February 2008
February 28, 2008 11:24
These methods can be applied with other study and scale books, though perhaps they might not be as direct and efficient in results.
1.) "when i play scales i am in tune on the way up but flat or high on the way down."
Use a "Guide" finger for your shifts down — slide/shift 1st finger to the new position, maintain rotation of left hand for the arrival of the 3rd finger (or other depending on pattern chosen) placing it on the string after your position arrival is accurate. Do not place new finger if the shift is missed.
Are you doing my scale pattern on page 76 #1a? Are you going only across the strings for 2-8vas or are you also shifting, taking you up the 3rd 8va?
Use the pattern as indicated with a lot of "Rep Hits" for each note — pg 7 "RH" at the bottom gives a few patterns; initially just do 2-16ths and 1-8th slowly. Throw/sting the finger down lightly and let it naturally pop/release off for the 16ths, then hold the 8th full value (even make it a dotted quarter — dotted crotchet — for better stability of the pitch and therefore the fingers' balance.)
Are you working with a teacher? Definitely get their guidance on this as they can see you and adjust according to what is actually being observed.
Also, it always helps intonation and the development of the ear when you play the open string below the string your fingers are on — even when there is dissonance due to the key signature. The open string above is also very good.
2.) “stretching”
Virtually never "stretch" the fingers up, rather position the left hand higher up the string, as in a slightly higher 1st position, favoring the 4th finger and reach/contract the other fingers back. When covering a larger distance, there will be a clockwise rotation of the left hand and forearm.
3.) GENERAL:
Combine the following: (work 3 to 10 minutes each)
Open & Closed Hand Groups, pg 6 #1-4 (use RHs — bottom pg 7)
Basics II, III and IV (keep using the open string below as in #1 when adding #2 and then #3)
8va Study, pg 27 #1
3rds Study, pg 34 #1
4ths Study, pg 42 #1 (initially without the shift — just go across to the next strings.
Use "Rep Hits" throughout your work and do not feel you have to complete any study initially. Simply add a measure, or even a few notes, at a time. It is all about quality.
Then jump to the music and apply the same methods — RHs, open strings, double stops across the strings, et al.
In the above, it is far better to use these methods, as the improvements come virtually immediately. A scale, other study or section of a piece comes much faster and at a higher level then just playing it through 5 or more times.
You will be constantly developing the shape and action of the left hand and fingers with the various postures, rotations and balances of the left hand and arm.
4.) STIFF:
All action should be totally free in movement with the joints/hinges — keep them lose.
If your fingers and hands are stiff due to age and/or other work, do constant stretches and massages of the hands, wrists and arms. I have found that wildly flailing/shaking the hands and arms while changing their height is really good for ease and freedom of movement — my father started doing this in his late 80's and kept playing the violin as an amateur well into his 90's.
Never force the stretches — give them time.
Hope this helps —
God bless,
Drew
Author of
Violin Technique: The Manual, How to master…
Viola Technique: The Manual, How to master…
5 replies | Archive link
February 25, 2008 21:21
Cello, anyone?
9 replies | Archive link
February 24, 2008 01:03
For Jazzy — (and perhaps a couple others:-)
Ricochet – The throw or drop of the bow setting off a series of two or more successive notes as the bow naturally rebounds and hits the string again. Often followed by a change of bow to clarify the musical arrival point or with a modification of bow speed, faster or slower , to add excitement and flare or relaxation and calm, respectively. It relates to Spiccato volante and Staccato volante at higher speed and even to the Jeté, which has the characteristic of added brilliance and flare. The flat hair will give the crispest response.
(Excerpted from Violin Technique: The Manual, How to master… and
Viola Technique: The Manual, How to master…)
Okay —
This will work for developing Ricochet and Spiccato: (also, refer again to the descriptions of the various Spiccato styles/types in the “Sautillé & Spiccato” blog.
In all of the following there must be total relaxation, freedom and ease of control while maintaining flawless form and posture — the bow is going to do the work!
NO DOWN OR UP-BOW:
Simply have the bow poised above one string; let it *fall to the string and catch it on the recoil/rebound. Do this in various parts of the bow, from the lower quarter to the extreme tip. Use flat hair, and later add the side of the hair to observe and learn the incredible difference of response — still NO direction of the bow stroke.
