Violinist's linework technique. IN
Strokes are various techniques for moving the bow. They convey semantic meaning music performed, and therefore they can rightfully be considered by the most important means musical expressiveness when playing bowed instruments.
Over a long period of time, the richest practice of playing, primarily on the violin and cello, has accumulated many varied strokes, between which in some cases it is difficult to draw a definite line and classify them. Therefore, below we will focus on the most basic strokes and only briefly touch on some of their most common varieties.
The main strokes should be considered detache, legato, various types of staccato and spiccato, as well as tremolo. Detache (French) - a stroke with a distinct attacc, clearly declamatory in nature. This stroke is used to perform energetic phrases that require great fullness and richness of tone:
In the fast movement of the detache stroke, constructions of the motor order can also be played, including rather rapid passages (if it is necessary to achieve sufficient fullness of sound):
If detache is performed with the longest bow length for a given tempo, up to using its entire swing, then this technique is usually called grand detache:
As can be seen from all the above examples, the most important hallmark detache, regardless of tempo, sound strength and bow swing, is the playing of one note for each bow movement in one direction. Based on this characteristic, this and other similar strokes (for example, the sautille described below) are called divided.
On the contrary, legato is a stroke that includes several notes on one bow. In contrast to the declamatory character of detache, the smooth movement of legato to the greatest extent reproduces precisely the song, ariatic side of human singing.
In legato notation, each league represents one direction of the bow. Here are examples of melodic phrases performed legato:
Staccato strokes - staccato and spiccato - differ from each other in that staccato is performed without lifting the bow from the string, while spiccato is based precisely on bouncing the bow after each contact with the string.
The essence of staccato is an energetic push with the bow, after which there is an instant weakening of the sound. In the above staccato passage, all eighth notes and, of course, sixteenth notes are played (each sixteenth note is played by moving the bow in the same direction as the previous eighth note separated from it by a pause):
As for the quarters with dots above them, then in in this case the length of the sound itself (push with the bow) is much shorter than the period of attenuation of sonority (almost complete stop of bow movement). In addition, before each new push there is a real stop to change the direction of movement. A similar way of playing staccato with an accentuated divided stroke is called martele. It is sometimes indicated by elongated pointed wedges above the notes or by verbal indication.
Each note of a regular staccato can be played either in the same or in the opposite direction of bow movement in relation to the preceding one(s).
In the example below, a punctuated staccato can be played in two ways: with a split stroke (that is, by alternating ∏ and V) and two staccato notes per bow direction:
Therefore, two or more staccato notes can be played in one direction. Each of them has its own special light movement (push) with the bow.
Let us cite, for example, a fairly common technique in virtuoso practice of playing a significant number of staccato notes in one direction of the bow (easier upward); It should only be noted that during group play this stroke does not apply:
As mentioned above, spiccato is the main bouncing stroke. The main feature of such strokes is their lightness and airiness.
Here are some examples various applications spiccato. Graceful, in moderate pace Excerpt from the Nutcracker Overture performed:
Sautille differs from ordinary spiccato in that as the speed increases, the performer ceases to control the individual movements of the bow and from that moment on, the mechanical, motor nature of the stroke begins to predominate, regulated by the elasticity of the bow, its ability to push off from the string.
An example of sautille is “Flight of the Bumblebee” from “The Tale of Tsar Saltan”:
But also when moving from string to string, for example, when performing arpeggiated groupings on three or four strings:
With the help of jumping motor strokes it is impossible to achieve any significant sound power.
One of the most common orchestral strokes is tremolo. It is the repetition of one note by quickly alternating movement of the bow in different sides without lifting it from the string (the so-called tremolo right hand). The louder the sonority you need to produce when playing tremolo, the greater the swing you have to make with the bow. Loud sonority is produced by the middle of the bow with a large swing of its movement; on the contrary, a barely audible tremolo (literally a rustle) can be obtained only at the end of the bow, with an almost imperceptible movement of it.
