nearly the same pitch with different finger positions. For example, on the note A, this can be achieved by independently pressing keys 4, 5, and 6 in various combinations
- ② Focus on timbral changes: By producing the same pitch with different fingerings, experiencing the sensation of the timbre changing is crucial. When the timbre starts to shift, you may notice something different emerging
- ③ Express the shimmering quality: In bisbigliando, a significant change in timbre or a shimmering, trembling quality distinct from flutter tonguing must be conveyed. Expressing subtle microtonal pitch fluctuations, which differ from standard trills, is required
- ④ Do not worry about direction: The direction of the microtonal trill is not specifically required. It can go upward or downward; either direction is fine. What matters is expressing the timbral change and the shimmering quality
- ⑤ Understand it as alternate fingering: Understanding bisbigliando and color trill as alternate fingering opens the door to applications in jazz as well. Grasping the essence of producing nearly the same pitch with different fingerings to change the timbre is what matters most
Bisbigliando and color trill in saxophone performance begin with understanding the concept of microtonal trills. Unlike standard trills, these are a method of producing nearly the same pitch using different fingerings to change the timbre. Also known as alternate fingering, this technique is an important expressive tool used not only in contemporary music but also in jazz.
To execute bisbigliando and color trill, it is essential to find fingering combinations that produce nearly the same pitch with different finger positions. For example, on the note A, this can be achieved by fluttering or independently pressing keys 4, 5, and 6 in various combinations. Experiencing the sensation of the timbre changing and conveying a significant change in timbre or a shimmering, trembling quality distinct from flutter tonguing are the essential characteristics of bisbigliando. While the direction of the microtonal trill is not specifically required, expressing timbral change and a shimmering quality is expected. By putting these methods into practice, you can master the special expressive techniques required in contemporary music and jazz, and broaden the range of expression in your saxophone performance.