*Drop by releasing the 4th finger’s counterbalance duties or a slight rotation of the forearm from the elbow without raising or lowering the upper-arm — these can also be combined — and you can also raise and lower the right arm from the shoulder without the previous. Any and all combinations should be explored, analyzed and learned from if you want to truly excel in this craft and art.
Do not change points of contact or placement of bow until satisfied with the results.
STILL NO BOW DIRECTION:
Now add a rhythmic grouping, i.e., first: 2 drops, then 3, then 4, etc. Use a pulse pattern of duple and/or triple sequences of drops — give direction of the pulse via a slight accent to an arrival beat and/or with a crescendo or diminuendo (think William Tell Overture, Beethoven 5th opening or a piece you are presently working on).
Again, vary location and placement of the bow. Study, study, study.
Next:
Add string crossings — still NO bow direction…patience:-) — just go for impeccable clarity of the drop and control of timing. Do these in patterns such as 2-As and 1-D, etc. You should be fully concentrating on the rise and fall of the upper right arm remembering that the bow-tip lowers over the violin as you go toward the lower stings via raising the arm from the shoulder with an arc-like motion. The reverse is true as the arc returns in the right arm’s descent for the higher strings. Also note modification of the bow’s weight due to the altering of the bow’s angle and gravity. DO NOT ROTATE THE FOREARM AT THIS TIME.
NOW:
You get to draw the bow strokes……………… starting with micro-measurements even these must be slight comma shapes with an orbital path, as if starting to travel around the violin scroll and/or your left hand, with its precise return in reverse — a movie backwards. This is paramount in order to maintain complete ease in the joints with fluidity of motion.
The tone must be clean and clear with resonance. If the sound cracks, balks and collapses use the same quantity of bow, hair, weight and height of drop, gradually moving near the bridge until you hit the sweet spot — perfect! If it sounds like fingernails on a chalkboard, raspy and scraping you are too close to the bridge — back off!;-)
Again, vary location and placement of the bow. Study, study, study.
As you increase speed come closer to the string and do not whack the string unless called for in the interpretation.
NOW: NOW: NOW:
You can add as much bow as you wish and have a great time experimenting — dynamics, dramatic to delicate, huge thrusts of the bow and small subtle nuances, et al.
HAVE FUN!!!
I have included the Spiccato section from the previous blog as the various types can open up your artistic imagination with the Ricochet. Note also the Practice Tips afterwards.
Spiccato – An enunciated, springing, jumping bow with evenly proportioned action and a clear ringing tone – play each note on a separate bow stroke. More individual then Sautillé , it will take on many characters of interpretation depending upon the point of contact, speed, weight, amount of hair and placement of the bow. From the air (1, 3, 4 & 5) and from the string (2).
1. Spiccato dramatico/Dramatic Spiccato – A more aggressive and excited style of stroke that lends greater individual identity to each note, predominantly done in the lower quarter of the bow using various degrees of Collé for added inflections.
2. Spiccato lirico/Lyric Spiccato – Consists of a brushed and broadened lengthening of the bow-hair contact with the string, tilting toward the fingerboard to the side of the hair, thereby achieved with greater horizontal action and less vertical height. (Lower in the bow.)
3. Spiccato secco/Crisp Spiccato – A dryer, crisper stoke, it has a greater vertical drop and rebound with less horizontal draw of the bow. (Higher in the bow.)
4. Spiccato sulla corda/On the string Spiccato – At higher speeds the Spiccato will be on the string. The stick will maintain a bouncing, springing action – vertical articulation – but the hair will not actually leave the string. As in Sautillé, it is often best in higher speeds when the thumb, 1st finger and 3rd finger are proactively used; the 2nd finger simply releases away from the stick (do not lift as this action is tense and inhibiting); and the 4th finger is also released, hovering over the bow in a natural and relaxed curve.
5. Spiccato volante/Flying Spiccato – A stroke related to Staccato volante but of greater height above the string and individuality of strokes with notes. Also generally done in the upper portion of the bow with the added ability to remain in place or even recover territory traveling towards, or fully to, the heel or tip as needed via the Retake .
NOTE: These types, 1 – 5, often are mixed within the same passage and/or alternate with another bow stroke style to convey the desired effect.
