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Another random document with
no related content on Scribd:
 [Listen]

[Listen]

[Listen]

[Listen]
Without open strings:
 [Listen]

[Listen]

Harmonics.
Natural and artificial Harmonics, or Flageolet tones, may be
produced on the violin. The natural harmonics are obtained by placing
the finger quite lightly, and without pressure, upon the string, and
bowing with great care. From the middle of the string upwards
towards the bridge, and also from the middle towards the nut, lie
natural harmonics at the nodes of the string. The sign indicating that
a note is to be played as a harmonic, is either 0, flageolet or son
harmonique.
In the case of harmonics which yield a note differing from that
stopped by the finger, the actual sound produced is indicated by the
sign ⟡.
G string.
 [Listen]

D string.

[Listen]

A string.

[Listen]

E string.
 [Listen]
Natural harmonics are also produced by placing two fingers lightly
and simultaneously on one string:

G string.

D string.
 A string.

E string.

Artificial harmonics.

These are produced by playing two notes on one string, the lower
one being pressed down firmly, the upper one lightly. The distance of
these two notes from each other may be either a third, fourth, fifth or
octave. The most usual artificial harmonics are those at a fourth.

At a fourth:
 [Listen]

[Listen]

At a fifth:
 [Listen]

[Listen]

At a third:
 [Listen]

[Listen]
Artificial harmonics may also be produced at the distance of a
minor third, but these speak with difficulty.

At an octave:

[Listen]
In like manner on the higher strings.
In the lower positions those at the octave necessitate a wide
stretch between the 1ˢᵗ and 4ᵗʰ fingers, rendering them impossible for
small hands.
 Double harmonics.

Both natural and artificial harmonics may be played as double

stops. The former speak best, the latter being more difficult. They
require very thin stringing.

a. Natural double harmonics:

[Listen]
Similarly on the upper strings.

b. Artificial double harmonics:

The large notes indicate the notes which are to be pressed down
firmly, the small notes those to be lightly touched, and the sign ⟡ the
actual sounds produced.

a. Fifths, produced at the distance of a fifth,

fourth and third:
 [Listen]

[Listen]

b. Thirds.

[Listen]

c. Fourths.
 [Listen]

d. Sixths.

[Listen]

e. Octaves.

[Listen]

The pizzicato.
 The most usual method of playing pizzicato is by means of the
index finger of the right hand, by which the string is gripped and
plucked. The thumb is placed against the fingerboard. In pieces to be
played pizzicato throughout, the thumb may be employed. In this case
the violin is held down (underneath the right arm), as, for instance, in
the Serenade in Don Giovanni, when the violin replaces the
mandoline:

[Listen]
The sign used is pizz., its cessation, arco. The pizzicato is also
possible with the left hand, and is chiefly thus employed when notes
played by the bow and pizzicato notes follow each other quickly. Left
hand pizzicato is indicated by + over the notes, and is usually
executed by the finger which has pressed down the preceding note,
or else with the fourth finger.

[Listen]
 [Listen]
Notes may be also played arco and pizzicato simultaneously, for
example,

[Listen]
Chords also sound well pizzicato, as for instance,
 [Listen]
If it is desired that the tones shall vibrate well, the thumb is
released from the fingerboard, and the fingers of the left hand remain
pressed down on their notes. Pizzicato stops in chords are also mixed
with notes played by the bow, and are then plucked with the second
finger of the right hand.

[Listen]
The arco notes are played at the heel of the bow, and with the up
stroke.
 PART III.
The rendering.
The rendering of a piece implies its artistic reproduction, every
necessary artistic resource being therein blended. The violinist is
capable of a perfect rendering only if,—in addition to a firm, easy
technique of the left hand, adroitness in bowing and susceptibility to
the modifications of tone, and a technique equal to all demands
made upon it,—he has under his control a higher spiritual musical
development, fine taste, and a warm individual feeling. Only through
the combination of all these qualities can one reinvest the dead signs
of the composer with spirit and life, and cause his work to pass
before the hearer’s soul as an ideal, living picture.

Intellectual culture.

Under this head must be included a knowledge of the theory of

music, which renders possible the clear understanding of the
sequence of ideas which the composer has expressed through time,
degrees of movement, dynamic signs, melodic periods, and the
harmonies upon which they are constructed, the rhythmic
combinations; and through all these peculiarities the character of a
piece as well as the individuality of the composer. And where special
directions for the rendering are not employed, to perceive from the
text of the work itself the correct rendering.

