Playing the violin
Encyclopedia
Playing the violin entails holding the instrument under the chin, supported by the left shoulder (see below for variations of this posture). The strings are sounded either by drawing the bow
across them (arco
), or sometimes by plucking them (pizzicato
). The left hand regulates the sounding length of the strings by stopping them against the fingerboard with the fingers, producing different notes.
and detachable shoulder rest
. If held properly under the chin, the violinist can let go of the instrument with their hands and it will stay there firmly. Other common ways to hold the instrument include the seated Carnatic
attitude, with the scroll resting on a foot, or the dancing-master's "kit
" or "pochette" hold, along the forearm, by the lower margin of the rib cage. In Morocco
the violin is often held completely upright resting on the seated player's thigh with the left hand stabilizing the balance while fingering.
The chinrest and shoulder rest accessories come in a great variety of styles and shapes, so each individual may find the combination that best suits their build and playing style. The search for the ideal combination can be a lengthy one in some cases. Whatever the equipment, the player will usually aim to maintain a balanced, natural, and comfortable attitude, with the spine straight, especially the neck. Many violinists have a reddish mark on the neck, the so-called "violin hickey" (or "fiddler's hickey") from long-term pressure at that spot. The spot may be aggravated by an allergic reaction to nickel plating on the chinrest clamp hardware, or by microbial pathogens present on the instrument.
Keeping the left wrist straight (or very nearly so) allows freedom of finger motion, and reduces the chance of repetitive strain injury
. Collapsing the wrist to "support" the violin with the heel of the hand is an unfortunate habit that many novice players fall into, and may take years of constant vigilance to overcome. The left forearm will be rather extremely supinated, and the left elbow drawn medially, or to the right. Players may sometimes be advised to bring their left elbow to where they can see it, so as to reach the lower strings more easily.
Raising either shoulder beyond a natural relaxed position is an easy habit to acquire without noticing it. Like any other unwarranted tension, it limits freedom of motion, and increases the risk of injury. It is useful to pay attention to the square formed by the right arm and bow, keeping it in a flat plane, and noticing which parts "lead" in string-crossing motions.
While beginning violin students often rely on tapes or markers placed on the fingerboard for correct placement of the left hand fingers, more experienced players place their fingers on the right spots from skill alone. To attain good intonation
, violin players practice long hours to train their fingers to land in the right places, learning to hear when a note is in or out of tune, and cultivating the ability to correct the pitch
rapidly and automatically as notes are being played. "Singing" the note mentally helps to land in the right spot. (In practice, intonation
may be checked by sounding an adjacent open string, and listening for the interval
between the two notes.) Although adjusting to the desired pitch after landing the finger is indeed possible, the amount of adjustment needed may be greatly reduced by training the fingers to fall properly in the first place. That said, a quote widely attributed to Jascha Heifetz
goes something like: "I play as many wrong notes as anyone, but I fix them before most people can hear them."
The fingers are conventionally numbered 1 (index) to 4 (little finger). Especially in instructional editions of violin music, numbers over the notes may indicate which finger to use, with "0" above the note indicating "open" string, or playing on a string without manipulating the pitch using the left hand. The second finger may be either "low" or "high," corresponding to G or G on the E string in first position. Similarly, the first finger may reach a half-step down for the F, and 3rd and 4th fingers reach up for A and C respectively, as shown on the chart of Bornoff
finger patterns on the right. (Pattern number 5 may be seen to be the same as pattern number 3, but a half step lower, or in "half position.")
The lower chart on the right shows the arrangement of notes reachable in first position. Note well: left hand finger placement is a matter of the ears and hand, not the eyes, that is, it has strong aural and tactile/kinesthetic components, with visual references being only marginally useful. Note also (not shown on this chart) that the spacing between note positions becomes closer as the fingers move "up" (in pitch) from the nut. The blue bars on the sides of the chart represent the usual possibilities for beginners' tape placements, at 1st, high 2nd, 3d (and 4th) fingers, or Bornoff pattern number 2.
.
Thus, in first position, the first finger placed on the E-string gives an F. Pressing the first finger instead on a G (still on the E-string) is called second position. Third position is achieved when the first finger presses down on an A, and so on. The upper limit of the violin's range is largely determined by the skill of the player. A skilled player can play more than two octaves on a single string, and four octaves on the instrument as a whole.