Practice Tips:
1. Drop the bow vertically to the string at various points along the bow – note how it bounces – then catch or control the next drop, gradually adding the direction of the down and up bows.
a. Flatter hair bounces with a crisp, very distinct response and angled hair has a gentle, less distinct articulation.
b. Use the Crescent Bow , even in these small strokes, as this will prevent the usual stiffening of the wrist and elbow.
c. Use a small Thumb/fingers Stroke , adding greater arm motion as required.
d. In faster passages use less bow and keep closer to the string.
2. Set the bow on the string, at first in the middle. Use flat hair , weight the stick down so that the bow touches the hair (not the string) and then suddenly draw the stroke (down or up) and spring up and off the string. Maintain the Spiccato action. Apply points 1a – d above.
3. When done correctly, the bow does 90% of the work.
4. Do not tighten the bow hand/wrist/elbow/shoulder.
NOTE: Accented triplets are very good for developing evenness and control.
Excerpted from Violin Technique: The Manual, How to master… and
Viola Technique: The Manual, How to master…
The various parts of the arm and hand always work in concert together.
Hope this helps —
Drew
4 replies | Archive link
February 22, 2008 08:50
Sautillé – Often initiated on the string, the bow jumps or hops up from the string in a very excited fashion. It is a more flamboyant version of Spiccato sulla corda/on-the-string Spiccato and is accomplished with the use of very small strokes and flat hair. It is generally a grouped series of notes as the natural sequence of strokes is often initiated in patterns of 2, 3, 4, 6, 8, etc. As with Spiccato , the bow placement and ratio of height/length determine the character and degree of brilliance afforded to the passage. Higher speed will be higher up the bow and lower speed will be lower down the bow. It is often best in higher speeds when the thumb, 1st finger and 3rd finger are proactively used; the 2nd finger simply releases away from the stick (do not lift as this action is tense and inhibiting); and the 4th finger is also released, hovering over the bow in a natural and relaxed curve.
Spiccato – An enunciated, springing, jumping bow with evenly proportioned action and a clear ringing tone – play each note on a separate bow stroke. More individual then Sautillé , it will take on many characters of interpretation depending upon the point of contact, speed, weight, amount of hair and placement of the bow. From the air (1, 3, 4 & 5) and from the string (2).
1. Spiccato dramatico/Dramatic Spiccato – A more aggressive and excited style of stroke that lends greater individual identity to each note, predominantly done in the lower quarter of the bow using various degrees of Collé for added inflections.
2. Spiccato lirico/Lyric Spiccato – Consists of a brushed and broadened lengthening of the bow-hair contact with the string, tilting toward the fingerboard to the side of the hair, thereby achieved with greater horizontal action and less vertical height. (Lower in the bow.)
3. Spiccato secco/Crisp Spiccato – A dryer, crisper stoke, it has a greater vertical drop and rebound with less horizontal draw of the bow. (Higher in the bow.)
4. Spiccato sulla corda/On the string Spiccato – At higher speeds the Spiccato will be on the string. The stick will maintain a bouncing, springing action – vertical articulation – but the hair will not actually leave the string. As in Sautillé, it is often best in higher speeds when the thumb, 1st finger and 3rd finger are proactively used; the 2nd finger simply releases away from the stick (do not lift as this action is tense and inhibiting); and the 4th finger is also released, hovering over the bow in a natural and relaxed curve.
5. Spiccato volante/Flying Spiccato – A stroke related to Staccato volante but of greater height above the string and individuality of strokes with notes. Also generally done in the upper portion of the bow with the added ability to remain in place or even recover territory traveling towards, or fully to, the heel or tip as needed via the Retake .
NOTE: These types, 1 – 5, often are mixed within the same passage and/or alternate with another bow stroke style to convey the desired effect.
Practice Tips:
1. Drop the bow vertically to the string at various points along the bow – note how it bounces – then catch or control the next drop, gradually adding the direction of the down and up bows.
a. Flatter hair bounces with a crisp, very distinct response and angled hair has a gentle, less distinct articulation.
b. Use the Crescent Bow , even in these small strokes, as this will prevent the usual stiffening of the wrist and elbow.
c. Use a small Thumb/fingers Stroke , adding greater arm motion as required.
d. In faster passages use less bow and keep closer to the string.