Taste.
To render a piece of music with taste, signifies the reproduction
of the same so that the hearer perceives through the player a
complete understanding of it, and throughout its performance
receives a correct impression of its character. If an artist has given
expression to all the composer’s written dynamic gradations of tone
colour with understanding and feeling, it will be artistically refined; if
infused with his own individuality, and if no awkwardness appear
technically with respect to the manipulation of his instrument, his
performance will be regarded as tasteful.
It should be especially his concern to avoid the numerous faults
common to many players; for example, “whining,” a mawkish
drawling from one tone to another, exaggeration of the close shake
on the part of the left hand, inartistic accentuation, unmeaning
throwing of the bow upon the strings, &c.

Individuality.
If the artist has studied and learned how to give expression to
the individual feeling of the composer, his own individuality in the
performance is also of great consequence. It consists in this: that
the same piece in performance shall appear ever fresh and new.
Individual feeling is subject to continuous change, through
influences from within and without, consequently an artist who has
acquired a full and active control over all his powers does not
perform a piece the second time in precisely the same manner as
the first time. Where however, this is the case, it may be regarded as
a sign that the performer has not yet arrived at a complete artistic
freedom.

Phrasing.
Upon this subject no exhaustive treatise will be given, but only
some observations upon intelligent phrasing as applied technically to
violin playing. As in singing, and in wind instruments the breath, so
in the playing of stringed instruments the change of bowing, is the
potent medium through which phrases are divided, distinguished
from each other, and rendered clear. Stringed instruments present
considerably greater difficulty in this respect than singing, on
account of the manifold kinds of stroke in bowing,—often within the
compass of a short phrase the most varied bowings occur; moreover,
it cannot be laid down that with each phrase or period the stroke
must be changed. These phrases may, however, in many cases
coincide with the change of bowing, and the player must in general
make it his aim to obtain correct phrasing by a suitable application
and adjustment of the changes in the stroke.
The following examples from Mendelssohn’s violin concerto are
often incorrectly phrased, through changing the bow in the wrong
places:—

[Listen]
The above passage is thus rendered by many violinists:

[Listen]
and in David’s edition of the concerto it is even marked thus:—
 [Listen]
and a similar passage in this way:—

[Listen]
A prolongation of this theme also shows incorrect changes of
bow, from which wrong phrasing ensues:—

[Listen]
 The bowings indicated underneath the notes show the correct
phrasing, and also the effect aimed at in connecting the idea with
the previous example.
In passages where the phrasing is not plainly defined by the
changes of bow, the change occurring in the middle of a phrase, the
strokes must be made to follow each other as smoothly as possible
(i. e. without a break):
 [Listen]
Passages which, owing to rapid time and bowing, are not easily
to be rendered clear by the player, must at least have the real
meaning of the phrase indicated with correct accentuation. It will
then become apparent in the rendering; for example.
 [Listen]

[Listen]
c. Concerto by Lipinski (Bowing marks by David).
 [Listen]
Here the phrasing would become clearer and more intelligible if
the legato signs were made to include the notes next to them in the
following passages: (1) the E in the second bar; (2) as far as D in
the fourth bar; (3) E in the sixth bar, (which would be better tied to
the F♯); then in the following bar the two d’s could be played in one
bow, &c.
 It is still harder than in compositions by violinists or in pieces
marked by them, to make the right changes of bow in the sense of
the phrasing in the works of composers who are not thoroughly
familiar with the technical handling of the violin, and whose
indications of bowing are somewhat eccentric, or merely mark the
difference between staccato and legato. Even our classical
composers have not always been sufficiently strict in this respect,
and the appropriate phrasing has been supplied by many violinists,
as for example in the Quartets of Mozart and Beethoven.
The fingering is just as essential to correct phrasing as the
bowing. Generally the changes of position are made so as to suit the
requirements of the phrasing, that it may be rendered smoothly. This
is particularly needful in long sequences of notes on one string.