1. Detache
Detache, together with the extended “long” sounds, or, as the French call them, “sons files”, described by us in the previous chapter, forms the basis of bowing technique.
When using the detache stroke, use the entire length of the bow, playing at a moderate tempo, and strive to produce the same sound on both the down and up strokes. Begin each stroke with the hand, continuing with the forearm that comes into play, until you reach the bow head on a downstroke or the bow on an upstroke. Vary this stroke using different parts of the bow separately, playing with the top half of the bow, the middle and at the bridge.
This stroke, performed at the end of the bow, is very important in itself, and its use helps to increase the muscular strength of the hand. It serves as the basis for two other forms of stroke: staccato and the so-called “dotted notes”, which, like martele, are played at the end of the bow a. Martele is achieved by pressing firmly on the string with the head of the bow, using only the hand to produce the desired sound. In case you feel that you are unable to master this stroke with one hand, you can use light pressure from your forearm, but never use pressure from your shoulder.
3. Staccato down and up with the bow
Opinions are divided on the method of performing the staccato stroke. The masters of the last century - Kreutzer, Rohde, Spohr and others - taught that staccato should be performed with a brush. Spohr apparently had an excellent staccato, for he often uses it in his concertos. Many of the great virtuosos, which I myself managed to hear, for example Joachim, had a medium staccato speed. Joachim achieved it exclusively with his brush, and it was fast enough for his preferred classical repertoire in solo and chamber performances. Joachim was the first to proclaim the principle: “the virtuoso exists for music, not music for the virtuoso.” He was the first to create popularity for Beethoven's violin concerto, Bach's solo violin sonatas and, most importantly, his Chaconne, Tartini's sonatas, especially the one known as Les thrilles du Diable, and most of the classical repertoire currently appearing in concert programs.
In my youth I heard Vietang play his concertos and some other compositions of his own; performing staccato in a mixed manner - with the hand and forearm, he was able to play big number notes per bow, achieving amazing effects.
Undoubtedly, Wieniawski had the most brilliant staccato. He used only his shoulder for this, straining his hand to the point of real stiffness. His staccato was breathtakingly fast and at the same time characterized by mechanical regularity. I personally have come to the conclusion that this method of playing staccato is the most effective, and I use it.
On the contrary, Sarasate, who had a dazzling tone, used only staccato volant, not very fast, but infinitely graceful. The last feature, that is, grace, illuminated his entire playing and was complemented exclusively by a melodious sound, but not too strong.
4. Staccato volant
Staccato volant (flying staccato) is a combination of two methods - playing with the shoulder and playing with the hand, used simultaneously, but with the difference that with a solid staccato the bow does not separate from the string and, so to speak, sticks into it, and with staccato volant the bow bounces elastically after each note played.
Here I repeat again that only a visual demonstration of the methods of playing staccato can bring real benefit to the student. But from long experience I must admit that for success in this direction something else is necessary, along with the actual training in playing staccato. In addition to this, the student should have a natural predisposition to stroke, and his brush should act like a spring of the best steel.
5. Spiccato
I have always taught spiccato with a detache in the middle of the bow, playing it as briefly as possible, without any effort, using one hand, and, most importantly, at a moderate tempo.
When practicing this stroke, you should gradually increase the speed, placing the bow well on the string. Once the hand has gained some technical dexterity, you can begin the following exercise on two strings (G-D):
Then a similar exercise should be repeated on the other two strings (A-E).
To obtain the correct spiccato, you only need to release the pressure of your fingers on the bow, continuing the same movement with the brush that is used for the short detache strokes already indicated. The bow will involuntarily bounce, unless sudden movements of the hand are excluded.
Arbitrary actions in this direction, the desire to force the bow to bounce as much as possible, thanks to the strength of the hand, lead to the opposite results.
