Melodic Elements: Virtuosity

Melodic elements that “In my time of dying” and “La Traviata” include virtuosity, and ornamentation. Virtuosity is defined as having great technical skill and performance ability (Webster). This is evident in the guitar solo from 6’ 15” to 9’ 20” in “Stairway to Heaven” and virtuosity is also apparent in the Sempre Libera aria of “La Traviata.” Both excerpts feature notes in a high tessitura which requires both skill and strength to successfully play and sing. Particularly in the Sempre Libera aria, there is little rest time for the coloratura soprano before performing this aria, requiring a strong singer with powerful high notes and endurance. Woodwinds introduces her aria at 1' 21", reflecting the girlish glee of the aria. Its trilling tune and bouncing accompaniment stop abruptly and Violetta starts her carefree bright stream of vocal fireworks. Joan Sutherland hits the consonants, creating bounce and bravura in the vocal line. The high tessitura E flat at 2’ 51” in “Sempre Libera” reflects the necessary strength of the soprano.

Opera is often written to showcase the primadona of the show. Arias and their inclusion of cadenzas are the perfect medium to display one’s virtuosic abilities. The cadenza in Ah Fors'e Lui starting at 3' 49" likewise exemplifies the virtuosic elements in La Traviata.

Joan Sutherland, the primadona, interpreted Verdi's composition to express the character Violetta's inner confusion and turmoil through her use extensive use of rubato and trills.The descending chromatic figure is articulated for ten seconds, displaying the strength and skill of Joan Sutherland. This extensive figure is followed by a long trill lasting over seven seconds on the "delizia" and she interpolates three extra notes at the "al cor."



Virtuosity is shown in Jimmy Page’s lick, a short melodic motif, in his guitar solo in “Stairway to Heaven” as he utilizes pull offs, sounding 2 notes within only one pluck of the string.

Shown below is the standard method to play triplets

The figure below show's Jimmy Page's adaption, breaking the passage into 16th notes, removing the first two notes, and beginning the lick with the last note of the grouping.

Jimmy Page effectively uses his own skill to increase the tempo at which he plays, a sign of virtuosity.