Playing Violin

1 playing

1.1 posture

1.1.1 western


1.2 left hand , pitch production

1.2.1 positions
1.2.2 open strings
1.2.3 double stops, triple stops, chords , drones
1.2.4 vibrato
1.2.5 vibrato trill
1.2.6 harmonics


1.3 right hand , tone color

1.3.1 bowing techniques
1.3.2 pizzicato
1.3.3 col legno
1.3.4 martelé
1.3.5 tremolo
1.3.6 mute or sordino

playing

posture
western

man playing violin on park bench.

the violin played either seated or standing up. solo players (whether playing alone, piano or orchestra) play standing (unless prevented physical disability such in case of itzhak perlman), while in orchestra , in chamber music played seated. in 2000s , 2010s, orchestras performing baroque music (such freiburg baroque orchestra) have had of violins , violas, solo , ensemble, perform standing up.

the standard way of holding violin left side of jaw resting on chinrest of violin, , supported left shoulder, assisted shoulder rest (or sponge , elastic band younger players struggle shoulder rests). jaw , shoulder must hold violin firmly enough allow remain stable when left hand goes high position (a high pitched note far on fingerboard) low 1 (nearer pegbox). (in indian posture stability of violin guaranteed scroll resting on side of foot).

while teachers point out vital importance of posture both sake of quality of playing , reduce chance of repetitive strain injury, advice posture , how achieve differs in details. insist on importance of natural relaxed position without tension or rigidity. things universally recommended keeping left wrist straight (or so) allow fingers of left hand move freely , reduce chance of injury , keeping either shoulder in natural relaxed position , avoiding raising either of them in exaggerated manner. this, other unwarranted tension, limit freedom of motion, , increase risk of injury.

left hand , pitch production

first position fingerings

the left hand determines sounding length of string, , pitch of string, stopping (pressing it) against fingerboard fingertips, producing different pitches. violin has no frets stop strings, usual guitar, player must know place fingers on strings play intonation (tuning). beginning violinists play open strings , lowest position, nearest nut. students start relatively easy keys, such major , g major. students taught scales , simple melodies. through practice of scales , arpeggios , ear training, violinist s left hand finds notes intuitively muscle memory. player must correct intonation ear. after determining fingered note sharp, player must subtly make note flatter making alteration of finger angle (or in case of being sharp, moving finger flatter, , correct, pitch). if player determines fingered note flat, pitch raised altering finger position.

beginners rely on tapes placed on fingerboard proper left hand finger placement, abandon tapes advance. commonly used marking technique uses dots of white-out on fingerboard, wear off in few weeks of regular practice. practice, unfortunately, used in lieu of adequate ear-training, guiding placement of fingers eye , not ear. in stages of learning play, so-called ringing tones useful. there 9 such notes in first position, stopped note sounds unison or octave (open) string, causing resonate sympathetically. students use these ringing tones check intonation of stopped note seeing if harmonious open string. example, when playing stopped pitch on g string, violinist play open d string @ same time, check intonation of stopped . if in tune, , open d string should produce harmonious perfect fifth.

violins tuned in perfect fifths, orchestral strings (violin, viola, cello) except double bass, tuned in perfect fourths. each subsequent note stopped @ pitch player perceives harmonious, when unaccompanied, [a violinist] not play consistently in either tempered or natural [just] scale, tends on whole conform pythagorean scale. when violinists playing in string quartet or string orchestra, strings typically sweeten tuning suit key playing in. when playing instrument tuned equal temperament, such piano, skilled violinists adjust tuning match equal temperament of piano avoid discordant notes.

the fingers conventionally numbered 1 (index) through 4 (little finger) in music notation, such sheet music , etude books. in instructional editions of violin music, numbers on notes may indicate finger use, 0 or o indicating open string. chart right shows arrangement of notes reachable in first position. not shown on chart way spacing between note positions becomes closer fingers move (in pitch) nut. bars @ sides of chart represent usual possibilities beginners tape placements, @ 1st, high 2nd, 3rd, , 4th fingers.

positions

the placement of left hand on fingerboard characterized positions . first position, beginners start (although methods start in third position), commonly used position in string music. music composed beginning youth orchestras in first position. lowest note available in position in standard tuning open g; highest note in first position played fourth finger on e-string, sounding b. moving hand neck, first finger takes place of second finger, brings player second position. letting first finger take first-position place of third finger brings player third position, , on. change of positions, associated movement of hand, referred shift, , effective shifting maintaining accurate intonation , smooth legato (connected) sound key element of technique @ levels. guide finger used; last finger play note in old position continuously lightly touches string during course of shift end on correct place in new position. in elementary shifting exercises guide finger voiced while glides , down string, player can establish ear whether landing in correct place, outside of these exercises should audible (unless performer consciously applying portamento effect).