The cane makes uneven movements and you will be unable to control or control the movements of the cane. All that needs to be done in order to achieve greater sonority is, without changing the position of the hand, hold the bow in such a way as to use three-quarters of the width of the bow hair. The hand remains at rest and maintains its normal position. Only the third finger is in an almost imperceptible movement, turning the bow so that most of the hair is on the strings: otherwise the sound will be weak, will not resonate, and the hair touching the string will begin to slide from one place to another with a whistling sound. To avoid this whistling, you should try to keep the bow in one place, between the bridge and the fingerboard."
Bow movements made directly one after the other, according to the same principles that achieve the ricochet-saltato stroke just discussed, should also be used for tremolo.
Place a distinct emphasis on each downward stroke with the brush, loosening the tension significantly so that the bow can bounce back. The weaker and more elastic the accent, the more the bow will bounce. This also applies when the bow bounces in the case of an upward stroke.
Editor's Note Inch = 2.52 cm.
Berio used this touch in a brilliant composition called “Tremolo” - variations on the Andante from the A major sonata, op. 47, Beethoven, known as "Kreutzer".
François Prume, a highly regarded virtuoso in the middle of the last century, also made extensive use of the tremolo in his hugely popular piece Melancholia. More recently, Henri Marteau used tremolo, neglected for a number of years by virtuosos and composers, in many of his works.
better start
on the G string, raise your hand slightly and lower it as far as necessary so that you can move freely to the A and E strings. Once you have completely mastered this movement, you can begin to arpeggiate, just as you did with the tremolo, with an elastic movement brushes bow down:
It is useful to practice in different keys and different intervals, such as thirds, sixths and octaves, first very slowly in quarters, then in eighths and sixteenths. After this, change the strings: go to A and E. Place the bow on two strings G - D or A - £ and try to make a sound with it without pressing, without trying to increase or decrease it.
After some time devoted to the judicious use of these exercises, you can move on to the special easy studies of Kaiser, Fiorillo and Kreutzer (the latter should be preferred in the Mazas edition). “Principles and Pratice of Violin Bowing” by A. Bloch will bring invaluable benefits, especially to beginners.
Play the exercises in different keys and different intervals: thirds, sixths, octaves. A little later, try playing eighths and sixteenths with the same bow and at a tempo that accelerates in proportion to the student's increasing fluency as he moves along the strings and from one position to another.
To achieve a truly perfect legato, you must ensure that the fingers on both strings continue to remain in this position as long as the bow moves from one string to the other. By lifting any of these fingers you will break the continuity of the sound, and then, undoubtedly, you will get something like a stammer. Legato is really nothing more than the destruction of corners in violin playing.
The violin is a homophonic, melodic, singing instrument. Its main expressive quality always remains the cantilena melodic line. All the triumphs of virtuosity - the victory over double thirds, the superb staccato touches, the "fingered" octaves and decimes - do not change the basic fact. That is why the legato bow stroke, which creates a melody, will remain one of the most commonly used and the only stroke that every violinist must develop to perfection if he wants the singing of his instrument to be uninterrupted and the sound to be always even and smooth. I would like the following general rule to be ingrained in the mind of every violinist who strives to achieve good legato: do not lift your finger from a string until you hear that another has already sounded.
« Types of strokes and their execution on the violin"
Teacher at Children's Art School
Naryan-Mar
2014
1. Introduction.
2. Main part:
2.1. Smooth strokes - legato and detail.
3. Conclusion.
1. Introduction.
One of the main tasks of learning to play the violin is to develop the ability to achieve a clear and melodious sound.
Work on sound production is most closely connected with mastering the “tool” of sound production – the bow. Mastering linework technique and improving performance skills is not possible without working on your strokes.
Grouping strokes.
The word stroke should be understood as a typical method of sound production, characteristic of a given musical instrument and corresponding to the nature of the musical phrase. A stroke in violin playing is a type of bow movement that is used to achieve one or another character of sound. Each stroke can be viewed from the point of view of its musical content and from the specifics of execution.
Based on the nature of their sound, strokes are divided into two main groups: connected and abrupt strokes. In terms of performing qualities, they have a number of specific shades depending on musical factors. Taking the right hand into dependence, certain touches divided into smooth and sweeping.