2. Set the bow on the string, at first in the middle. Use flat hair , weight the stick down so that the bow touches the hair (not the string) and then suddenly draw the stroke (down or up) and spring up and off the string. Maintain the Spiccato action. Apply points 1a – d above.
3. When done correctly, the bow does 90% of the work.
4. Do not tighten the bow hand/wrist/elbow/shoulder.
NOTE: Accented triplets are very good for developing evenness and control.
Excerpted from Violin Technique: The Manual, How to master… and
Viola Technique: The Manual, How to master…
The various parts of the arm and hand always work in concert together.
Hope this helps —
Drew
4 replies | Archive link
February 20, 2008 08:34
How do you think of, view and order the movement?
Plan actions > Accuracy, Fluidity > MASTERY
This is a continuation in the series of blogs dealing with:
1. Left Hand
2. Shifting
3. Right Arm
4. Right Hand
5. Bow
They will be kept under the heading of ”GPS” for those who wish to follow the articles. I hope they are of benefit to you.
Intonation is one of the primary areas of focus in all we do. This applies to the intervallic measurements set about for the left hand fingers and also the contact variables of the Bow Hair to the string — the 1) point of contact, 2) speed of bow, 3) weight of bow, 4) amount of hair, 5) string selected and 6) vibrating length of string/position number are brought together in order to accomplish the desired dynamics and character of the music.
Your Global Positioning Satellite / Mental Positioning Satellite is all-important in all of the above.
Don’t be overwhelmed by the numerous variables — they will free you to maneuver, easily flowing into and out of the various settings/posturings for the bow arm, enabling one to accomplish the passage.
RIGHT FOREARM
Some of the points below deal with other aspects of the bow arm, hand, thumb and fingers.
Everything affects everything.
KEEP IT SIMPLE
Pull (Draw)/Push (tirez/poussez), Raise/Lower/Modify — subtly adjust as needed and when needed, programming all the moves’ actions and feelings into your GPS/MPS.
Excerpt:
9. Arm
a. The Forearm rotates clockwise (out)/counter clockwise (in). [Supination–palm up/Pronation–palm down]
1) It is the “Secondary Motor” to the overall bow stroke, whether large or small.
2) Very important in directing and pulsing the bow changes.
3) Its rolling action combined with the wing movement of the upper arm (see 9. c. 2) is subtly used to assist string crossings.
REMEMBER THAT THE JOINTS — SHOULDER, ELBOW AND WRIST — ARE NOT THE BOW STROKE. We do not move them; we move the upper arm, forearm and hand. The joints are well-lubricated hinges.
THE BOW STROKES:
The forearm actively participates in all moves of the right arm. It is the all-important joining of the upper arm motions to the hand-bow combination — the right hand and bow being thought of as a complementary pairing. In essence, like the center section of a tri-fold door (upper arm, forearm, hand) with the track, very slightly curved, being the bow’s path. Some may prefer to think of the bow arm as a bi-fold door. The upper arm based and hinged at the shoulder, from which it moves freely, the forearm freely hinged at the elbow and the hand gliding the track/path with the wrist a totally free-flowing hinge.
The most fluid and tonally resonant path for the bow and arm is the Crescent Bow path — flowing laterally along the plane of the given string(s). It automatically requires and develops a supple, fluid action in the wrist, elbow and shoulder. Tonally, the Crescent Bow is working in concert with the natural resistance of the string created by the bridge — the nearer to the bridge, the greater the resistance. The Crescent path is a very slight orbital path around your left hand or scroll — even when quite exaggerated it will not distort the tone.
LONG SUSTAINED TONES:
Use the complete bow arm as a constant flowing, never-ending motion. For change of direction, simply return the way you came, as in a movie played backwards. The joints/hinges are constantly on the move — hinging. The difficulty is in the simplicity. KEEP IT SIMPLE. Make sure you really do follow through with the full length of hair.
Caution:
If the arm stops short of the desired length for up-bow, and the hand tries to continue beyond its range, the bow will hook around the player’s head. Similarly, if the arm stops short of the desired length for a down-bow, and the hand continues beyond its range, the bow path will hook around the player’s torso.
Another common problem is that of the upper arm stopping short of the necessary length of motion with the forearm continuing, thereby changing the line/path of the bow.