in course of shift in low positions, thumb of left hand moves or down neck of instrument remain in same position relative fingers (though movement of thumb may occur before, or after, movement of fingers). in such positions, thumb thought of anchor location defines position player in. in high positions, thumb unable move fingers body of instrument gets in way. instead, thumb works around neck of instrument sit @ point @ neck meets right bout of body, , remains there while fingers move between high positions.

a note played outside of normal compass of position, without shift, referred extension. instance, in third position on string, hand naturally sits first finger on d♮ , fourth on either g♮ or g♯. stretching first finger down c♯, or fourth finger a♮, forms extension. extensions commonly used 1 or 2 notes out of otherwise solid position, , give benefit of being less intrusive shift or string crossing. lowest position on violin referred half position . in position first finger on low first position note, e.g. b♭ on string, , fourth finger in downward extension regular position, e.g. d♮ on string, other 2 fingers placed in between required. position of thumb typically same in half position in first position, better thought of backwards extension of whole hand genuine position.

the upper limit of violin s range largely determined skill of player, may play more 2 octaves on single string, , 4 octaves on instrument whole. position names used lower positions , in method books , etudes; reason, uncommon hear references higher seventh position. highest position, practically speaking, 13th position. high positions particular technical challenge, 2 reasons. firstly, difference in location of different notes becomes narrower in high positions, making notes more challenging locate , in cases distinguish ear. secondly, shorter sounding length of string in high positions challenge right arm , bow in sounding instrument effectively. finer (and more expensive) instrument, better able sustain tone right top of fingerboard, @ highest pitches on e string.

all notes (except below open d) can played on more 1 string. standard design feature of stringed instruments; however, differs piano, has 1 location each of 88 notes. instance, note of open on violin can played open a, or on d string (in first fourth positions) or on g string (very high in sixth ninth positions). each string has different tone quality, because of different weights (thicknesses) of strings , because of resonances of other open strings. instance, g string regarded having full, sonorous sound particularly appropriate late romantic music. indicated in music marking, example, sul g or iv (a roman numeral indicating play on fourth string; convention, strings numbered thinnest, highest pitch (i) lowest pitch (iv). without explicit instructions in score, advanced violinist use her/his discretion , artistic sensibility select string play specific notes or passages.

open strings

if string bowed or plucked without finger stopping it, said open string. gives different sound stopped string, since string vibrates more freely @ nut under finger. further, impossible use vibrato on open string (though partial effect can achieved stopping note octave on adjacent string , vibrating that, introduces element of vibrato overtones). in classical tradition, violinists use string crossing or shift of position allow them avoid change of timbre introduced open string. particularly true open e regarded having harsh sound. however, there situations open string may chosen artistic effect (particularly in modern music), in classical music imitating fiddling (e.g., hoedown) or taking steps avoid open string musically inappropriate (for instance in baroque music shifting position less common). in quick passages of scales or arpeggios open e string may used convenience if note not have time ring , develop harsh timbre. in folk music, fiddling , other traditional music genres, open strings commonly used.

playing open string simultaneously stopped note on adjacent string produces bagpipe-like drone, used composers in imitation of folk music. 2 notes identical (for instance, playing fingered on d string against open string), giving ringing sort of fiddling sound. playing open string simultaneously identical stopped note can called when more volume required, in orchestral playing. classical violin parts have notes composer requests violinist play open string, because of specific sonority created open string.

double stops, triple stops, chords , drones

double stopping when 2 separate strings stopped fingers, , bowed simultaneously, producing sixth, third, fifth, etc. harmony. double-stops can indicated in position, though widest interval can double-stopped naturally in 1 position octave (with first finger on lower string , fourth finger on higher string). nonetheless, intervals of tenths or more required double-stopped in advanced playing, resulting in stretched left-hand position both fingers extended. term double stop used encompass sounding open string alongside fingered note.

where 3 or 4 more simultaneous notes written, violinist typically split chord, choosing lower 1 or 2 notes play first before promptly continuing onto upper 1 or 2 notes. triple stop 3 simultaneous notes possible in circumstances. bow not naturally strike 3 strings @ once, if there sufficient pressure in bowstroke middle string can bent down temporarily 3 can sound. accomplished heavy stroke, typically quite near heel, , quite loud. double, triple , quadruple stops in orchestra played divisi, half of musicians playing lower note(s) , other half playing higher notes. sometimes, create musical effect, composer write non divisi on multiple stop. require, @ least triple , quadruple stops, performers roll chord in arpeggiated fashion.

in baroque music neither split-chord nor triple-stop appropriate , violinists arpeggiate chords (and appear regular double stops), playing notes individually if had been written slurred figure. in musical styles, sustained open string drone can played during passage written on adjacent string, provide basic accompaniment. more seen in folk traditions in classical music.