In the upper part of the bow, strokes are performed with the most active participation of the forearm, in the lower part - with the movement of the shoulder; in the middle part, uniform action of the shoulder and forearm is necessary. Taking into account the performance content of the stroke technique, strokes are divided into 3 groups:
1. – smooth (detailed, legato)
2. – abrupt (martle, staccato)
3. – jumping (spiccato, sottiye)
2. Main part.
2.1. Smooth strokes - legato and detail.
With the help of smooth, lying strokes - legato and detail, one achieves the main quality of violin playing - melodiousness, length, continuity and evenness of sound. The legato stroke is performed with equal ease both with the whole bow and with individual parts. Detache is used in various parts bow, most convenient in the upper and middle parts of the bow. The bow, which lies on the string, ensures precise guidance of detail and legato strokes. The problem of connecting the bows imperceptibly to the ear arises when performing these strokes, despite the fact that the word “detail” translated from French means “separate.” It should be taken into account that this means playing a separate sound for each bow. The presence of “dead spots” when changing bows separates sound from sound in detail, and the performer’s task is to smooth out these points. It is in the detail stroke that it is necessary to teach students to control the evenness of sound throughout the bow.
The musical and performing content of the detail is rich in shades. Within the limits of melodiousness, it can be dramatic and lyrical in interpretation. Tempo interpretations have a wide range, from slow (with a whole bow) to fast (with a short section of the bow). The nature of the hand movement in detail can be defined as smooth and uniform, with the help of which the forward movement of the bow is achieved. Accented details and details in fast pace must have elements of sweeping preservation of a melodious character. The proportion of smoothness and sweep will depend on the nature of the attack and the speed of the tempo. You need to pay attention to the same movement of the bow on the detail down and up, i.e. to balance the force of gravity. The correct execution of the detail depends on the position of the fingers on the cane: both fingers that are too spread out and fingers that are collected interfere with freedom of movement. It is important for a good sound to feel the weight of the hand and bow, as well as all the fingers. This must be ensured by the free position of the fingers that are on the cane and the hand, which is located
above the plane of the cane, almost without bending it when moving down. The thumb controls the sensation of the weight of the hand and bow.
The full sound of detail can be achieved in two ways:
1. – due to the width of the stroke, i.e. greater speed of drawing
2. – due to the density of the bow.
Advantage is given to the first method, it favors clear sound
fundamental tone and it is possible to use the sweeping method in a wide
detail, and this increases the emotionality of the performance.
The second main stroke is legato, i.e. coherent. Its signs
consist in the fact that several sounds are performed per bow movement.
Legato is used when music requires melodiousness and continuity.
Legato is based mainly on the smooth form of movement of the right hand and
on the uniform movement of the bow along the string. The melodiousness of legato, as in detail,
contributes to the freedom of the fingers on the bow reed and the feeling of their weight.
The requirement to distribute the length of the hair over one dynamic shade
depending on the continuation of the sound touches legato. When the strength of the individual
sounds to legato changes, adjustments must be made to change
bow. Difficulties in performing legato arise when connecting the strings. When switching to a new string, the bow should not fall on it - this will disrupt the smoothness of movement; the bow should be gradually brought closer to the string along a rounded line. Approaching the bow to the string is done in two ways:
1. – evenly throughout the entire sound
2. – at the end of the sound.
The first method is used for short sounds, the second for long sounds.
In general, the approach of the bow to the string should not take up a large section of the bow. Preparation for changing strings during legato and detail is carried out in the entire right hand, and not just in the hand; The plane of the previous string should be replaced by the plane of the new string, then the shoulder, then the hand. In case of frequent string changes, leave the shoulder at the middle level and then make a change. Isolated movements of the hand during shifts should be avoided. Its activity is allowed in last moment before the sound of a new string. The fingers of the left hand should also prepare the transition to a new string legato. Before the bow touches the new string, a finger must touch it to ensure a smooth connection of sounds. The finger that was last played on the previous string is left in place. Thus, performing legato requires preparation, on the one hand, holding the fingers, on the other hand, at the moment of changing the string.