The above errors result in distortion of the bow’s path, such as, circling the head/body of the player when, in fact, a bit of the opposite is preferred and is a far more fluid action producing a greater resonance of tone. Also, the above errors commonly cause an undesired, and frequently unnoticed (by the player:-), roll of the bow thereby changing the quantity of hair and the character/texture of sound.
SHORT STROKES:
The action of the forearm must be kept free at all times. The elbow and wrist are to be used as free-flowing hinges enabling the forearm to add the required speed and/or nuances to the stroke.
In faster strokes maintain the desired quantity of hair. Begin with the short stroke slowly and observe the action. Draw small little commas. This slight orbital action prevents tensing, particularly in the joints. As you speed up take care that there is no increase of tension or gripping in the arm and joints.
Triplets are very good for developing evenness and control with ease of action.
STRING CROSSINGS FOR THE FOREARM:
Think of Down and Up Bows as drawing the right hand out and in, right and left, along the plane of the string(s). The back of the right hand is to keep its line/angle to the bow. The joints of the right shoulder, elbow and wrist are fluid and totally without tension.
The quantity of hair, flat or side, is to be maintained unless modifying for musically tonal reasons.
ACCENTS, etc.:
During the following do not tense through the arm and never through the joints. Also, do not allow the right elbow to be twisted or forced up toward the ceiling.
In various bow-strokes, the additional use of rotation can be added in the forearm (Supination/Pronation). Take care to maintain the complete flow of the bow stroke or this can cause a most undesired affect to the bow’s path — a problem that is usually magnified by the hindrance of the follow-through action necessary in the hand and arm.
The weighting of the upper bow arm applies directly through the forearm, hand and into the bow. When adding an accent via the sudden rotating, weighting and speeding of the bow arm, do not allow the elbow to react in a tightening ascending action. Keep the back of the hand unified with the bow path and plane and not much can go wrong — fail to do this and virtually everything is twisted and distorted.
Rhythm: ALL actions require a rhythmic control — whether a long sustained tone or a short crisp note.
Hope this helps —
Drew
Author of
Violin Technique: The Manual, How to master…
Viola Technique: The Manual, How to master…
Technique is the tool by which we accomplish the artistic.
2 replies | Archive link
February 3, 2008 14:04
Open & Closed Hand Groups / Finger Patterns
ALWAYS ANTICIPATE THE MEASURE AND BALANCE OF THE HAND.
How do you think of, view and order your fingers?
Plan actions > Accuracy, Fluidity > MASTERY
This is a continuation in the series of blogs dealing with:
1. Left Hand
2. Shifting
3. Right Arm
4. Right Hand
5. Bow
They will be kept under the heading of ”GPS” for those who wish to follow the articles. I hope they are of benefit to you.
Intonation is one of the primary areas of focus in all we do. This applies to the intervallic measurements set about for the left hand fingers and also the contact variables of the bow hair to the string — the 1) point of contact, 2) speed of bow, 3) weight of bow, 4) amount of hair, 5) string selected and 6) vibrating length of string/position number are brought together in order to accomplish the desired dynamics and character of the music.
Your Global Positioning Satellite/Mental Positioning Satellite is all-important in all of the above.
Don’t be overwhelmed by the numerous variables — they will free you to maneuver, easily flowing into and out of the various settings/posturings for the left hand to accomplish the passage.
LEFT HAND
Everything affects everything.
Open & Close via the palm and knuckles.
MIND
With the knowledge and hearing of a note/tone and the knowledge of interval/distance to the next, we set up the measure of distance for the left hand’s fingers.
It is always a proportional measurement, i.e., in various positions and on different strings the measurement changes, but the ratio remains. I mention the strings, as the rotational aspects of the hand and forearm combined with the pendulum movement of the left arm for string-crossings in a given position and the varied width of the fingerboard traversed do require modifications of measurement, e.g., the whole step (‘Open’ interval) of E-1 on the D-string to F#-2 is quite different than E-1 to C#-2 on A or E-1 to B-2 on G. Similarly, the half step (‘Closed’ interval) shows markedly different measurements in the hand and finger relationship.
With a ruler, all measurements across the strings are the same, i.e., that E-1 to F#-2 on D is the same as B-1 to C#-2 on A, but not under actual playing conditions, as we measure from the moving base of our hand and knuckles.
