Klangfarbenmelodie German for "sound-color melody" is a musical technique that involves splitting a musical line or melody between several instrumentsrather than assigning it to just one instrument or set of instrumentsthereby adding color timbre and texture to the melodic line. The technique is sometimes compared to " pointillism ",  a neo-impressionist painting technique.
The term derives from Arnold Schoenberg 's Harmonielehre where he discusses the creation of "timbre structures". Schoenberg and Anton Webern are particularly noted for their use of the technique, Schoenberg most notably in the third of his Five Pieces for Orchestra Op. This may be compared with Bach's open score of the subject and the traditional homogeneous timbre used in arrangements:.
Schoenberg himself employed the technique in his orchestration of the "St. Malcolm MacDonald says of this arrangement, "The gamut of colour—including harp, celesta and glockenspiel, six clarinets of various sizes, and a very agile bass tuba is brilliantly kaleidoscopic. The instrumentation has a serious purpose, however: it emphasizes structural divisions Notable examples of such voice distribution that preceded the use of the term may be found in music of the 18th and 19th centuries.
John Eliot Gardiner says of the orchestral opening of J. Bach 's Cantata Brich dem Hungrigen dein BrotBWV 39, "Bach sets out almost tentatively in an introductory sinfonia with repeated quavers tossed from paired recorders to paired oboes to the strings and back over stiffly disjointed quavers in the continuo. In Beethoven 's Symphony No. Similarly, in the fourth movement of Berlioz ' Symphonie fantastique"March to the Scaffold"the melody first appears as a descending scale played on 'cellos and basses:.
There are further instances in the works of Claude Debussy :. In the s, the concept inspired a number of European composers including Karlheinz Stockhausen to attempt systematization of timbre along serial lines, especially in electronic music. From Wikipedia, the free encyclopedia. Now, if it is possible to create patterns Chamasin - Various - Klangzauber of tone colors that are differentiated according to pitch, patterns we call 'melodies', progressions, whose coherence Zusammenhang In The Morning (Reprise) - Various - 22 vla les prof.! an effect analogous to thought processes, then it must also be possible to make such progressions out of the Chamasin - Various - Klangzauber colors of the other dimension, out of that which we call simply 'tone color', progressions whose relations with one another work with a kind of logic entirely equivalent to that logic which satisfies us in the melody of pitches.
Chamasin - Various - Klangzauber in Schoenbergp. Atonality and post-tonality. Equal temperament Modes of limited transposition Mystic chord Octatonic scale Whole tone scale. List of atonal compositions. Categories : Musical techniques Post-tonal music theory Timbre.
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