2.2. Abrupt strokes – martle and staccato.
The group of abrupt strokes includes “lying” strokes, in which the bow makes stops between sounds without leaving the string. These are martle and staccato strokes. They are used in musical phrases energetic, of a humorous nature. Martle means clear in French; this touch is characteristic of strong music dynamic shade and a slow pace. The specificity of its execution is as follows: the elastic pressure of the bow on the string, necessary for the accented beginning of the sound, should be replaced by a quick draw of the bow after the accent and end with a stop. Important role pause, stop and start of bow movement are played. The clear sound of the martle depends on the activity of the bow movement. Thus, the pressure should not be strong either in the pauses between strokes or during the attack of the sound. On the other hand, easy drawing of the bow should not be superficial; You should maintain a constant, steady touch of the bow hair to the string, as in detail. After an active impulse, the bow seems to fall freely, sliding along the string, and the hand follows it. Martle can be performed with the whole bow and different parts of its upper part, moving towards the end. The width of the stroke depends on the tempo: the slower the tempo, the brighter the sound, the wider the stroke. The martlet stroke by its nature is sweeping, i.e. the beginning of the movement of the bow has a greater speed (than the end).
Despite the high speed of drawing, the stroke must be flexible. The increase in hand pressure on the bow should be plastic, therefore, when performing martle at the beginning of training, one should not require great sharpness and emphasis, as this can lead to harshness of sound and pinching of the hand. The correct way to study martle is through accentuated detail. Then the length of each sound is shortened by increasing the speed of the bow and the sound is separated by a pause. When performing martle, the bow is pressed using a rotational movement. There should be no isolated pressure of the brush.
A staccato stroke (abrupt) - the nature of its sound is reminiscent of a martle, but staccato is used in moving phrases on weak nuances. Like martle, staccato is accentuated at the beginning and weakened at the end, sounds alternating with pauses. The peculiarity of staccato is that several sounds are performed per bow with a short section of the bow. When performing staccato, the movement speed factor cannot be used; apply pressure during the accent.
Martle and staccato have differences - the different nature of the pressure on the string. The difficulty of performing staccato is the need to use a smooth and sweeping form of hand movement. Smoothness is necessary for the forward movement of the bow. It manifests itself in flexion and extension of the shoulder and forearm. Each sound is performed using a short rotational swing of the arm. Isolated brush movement cannot be used for emphasis.
Staccato combines elements of legato and martle. The difficulty of its execution is that the accentuation and separated sounds must be combined into smooth line on one forward movement bow. To master staccato, you need to master it with the bow up and down, with the bow up and down with the usual tilt of the reed, and downwards it turns more straight (slightly towards the bridge).
2.3. Jumping strokes - spiccato and sottiye.
Jumping strokes are essentially jerky strokes, but pauses here are achieved not by stopping the bow on the string, but by lifting it from the string (performed in the middle of the bow). Jumping strokes differ from lying jerky strokes in their lightness and gracefulness of sound. In jumping strokes, you need such a tempo and strength of vibrations of the reed that would correspond to the tempo and strength of the motor impulses of the violinist’s right hand. To do this, the following factors need to be agreed upon:
1. – bow section
2. – span and height of rise above the string
3. – character of lowering onto the string
4. – character of holding the cane
5. – nature of muscle movement.
Jumping strokes depend on the quality of the sound production “tool”.
Main types: spiccato and sottiye.
Spiccato (clear, crisp) is a touch for a relatively calm tempo of music. The specificity of its performance lies in the fact that each jump of the bow on the string is carried out by a separate movement of the forearm and shoulder. According to Flesch, “When playing spiccato, the performer is active, the bow is passive.” In order to allow the natural vibrations of the bow reed to be revealed during spiccato, you need to use little force and make sure that there is no tension in the hand. The bow is easily held with rounded fingers and touches the cane not from above, but from the outside. Falling and lifting should not be done from a great height. When the distance is higher than 2 cm, the falling force will be large.