TERMINOLOGY
This brings me to my terminology of “Open & Closed Hand Groups.” I am sure another name would work, but found it to be the most descriptive due to the type of action the left hand must accomplish for the various intervallic measurements.
The pianist sets up their hands for various chord and arpeggio sequences and we must do likewise.
Whether a short melodic passage, scale or arpeggio sequence and chords — in any combination — we need to plan ahead. Playing notes/fingers on an individual basis without relation to surrounding notes/fingers does not work technically and certainly not musically.
Here is my method:
OPEN & CLOSED HAND GROUPS – “Words/Vocabulary” of the Left Hand
I use basically 3 measurements:
Open = Whole-step measurement.
Closed = Half-step measurement.
Augmented = One and one-half (3 half steps) measurement.
(The Augmented can be Doubly Augmented as appropriate to the given passage.)
BH = Beginning Hand Group, M2/m2/M2 (whole/half/whole).
L2 = Low 2 Hand Group, m2/M2/M2 (half/whole/whole).
OH = Open Hand Group, M2/M2/M2 (whole/whole/whole).
H3 = High 3 Hand Group, M2/M2/m2 (whole/whole/half).
The above are your primary Hand Groups from which all others are derived. They are, in fact, the only ones used in a Major key — only changing as the composer modulates to other minor keys or chromatic passages. The choice of ‘Beginning Hand Group’ name was selected, as it is the most natural to the hand and rightly used with beginning students.
Examples of Augmented Hand Groups:
A1B = Augmented 1 BH, A2/m2/M2 and could be a m3(minor3rd)/m2/M2.
A1O = Augmented 1 OH, A2(m3)/M2/M2.
This is the best proportion/distribution for the left hand when wanting to extend up the Perfect 5th on the same string. I would only use another permutation if more appropriate for the left hand technique due to the given passage and setting of intervals.
In A1O make sure your hand is pivoted from the 1st finger up to the higher position setting of the 2nd, 3rd and 4th fingers (1st is reaching back). Do not simply stretch up, especially 4th finger, virtually always pivot the hand to avoid undue stress and thereby retain ease of finger action from the knuckles.
I have included 20 Hand Groups in my books, but there are quite a few more if one goes into the Doubly Augmented variety, etc. These are rarely used and can certainly be quickly identified and applied when needed.
THE REASON FOR USING HAND GROUP PATTERNS
It is a shorthand format that assists in the mastery and memorization of the repertoire. The patterns truly are the words/vocabulary of the left hand. It is the difference of reading this sentence by individual letter or by the letters grouped into words and they, in turn, into sentences, paragraphs, chapters and books — repertoire.
A given Hand Group can be for a few notes or several lines, including position shifts. As Buri pointed out, the opening of the Bach E Major Partita can be the H3 Group for several lines, depending on the fingering selected — this is one of my favorite examples, as well.
The Hand Group names go way beyond a scale pattern on a given string or two, e.g., the 3-8va A Major Triad Arpeggio (D Major on viola) can be accomplished with the H3 Group if one always shifts up to the Tonic (root name of arpeggio) from the Dominant (5th): IV 13, III 1 shift 13, II 1 shift 13, I 14. The Roman Numerals in this case indicate the string with IV representing the lower string, etc.
This is one of the reasons I do not use numbers or Roman Numerals for Hand Groups. They already represent chords and note positioning in a given key, strings on the instrument and even position numbers (especially with younger players — I am not fond of this, as I feel it to be unnecessary).
Hand Group names are descriptive and cannot be confused with anything else.
Additional examples:
BH can represent:
1. Major Scale beginning on the open string and lasting for 2 strings before changing to the L2.
2. BH can also be used for a Major Chord with 1 playing a 5th on the bottom 2 strings, 2nd finger on the II string and 3rd finger on the I string, such as, A Major on the violin and D Major on the viola — both in first positon.
3. Violin: A-1 on G shift to A-2 on D over to F-3 on A and over to A-1, D-4, C-3, A-1, with the last 4 notes all on the E-string.
4. Viola: D-1 on C shift to D-2 on G over to B-flat 3 on D and over to D-1, G-4, F-3, D-1 with the last 4 notes all on the A-string.
