Right hand and tone color Violin

1 right hand , tone color

1.1 bowing techniques
1.2 pizzicato
1.3 col legno
1.4 martelé
1.5 tremolo
1.6 mute or sordino

right hand , tone color

the strings may sounded drawing hair of bow held right hand across them (arco) or plucking them (pizzicato) right hand. in cases, violinist pluck strings left hand. done facilitate transitions pizz arco playing. used in virtuoso showpieces. left hand pizzes open strings. right arm, hand, , bow responsible tone quality, rhythm, dynamics, articulation, , (but not all) changes in timbre. player draws bow on string, causing string vibrate , produce sustained tone. bow wooden stick tensioned horsetail hair, has been rosined bar of rosin. natural texture of horsehair , stickiness of rosin bow grip string, , when bow drawn on string, bow causes string sound pitch. bowing can used produce long sustained notes or melodies. well, bow can used play short, crisp little notes, such repeated notes, scales , arpeggios.

bowing techniques

the essential part of bowing technique bow grip. thumb bent in small area between frog , winding of bow. other fingers spread evenly across top part of bow. pinky finger curled tip of finger placed on wood next screw. violin produces louder notes greater bow speed or more weight on string. 2 methods not equivalent, because produce different timbres; pressing down on string tends produce harsher, more intense sound. 1 can achieve louder sound placing bow closer bridge.

the sounding point bow intersects string influences timbre (or tone colour ). playing close bridge (sul ponticello) gives more intense sound usual, emphasizing higher harmonics; , playing bow on end of fingerboard (sul tasto) makes delicate, ethereal sound, emphasizing fundamental frequency. dr. suzuki referred sounding point kreisler highway; 1 may think of different sounding points lanes in highway.

various methods of attack bow produce different articulations. there many bowing techniques allow every range of playing style , many teachers, players, , orchestras spend lot of time developing techniques , creating unified technique within group. these techniques include legato-style bowing (a smooth, connected, sustained sound suitable melodies), collé, , variety of bowings produce shorter notes, including ricochet, sautillé, martelé, spiccato, , staccato.

pizzicato

a note marked pizz. (abbreviation pizzicato) in written music played plucking string finger of right hand rather bowing. (the index finger commonly used here.) in orchestra parts or virtuoso solo music bow hand occupied (or show-off effect), left-hand pizzicato indicated + (plus sign) below or above note. in left-hand pizzicato, 2 fingers put on string; 1 (usually index or middle finger) put on correct note, , other (usually ring finger or little finger) put above note. higher finger plucks string while lower 1 stays on, producing correct pitch. increasing force of pluck, 1 can increase volume of note string producing. pizzicato used in orchestral works , in solo showpieces. in orchestral parts, violinists have make quick shifts arco pizzicato, , vice versa.

col legno

a marking of col legno (italian wood ) in written music calls striking string(s) stick of bow, rather drawing hair of bow across strings. bowing technique used, , results in muted percussive sound. eerie quality of violin section playing col legno exploited in symphonic pieces, notably witches dance of last movement of berlioz s symphonie fantastique. saint-saëns s symphonic poem danse macabre includes string section using col legno technique imitate sound of dancing skeletons. mars gustav holst s planets uses col legno play repeated rhythm in 5

4 time signature. benjamin britten s young person s guide orchestra demands use in percussion variation. dmitri shostakovich uses in fourteenth symphony in movement @ sante jail . violinists, however, object style of playing can damage finish , impair value of fine bow, of such compromise using cheap bow @ least duration of passage in question.

detaché

a smooth , stroke during bow speed , weight same beginning of stroke end.

martelé

literally hammered, accented effect produced releasing each bowstroke forcefully , suddenly. martelé can played in part of bow. indicated in written music arrowhead.

tremolo

tremolo rapid repetition (typically of single note, of multiple notes), played @ tip of bow. tremolo marked 3 short, slanted lines across stem of note. tremolo used sound effect in orchestral music, particularly in romantic music era (1800-1910) , in opera music.

mute or sordino

attaching small metal, rubber, leather, or wooden device called mute, or sordino, bridge of violin gives softer, more mellow tone, fewer audible overtones; sound of entire orchestral string section playing mutes has hushed quality. conventional italian markings mute usage con sord., or con sordina, meaning mute ; , senza sord., meaning without mute ; or via sord., meaning mute off . larger metal, rubber, or wooden mutes available, known practice mutes or hotel mutes. such mutes not used in performance, used deaden sound of violin in practice areas such hotel rooms. (for practicing purposes there mute violin, violin without sound box.) composers have used practice mutes special effect, example, @ end of luciano berio s sequenza viii solo violin.