Vertical and horizontal movement (extension) is added to the stroke. They both need to be consistent with each other. If vertical movement predominates, the stroke will be dry and short; when extended horizontally, the stroke will lose its clarity, because the bow will stop jumping.
A way to regulate the nature of the bow is to use a larger or smaller reed. A greater slope softens the spring properties, a smaller slope increases it. When lifting the bow, the little finger plays the role of a support to maintain balance.
At a fast pace in nuance piano spiccato is performed in the middle of the bow, at a restrained tempo - close to the block.
The sottiye stroke (jumping) is close to spiccato in its sound character. This stroke is used at a fast pace on weak nuances. The sottiye stroke is an accelerated and lightened spiccato. The bow in sottiye is guided by an impulse not for each sound, but for a group of sounds. He jumps along the string mainly due to the manifestation of the reed's own vibrations and due to the speed of the bow. Here general control is exercised by the performer. Therefore, the performer is passive - the bow is active to ensure freedom and lightness of the stroke. The bow is held lightly, sometimes without touching the little finger. The hand is passive and is located at the level of the forearm. It is important to ensure that the fingers are slightly tucked and organized so that they move away from the top of the reed and create a free swing. The nature of the movement of the right hand is sweeping, but the movement is performed in a minimal range with maximum speed. At the core of the work on sottiye, the work of the forearm, shoulder and hand play a supporting role, although the hand looks active outwardly. As in spiccato, sottiye contains elements of horizontal movement. The bow is lowered from the smallest height and pulled with the smallest bow width. The cane should have almost no tilt. Sottiye should be considered as a light detail, giving the cane an oscillation.
2.4. Mixed, transitional and combined strokes.
In addition to the main types of strokes, the bow technique has at its disposal mixed and transitional strokes, which are formed on the basis of the main ones. Mixed strokes include strokes that have the quality of two types of portato, in which legato and staccato are combined. Flying staccato has signs of spiccato; sounds are separated not by pauses on the string, but by jumps above the string.
The saltando stroke uses the properties of the bow's spring (the bow itself must jump). Ricochet belongs to the group of catchy touches. A large number of notes are played with one bow. Tremolo - The sottiye also covers several sounds on the bow. Ricochet and tremolo are typically played at the top of the bow, towards the end of the bow.
The arsenal of techniques is not limited to mixed types of strokes. Many transitional strokes: separate accented detail - small martle.
These stroke varieties contain common components between spiccato and detaile: where the length of the bow is long for spiccato and short for detaile. Sometimes in ancient music of the Baroque era (Bach, Handel, Vivaldi, etc.) a special characteristic bow stroke, portato, is used, which in some way represents a separate emphasized detail.
Combined strokes are strokes that combine elements of different strokes. They can be symmetrical or asymmetrical.
3. Conclusion.
Musical and artistic expressiveness of strokes.
Working on strokes is not an abstract study of their qualities, it is a way of expressing a specific musical and artistic emotion, each stroke must have an artistic purpose. Even studying a stroke in an exercise cannot be devoid of at least elementary features artistic expression. For example, learning martle on an open string is impossible without showing cheerfulness, energy, and composure. Working on the strokes in the exercise will be beneficial when the strokes are studied on different strings, in different parts bow. Final mastery of the stroke is impossible on structural material without polishing on musical and artistic material.
Strokes are an important way of articulation in music, which helps to reveal the artistic character of the work; accurately, competently, expressively convey characteristic style features musical era, the individual musical style of each composer. Implementation artistic character associated with the choice of line techniques, giving shades of sound. With the help of declamatory and expressive strokes, the specificity and imagery of a musical work is revealed.
Literature.
