VIOLIN TECHNIQUE/VIOLA TECHNIQUE: Musicality/Artistry

October 23, 2009 at 5:46 PM

In response to a question of developing musicality/artistry…

The referrals to my book are simply to make the correlations easier for those that have the book. I trust the tips given are clear for all to benefit.

RE: Musicality……just guess:-)

Actually, I do have a 'hidden code' throughout the book……kind of.

As you do the following, your mind, imagination and ear will become aware of the changes of character, tension and release caused by the numerous variables.

Notes will take on life, becoming little people—each with a personality and duty to fulfill.

In doing just 3 variations of a passage or lyric phrase, you will gain greater awareness and skills in shaping, molding and expressing the musical character desired.

Listen, listen, listen. Feel the hands and arms move in concert with the character and type of sound you desire.

Along with pure technical work for the physical mastery of playing, use:

I. Rhythmic variations (e.g., Basics II R1-8 *plus)

II. Tonal and dynamic variations (e.g., Basics I #1-4 *plus)

Vary bow speed
Vary bow weights
Vary point of contact
Vary bow proportion/distribution or amount of bow
Vary amount of hair in contact with the string

III. Vibrato variations ala the "Sliding Arpeggios," e.g.,

Without vibrato, then
Slow motion vibrato to confirm range and balance of position, then
Fast vibrato seeking the desired effect for the phrase/passage.

IV. Shift Variations (e.g., Shift Types #1-6c on pages 24-26)

Smooth flowing slow shifts
Gradually speed up the shift retaining absolute smoothness of action directed to the center of the pitch/tone—no jerks, no whiplash and no fishing for notes.

There must be no breaking in of the wrist in ascending shifts
No protruding or over-leading of the wrist in down shifts
Use 'Zip Shifts' (extremely fast) if the 2 errors above occur—observe the balance and position of the thumb, fingers, hand and arm throughout.

i. Lower 4 positions

ii. 4th-9th positions (approximately)

iii. 9th to end of fingerboard.

* The plus (I. & II.) is for going beyond the examples and adding your own variations.

We are never simply learning to play one piece at a time. Via mastery of the instrument and bow in total, we are in the processes of moving to mastery in playing all repertoire.

Have fun and hope this helps—

God bless,

Drew

Author of:

"Violin Technique: The Manual, How to master…"

"Viola Technique: The Manual, How to master…"

From Roy Sonne
Posted on October 24, 2009 at 5:04 AM

Thank you, Drew, for this gem which I will certainly use and re-use. Your brilliance and clarity of expression in matters violinistic and artistic is extraordinary.

Best regards.

Roy

From Ray Randall
Posted on October 24, 2009 at 9:34 PM

It's funny, whenever I try someting Drew posts here I sound better. Thank you, Drew for your informative posts.

From Pauline Lerner
Posted on October 24, 2009 at 10:16 PM

I agree completely with Roy. You have given me many new perspectives. You tell me about new things to focus on when I play. Your writing is very clear and succinct. Thank you for all your help.

From Drew Lecher
Posted on October 26, 2009 at 4:35 AM

Thank all of you. I am glad if it somehow helps.

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VIOLIN TECHNIQUE/VIOLA TECHNIQUE: Musicality/Artistry

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