Bach-Kodaly Chromatic Fantasy

August 25, 2016 at 09:37 AM · Have any of you "technically proficient" violists played the Bach-Kodaly Fantasia Chromatica? It sounds incredible and looks very, very, very difficult.

Here is my favorite recording.

Replies (13)

August 25, 2016 at 12:39 PM · It make a superb study: difficult to bring off musically. It was written for harpsichord!

August 25, 2016 at 02:22 PM · As Paganini used to say: "there is only one scale!"

August 28, 2016 at 07:00 AM · Bartók duos for violin are better to learn the dissonantic harmonies :)

August 28, 2016 at 07:29 AM · The Kodály method (like the Suzuki method) just relies on relativizing the tonic, so that C will be do, in C major, and D will be do (re mi) in D major. Like the sargam system, the tonic is always relative to the key. :)

The idea is I think, is to get the intervals right :)

August 28, 2016 at 07:35 AM · I mean, in France, the C is always do, the G is always Sol, and in Germany they call the Bb an H. No sure, maybe in Ausria only, or in Hungary.

The Kodály is also bundled with hand gestures denoting the pitch, a gesture for each note as of do re mi fa sol la si do :)

August 28, 2016 at 11:24 AM · Huh! Does anybody know if an arrangement has been made for violin?

Kriztian - I think you are referring to "fixed do" vs "moveable do". In "fixed", do is always C; in moveable, do is the tonic. So in the key of C, do=C but in the key of G, do=G. I think "fixed" is better, so you know what note you are actually sight-singing. "Moveable" is OK for something simple and I get that it shows you the function - i.e. now I'm singing the tonic, now the sub-dominant. But what do you so if the music starts to modulate and for a brief time a certain note might be simultaneously the sub-dominant in the original key and something else in the key it's transitioning to?

August 28, 2016 at 12:01 PM · well........... yes I suppose :) It is a hard exercise even with simple melodies to not get lost :)

I don't know the answer to the question, I guess You do, so, I'll try to theoretize.

I think then a different syllable might be used, no? Like sa instead of si, and then we're already at sa-re-ga-ma :) hehe ;-)

August 28, 2016 at 02:49 PM · You are wrong about the H in Germany (and the Nordic countries). H is B natural. B flat is referred to as B.

August 31, 2016 at 10:12 PM · This is complete, including the fugue, and on solo violin.

September 7, 2016 at 05:48 PM · so..... I've been working on a book for fourth graders, an introduction to more complex works (and better reading, for me).

I played a mozart piece on piano, read it before, and actually it uses a strange method of solmisating (moveable) the lowest piano note in the chords (bass clef). I realised, that when I was reading silent, I was reading it correctly, but did not appreciate it that much. I had to correct my singing though, and then I could admire it more when singing in my head :)

So, I ran into a homework question, as for can we solmisate differently than Eb Gb F as do-ta-la (being ab the tonic, do).

I ran out of patience as I've been working on it for at least half an hour, so I still don't know the answer to Your question. What's the answer??? WHAT'S THE ANSWER?? WH...... and so on ;-) hehe, shorry

September 10, 2016 at 08:52 PM ·

September 10, 2016 at 08:55 PM ·

September 12, 2016 at 04:16 AM · seems (sounds) incredibly difficult, maybe because it violates our intuitions of tonal music :)

One of the compromises I made for myself when I was studying Bach, is that in order to play it in first position, I used a weird fingering, like stopping the first finger with the second instead, so I still got he first for a double stop :)

That's basically a chromatic, but substituting different fingers, like playing a minor third from the open string with the third finger takes only a small amount of practice, compared to getting frustrated with the positions :)

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