Note that I say the note, finger, string as this equation leads to the position number, which can also be said, especially by a new student of the instrument. The terminology must become instantaneous, as it is the language of technique to maneuver knowledgeably around the instrument.
Here is further information from a few excerpts.
Hand Groups
Interval patterns of measurement.
See pages 6-9.
They are the “words” – the language of notes and intervals as translated from the page to the violin fingerboard.
A combination of interval spacing between fingers, as in, open/closed/open or whole/half/whole, steps or tones which is the “Beginning Hand Group” – BH. (Note that pitch intervals change with varied string combinations, but the Hand Group can remain the same.) See Intervals, 2.
Intervals
Notes and Fingers
Distance in pitch between notes (1) and the distance between fingers (2).
(Note particularly the Open & Closed Hand Groups, pages 6-9.)
1. The distance between notes, e.g., 1/2 step/tone equals a minor 2nd such as B to C and a whole step/tone equals a Major 2nd as with B to C#.
2. The distance between fingers, e.g., 1/2 step equals a closed space and a whole step equals an open space. See Open /Closed Hand Groups, pgs. 6-9.
a. The 1/2 step space will sound a minor 6th/Augmented 5th (not the same) when a finger plays on one string and the neighboring higher finger plays on the neighboring higher string, such as, m6 = E-1 on D to C-2 on A whereas the A5 = E-1 on D to B#-2 on A-string.
b. The 1/2 step space will also intone the Augmented 4th (Tritone–3 whole steps) or diminished 5th (not the same) when the left-hand plays Bb-2 on G with E-1 on D (A4) whereas d5 = A#-2 on G with E-1 on D.
c. THE DISTANCE BETWEEN FINGERS IS NOT EQUAL.
1) Within a given position playing whole steps, the left-hand is proportioned, as each interval higher is measured smaller, in other words, large, medium & small.
2) Similarly, in higher positions the left-hand is proportionally smaller, that is, an 8va up on the same string is half the size of the lower 8va.
3) In Pure Pitch, or Natural Pitch, the 1/2 steps will vary as “sharps lead up” – C# is tight to D, whereas, “flats lead down,” with Db tight to C; therefore C# is above Db. Pure/Natural Pitch is not tempered.
4) EXTRA TIP – if 1/2 steps change letter names of notes, they are tight or close – same letter name is loose or open.
NOTE: Odd numbered intervals are always line-to-line or space-to-space, such as 3rds and 5ths, etc.
Even numbered intervals are always line-to-space or space-to-line, as with 2nds and 4ths, etc.
Intonation
Achievement of:
The ears are the caboose – by the time it is out there, it is too late.
Pitches and interval relationships must first be heard in the Inner Ear – the mind – then measured by the hand.
1. Best accomplished with the use of Perfect 8vas, Perfect 5ths, Perfect 4ths and/or the previous note on the neighboring string.
2. Also assisted by the use of the open string below or above the string being played.
3. In Pure/Natural Pitch, the 1/2 steps will vary as “sharps lead up” – C# is tight to D, whereas, “flats lead down,” with Db tight to C; therefore C# is above Db. Pure/Natural Pitch is not tempered.
4. EXTRA TIP – if 1/2 steps change letter names of notes, they are tight or close – same letter is loose or open.
5. Apply the use of rhythmic Repetition Hits (RH).
NOTE: You must actually feel the intervals’ sizes and proportions relative to the position being played as you hear them in your inner ear – visualize their measurement.
Open and close the palm/knuckles/fingers in measuring intervals – be elastic, pliable and formed – ALWAYS balance to fingerboard.
Do not lift fingers. Rhythmically release them and they will precisely leave the string adding clarity and diction to the note. This is why it is of paramount importance to practice in various rhythms, bowings and dynamics. It develops knowledge of the technique required to achieve the passage and opens the mind and ears to harmonic structure that will guide your intonation and musical interpretation.
Pivot, Rotate, Extend, Contract, Raise up, Lower down, Modify — subtly adjust as needed and when needed, programming all those moves’ actions and feelings into your GPS/MPS.
Technique is the tool by which we accomplish the artistic.
Hope this helps…
Drew
Author of
Violin Technique: The Manual, How to master…
Viola Technique: The Manual, How to master…
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More entries: March 2008 • January 2008