A. Gotsdiener " Initial training playing the violin and developing musical abilities"
M. Liberman “Strokes are an important way of articulation in learning to play the violin”
Yu. Yankelevich “On the original performance of the violinist”
« Education of musical performance skills in initial stage violin class"
New post about how to play the violin. Previously, you have already become acquainted with the structure of the violin and its acoustic features, and today the focus is on the technique of playing the violin.
She is rightfully considered the queen of music. The instrument has a beautiful, sophisticated shape and a delicate velvety timbre. IN eastern countries, a person who can play the violin well is considered to be a god. A good violinist doesn’t just play the violin, he makes the instrument sing.
The highlight of the game is musical instrument is the production. The musician’s hands should be soft, gentle, but at the same time strong, and his fingers should be elastic and tenacious: relaxation without laxity and tightness without convulsions.
Correct selection of tools
It is necessary to take into account the age and physiological characteristics of the beginning musician. There are the following sizes of violins: 1/16, 1/8, 1/4, 1/2, 3/4, 4/4. It is better for young violinists to start with 1/16 or 1/8, while adults can choose a comfortable violin for themselves. should not be large, as this causes difficulties when setting and playing. All the energy goes into supporting the instrument and, as a result, clenched hands. When in position 1, the left arm should be bent at the elbow at an angle of 45 degrees. When selecting a bridge, the size of the violin and the physiology of the student are taken into account. Strings must be purchased in chords; their structure must be soft.
Technique for playing the violin for the left hand
Staging:
- the hand is at eye level, the arm is slightly turned to the left;
- The 1st phalanx of the thumb and the 2nd phalanx of the middle finger hold the neck of the violin, forming a “ring”;
- elbow rotation 45 degrees;
- a straight line from the elbow to the knuckles: the hand does not sag or protrude;
- four fingers are involved in the game: index, middle, ring, little finger (1, 2. 3, 4), they should be rounded and “look” with their pads at the strings;
- the finger is placed on the pad with a clear blow, pressing the string to the fingerboard.
How to play the violin - techniques for the left hand
Fluency depends on how quickly you place your fingers on and off the string.
Vibration– giving a beautiful sound to long notes.
- ulna– long rhythmic swinging of the left hand from the shoulder to the fingertip;
- carpal– short swing of the hand;
- finger- rapid swinging of the phalanx of the finger.
Transitions to positions are performed by smooth sliding thumb along the neck of the violin.
Trill and grace note – quickly playing the main note.
Flajolet– lightly pressing the string with the little finger.
Technique for playing the violin for the right hand
Staging:
- the bow is held at the block by the pad of the thumb and the 2nd phalanx of the middle finger, forming a “ring”; 2 phalanges of the index and ring fingers, and the pad of the little finger;
- the bow moves perpendicular to the strings, between the bridge and the fingerboard. You need to achieve a melodious sound without creaking or whistling;
- playing with the whole bow. Downward movement from the block (LF) – the arm is bent at the elbow and hand, a small push index finger and the hand gradually straightens. Upward movement from the tip (HF) - the arm from the shoulder to the knuckles forms an almost straight line, a small push with the ring finger and the arm gradually bends:
- playing with a brush - a wave-like movement of the hand using the index and ring fingers.
How to play the violin - basic steps
- Detache– one note per bow, smooth movement.
- Legato- a coherent, smooth sound of two or more notes.
- Spiccato– a short, intermittent stroke, performed with a brush at the low end of the bow.
- Sotiye– duplicated spiccato.
- Tremolo– done with a brush. A short, long repetition of one note in the high-frequency bow.
- Staccato– a sharp touch, bouncing of the bow in the low frequency in one place.
- Martle- fast, accentuated holding of the bow.
- Marcato– short martle.
Techniques for left and right hands
- Pizzicato- pluck the string. Most often performed with the right, but sometimes with the left hand.
- Double notes and chords – several fingers of the left hand are simultaneously placed on the fingerboard, the bow is drawn along two strings.
The famous Campanella from Paganini's violin concerto