vibrato


kyoko yonemoto playing paganini s caprice no. 24 on violin



petrowitsch bissing instructor of vibrato method on violin , published book titled cultivation of violin vibrato tone.

vibrato technique of left hand , arm in pitch of note varies subtly in pulsating rhythm. while various parts of hand or arm may involved in motion, end result movement of fingertip bringing slight change in vibrating string length, causes undulation in pitch. violinists oscillate backwards, or lower in pitch actual note when using vibrato, since believed perception favors highest pitch in varying sound. vibrato little, if anything, disguise out-of-tune note; in other words, misapplied vibrato poor substitute intonation. scales , other exercises meant work on intonation typically played without vibrato make work easier , more effective. music students taught unless otherwise marked in music, vibrato assumed. however, has noted trend; there nothing on sheet music compels violinists add vibrato. can obstacle classically trained violinist wishing play in style uses little or no vibrato @ all, such baroque music played in period style , many traditional fiddling styles.

vibrato can produced proper combination of finger, wrist , arm motions. 1 method, called hand vibrato, involves rocking hand @ wrist achieve oscillation, while method, arm vibrato, modulates pitch rocking @ elbow. combination of these techniques allows player produce large variety of tonal effects. when , , how of violin vibrato artistic matters of style , taste. different teachers, music schools , styles of music favour different vibrato styles. example, if overdo variation of note s tone may become distracting , overwhelm piece. in acoustic terms, interest vibrato adds sound has way overtone mix (or tone color, or timbre) , directional pattern of sound projection change changes in pitch. pointing sound @ different parts of room in rhythmic way, vibrato adds shimmer or liveliness sound of well-made violin. vibrato is, in large part, left discretion of violinist. different types of vibrato bring different moods piece, , varying degrees , styles of vibrato characteristics stand out in well-known violinists.

vibrato trill

vibrato can used fast trill. trill initiated hammering finger , down on fingerboard create harsher quality vibrato trill. example, if trilling on first finger, second finger placed off string , vibrato implemented. second finger lightly touch string above first finger causing pitch change. has softer quality , many think nicer-sounding hammered trill. note: trill technique works semi-tonal trills, far more difficult vibrato trill interval of tone or more.

harmonics

lightly touching string fingertip @ harmonic node, without pressing string, , plucking or bowing string, creates harmonics. instead of normal tone, higher pitched note sounds. each node @ integer division of string, example half-way or one-third along length of string. responsive instrument sound numerous possible harmonic nodes along length of string. harmonics marked in music either little circle above note determines pitch of harmonic, or diamond-shaped note heads. there 2 types of harmonics: natural harmonics , artificial harmonics (also known false harmonics).

natural harmonics played on open string. pitch of open string when plucked or bowed called fundamental frequency. harmonics called overtones or partials. occur @ whole-number multiples of fundamental, called first harmonic. second harmonic first overtone (the octave above open string), third harmonic second overtone, , on. second harmonic in middle of string , sounds octave higher string s pitch. third harmonic breaks string thirds , sounds octave , fifth above fundamental, , fourth harmonic breaks string quarters sounding 2 octaves above first. sound of second harmonic clearest of them all, because common node succeeding even-numbered harmonics (4th, 6th, etc.). third , succeeding odd-numbered harmonics harder play because break string odd number of vibrating parts , not share many nodes other harmonics.

artificial harmonics more difficult produce natural harmonics, involve both stopping string , playing harmonic on stopped note. using octave frame (the normal distance between first , fourth fingers in given position) fourth finger touching string fourth higher stopped note produces fourth harmonic, 2 octaves above stopped note. finger placement , pressure, bow speed, pressure, , sounding point essential in getting desired harmonic sound. , add challenge, in passages different notes played false harmonics, distance between stopping finger , harmonic finger must change, since spacing between notes changes along length of string.

the harmonic finger can touch @ major third above pressed note (the fifth harmonic), or fifth higher (a third harmonic). these harmonics less commonly used; in case of major third, both stopped note , touched note must played sharp otherwise harmonic not speak readily. in case of fifth, stretch greater comfortable many violinists. in general repertoire fractions smaller sixth not used. however, divisions eighth used and, given instrument , skilled player, divisions small twelfth possible. there few books dedicated solely study of violin harmonics. 2 comprehensive works henryk heller s seven-volume theory of harmonics, published simrock in 1928, , michelangelo abbado s five-volume tecnica dei suoni armonici published ricordi in 1934.

elaborate passages in artificial harmonics can found in virtuoso violin literature, of 19th , 20th centuries. 2 notable examples of entire section of vittorio monti s csárdás , passage towards middle of third movement of pyotr ilyich tchaikovsky s violin concerto. section of third movement of violin concerto no. 1 (paganini) consists of double-stopped thirds in harmonics.

when strings worn, dirty , old, harmonics may no longer accurate in pitch. reason, violinists change strings regularly.

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.