[Listen]
In the first four bars the positions are not so well suited to the
phrasing as compared to bars 5 and 6.
 [Listen]
In this passage from Richard Wagner’s “Siegfried”, most players
change the position with the first note of the third bar, whereas it
should occur after this note, on the C♯. In order to render it so, the
4ᵗʰ finger may be taken three times in succession, beginning with
the highest C ♯ . Here also the changes of bowing should coincide
with the phrasing marked.
It is essential to a correct rendering that, even in the first pieces
played by a beginner, a perception of the phrasing as a whole should
be acquired; not, as is usually the case, regarding the bowing marks
and the legato signs as exclusively determinative of it. In this
respect, unfortunately, there is nothing offered for the student’s
enlightenment and the improvement of his taste in the existing violin
methods; at least, no method is known to me containing apposite
suggestions and remarks on this head.
 APPENDIX.
Pictorial representation
of the bow-strokes.
The signs in general use indicating the down and up strokes, are
these ┌─┐ ٧.
The first sign indicates the lower end of the bow, or nut (Ger.
“Frosch”), the second, the upper part or point (“Spitze”).
Hermann Schroeder, in his edition of Kreutzer’s 42 Studies
(dedicated to Joachim), has introduced a further development of
these signs. They are not placed in their usual position, but
sideways.
Example:—
 [Listen]
The same in a simpler and more condensed style.
 Read from the left, the bowings in the first example are shown
together with their notes, and the signs of up and down strokes are
then to be found in their ordinary positions. The editor of the Studies
has, however, given the preference to the employment of the second
manner of writing these, on account of the simplified and easily
produced representations of the bow, and also because of the
compressed form of the bowing strokes given below it. The pictorial
signs for the bowing are more particularly for use in such studies as
exemplify different methods of playing, or such as have groups of
repeated phrasings and bowings; in the remaining studies they are
employed wherever the ordinary signs and terms do not suffice to
show the relative extent of the distribution of the bow.

The mute.
The mute is a clamp with three notches, which, to obtain a
muffled tone, is fastened on the bridge between the strings. Its use
is indicated by “con sordino,” its removal by “senza sordino,” or by
“with” and “without mute”. There are also mutes which are fastened
to the violin in order to avoid this noisy fixing and unfixing, being
brought into action by a slight push. These mutes are not made as a
clasp, but consist of a small plate which
presses against the bridge, and not upon it.

The simultaneous sounding of

subordinate and combination tones.
Without entering into the province of musical acoustics, the well-
known experiment only can be mentioned here demonstrating that
mingled with the notes one plays, others are audible. It is with this
object that a snuffbox or a key is laid on the upper table of the
violin. If one plays double stops in slow tempo whilst one of these
articles is thus placed, not only two notes, but three, four, or even
more, may be heard. In order to obtain good and correct
progressions in harmony, the double notes played must follow in
suitable sequence. Generally, two intervals of the same kind should
not follow each other.
In order to make the sympathetic tones more plainly audible, and
at the same time to obviate the whizzing noise produced during the
bowing by the article placed on the upper table, Hermann Schroeder
has invented an apparatus called “Vibrator for the production of
harmonic overtones, and for the reinforcement of the combination
tones of stringed instruments” (Germ. R. Patent No. 40224).
The inventor says in his specification “Researches into the
sympathetic tones of instruments of the violin species, and a theory
deduced therefrom as to the movement of the bow upon the
strings”, (Leipsic, C. W. Fritzsch) amongst other things the following:
—In order to produce upon stringed instruments—more especially
the violin,—the harmonic overtones of the notes played, as well as
the combination tones, a weight (g) is brought over the upper table
of the violin fastened to it, but allowed free play. This weight, when
the instrument is being played, vibrates with the vibrations of the
upper table, being kept in its place by the spring (h, f). That the
weight, during its vibration, may be firmly kept in one fixed position,
the holder (f) is fastened to the ribs of the violin. On the other hand
the shifting, very elastic tail (h) above this holder, with its fastened
end (h¹) over a peg (s), grips the vibrating weight (g) controlling its
movements up and down upon the instrument.
With the spring (h) in position, one can then fix the screw and
holder (f) over any part of the ribs, bringing the weight (g) into
action upon various parts of the body of the violin. Yet its application
will best succeed if brought upon the upper table, either in front of,
or behind, the bridge, under the two strings G and D, because here
the wood of the upper table is brought most into vibration, and also
because the most serviceable tones of these strings—particularly the
notes of the middle part of the scale—cause these subordinate and
combination tones most clearly to be heard. The spring being quite
flexible, may be bent to any shape, and in the circular form shown
above helps the firm position of the weight with respect to the
amount of pressure. The under, and somewhat concave, disk of the
weight is covered with paper, which agreeably modifies the tone
quality.
 Vibrator.
The use of the vibrator permits the production of curious and
often striking effects, especially in light and flowing playing, as,
perchance, in chorales, when three, four or more parts become
audible in regular harmonic sequence. The tone of the violin is
caused to resemble very much that of the harmonium, and nuances
from the lightest piano to at least mezzo forte are obtainable.