Comments on: Tremolo and the abstract truth

By: Roman Czura

Roman Czura — Mon, 10 Feb 2025 09:53:37 +0000

I am on the same page as Zoltan. Maybe I am a bit biased, as I have studied and teach in Poland, though there are many other reasons, why I’d opt for the Z-symbol – a) it needs one short explanation, then it is clear b) it visually stands out from 3 slashes for short notation, thus c) no misunderstanding, d) also visualises the buzzing sound it makes (also for fluttertongue).
“I think some people have a false belief that tremolo is louder, but I don’t think it is.” – agree 100%, as one looses contact with the string all the time, with every bow-change. The forte effect of tremolo is immense for the motion involved, not the actual loudness. This is different for frullato in winds (which I wouldn’t compare to string tremolo BTW, I think the effect isn’t equal at all).

By: Julio

Julio — Sun, 23 Apr 2017 22:23:12 +0000

Thanks, Tim

I was wondering abaout the necessity of ties: consider the case where you have to the players to change the notes in different time points, some in the downbeat, others in a eight note offbeat, others in the 3rd note of a quarter note triplet, for example. Maybe the use of ties could be justifiable, as for indicating where the player must change the pitch, while carrying the tremolo notes. I’ve seen this on a Kaija Saariaho Score, for example.

By: Tim

Tim — Sun, 29 Dec 2013 04:43:38 +0000

In reply to Andie Heyer. The Z does make sense, but as it has not become standard, one has to wonder which method would get more questions. The rule is that 3 lines is unmeasured. There is no clause that states in slow tempos it is different. However, I know some people seem to think it may. In those cases it is fine to clarify if you want. I am not convinced though that just adding the word 'trem' clears up unmeasured or not. They are both types of trem. That is why I would say that is a waste of toner! I am never against clarifying if there is ambiguity. What I think is silly is adding text when there is no ambiguity.

By: Andie Heyer

Andie Heyer — Sat, 28 Dec 2013 12:29:37 +0000

the ‘z’ tremolo notation for strings that Zoltan refers to is originally introduced to string literature in the early 60’s by polish composer Krzysztof Penderecki. It looks a little different than the “buzz roll” sign. He introduced that sign as a destinction in order to achieve that real “unmeasured tremolo” (play as fast as possible) as we call it in german ‘Bebung’ (the literal ‘trembling’ effect) as the standard tremolo slashed might be played usually a little slower or might even sound measured in some cases (3 slashes can easily be misunderstood and articulated as 32th notes in slow tempi). Once a principal string player told me: “the more trem slashes the better” 🙂 minimum 3.. better 4 or more in really slow movements to guarantee the “trembling” happens. Although I guess most string players are familiar with the ‘z’ nowadays. Just listen to some Penderecki and follow the scores and in case you desire to achieve that same kind of harsh sounding trem use the ‘z’. Otherwise there’s the option to simply write “trem” or “tremolando” above (seen in some Wagner and other late-romantic scores) although that’s something that Tim calles a “waste of toner” 🙂

By: Tim

Tim — Mon, 02 Sep 2013 19:50:15 +0000

In reply to lt.

Hi
The div a3 means the whole first violin section divides into 3 groups, not3 players, so balance is not an issue. If I were doing those few bars in isolation, then I would do it a little differently. However, in this case, I am preserving the seconds for the rhythm. If I had them playing there would be issues of range/string and going from unmeasured to measured bowing.

Hope that clears it up.
Tim

By: lt

lt — Sat, 31 Aug 2013 14:32:04 +0000

Hi Tim

Some questions on the last example: div a3 means that only 3 of the first violins play(2 the tremolo and 1 the high c)?
How do you keep the dynamic balance when 3 players play over the whole violas section? is that important or not?

Thanks for sharing your knowledge

By: Zoltan Paulinyi

Zoltan Paulinyi — Thu, 11 Jul 2013 23:20:57 +0000

Dear Tim,
the ‘z’ notation is not my invention: I’ve found it from other scores. It’s advantage: ‘z’ looks similar to the three slashes, but it is different enough to avoid stopping rehearsals in order to explain whether the tremolo is measured or unmeasured.

By: Tim

Tim — Thu, 11 Jul 2013 18:40:51 +0000

In reply to Zoltan Paulinyi.

Hi Zoltan
You are right about too much tremolo. I am working on an orchestration right now that has too much in and I am talking a lot of it out. I think some people have a false belief that tremolo is louder, but I don’t think it is. Not sure about the ‘z’ notation. The only place I have seen or used it is in percussion parts as a single buzz or drop stroke. I have no problem with the current system of notation. Curious as to why you want to change it?

By: Zoltan Paulinyi

Zoltan Paulinyi — Thu, 11 Jul 2013 13:18:58 +0000

Nicely written article.
String players used to hate tremoli because it is often a signal of bad orchestration. In such cases, the score makes extensive use of tremoli, making the piece unnecessarily tiring. Not all pieces are badly orchestrated, but remember how tiring are the Bruckner’s symphonies for example, among MANY others.

When tremolo is a must, I’ve found that “z” is the contemporary notation better suited to indicate it instead of the ambiguous three slashes. Even if the player is not used to this notation, a simple and direct answer (maybe a bula, although players may not read it) is enough to make the playing clear.