All except the lowest and highest notes can be played on multiple strings in different positions. That is, the "high" B note referred to above can be played not only by the fourth finger on the E-string in first position, but also by the fourth finger in fifth position on the A-string, in ninth position on the D-string, and in thirteenth position on the G-string.
Violinists often change positions on the lower strings, sometimes to the consternation of composers and much to the confusion of beginners. This is usually done to handle a musical passage which would otherwise require fast switching (or "crossing") of strings. It is also done to produce a particular timbre
: the same note will sound substantially different depending on what string is used to play it. That "high" B, when played on the E-string (the highest, usually a mono-core metal string) can have a clear, even piercing timbre; the same "high" B played on the A-string or D-string or G-string (usually wrapped strings rather than mono-core) may sound "warmer" or less abrasive. For this reason violinists often avoid playing a single note on the E-string within a phrase of notes on the A-string, as one E-string note would stand out with a different timbre.
Sometimes the composer or arranger will specify the string to be used in order to achieve their desired tone quality
. The most common indication uses the letter name of the string: for example, if a composer wants a passage that would otherwise be taken on the D-string to be played on the G-string, they write "sul G" or "G saite" or "G corde" (or simply, "on G") in the part. Occasionally, numbers are used, so the example might be written "4. corde" or "IV corde" (as above, with the highest string being #1 and the lowest #4); the simplest way to indicate which string to play is to write the number (e.g., 'IV' or 'III') alone.
A special timbre results from playing a note without touching its string with a finger, thus sounding the lowest note on that string. Such a note is said to be played on an open string. Open string notes (G, D, A, E) have a very distinct sound resulting from absence of the damping action of a finger, and from the fact that vibrato (see below) is produced differently than on fingered notes. Other than low G (which can be played in no other way), open strings are sometimes selected for special effects.
One striking effect that employs open strings is bariolage
. This is the repeated alternation of notes played on two or more strings, where one of the notes is usually an open string. This string crossing is often rapid, and is best executed with a sinuous movement of the bow arm. Sometimes the same pitch as an open string will be fingered on an adjacent string, so that the alternation is between the same note on two strings, one stopped, one open, giving a rhythmic pulsating effect. Bariolage was a favorite device of Joseph Haydn
, who used it for example in his string quartet
Opus 50 no. 6, and in the "Farewell" Symphony
. It is also prominently featured in the Preludium of Bach's Partita No.3 in E major for solo violin.
Playing an open string simultaneously with a stopped note on an adjacent string produces a bagpipe
-like drone, often used by composers in imitation of folk music
. Sometimes the two notes are identical (for instance, playing a fingered A on the D string against the open A string), giving a ringing sort of "fiddling" sound.
ping is when stopped notes are played on two adjacent strings, producing a two-note harmony. This is more difficult than normal single-string playing, as fingers must be accurately placed on two strings simultaneously. Sometimes moving to a higher position is necessary for the left hand to be able to reach both notes at once. Double stopping is also used to mean playing on three or all four strings at once, although such practices are more properly called triple or quadruple stopping. Collectively, double, triple and quadruple stopping is called multiple stopping. Sounding an open string alongside a fingered note is another way to get a harmony. While sometimes also called a double stop, it is more properly called a drone, as the drone note (the open string) may be sustained for a passage of different notes played on the adjacent string.
is a technique of the left hand and arm in which the pitch of a note varies in a pulsating rhythm. Mechanically, it is achieved by fingertip movements which alter the length of the vibrating string. There are several different styles of vibrato ranging from the use of just the fingers, to the use of the wrist or even the whole forearm. By employing these different techniques both the speed and amplitude of vibrato oscillations can be varied for musical effect.
Vibrato is often perceived to create a more emotional sound, and it is employed heavily in music of the Romantic
era. The acoustic effect of vibrato has largely to do with adding interest and warmth to the sound, in the form of a shimmer created by the variations in projection of strongest sound. A well-made violin virtually points its sound pattern in different directions depending on slight variations in pitch.
Violinists oscillate backwards, or lower in pitch from the actual note when using vibrato, since aural perception
favors the highest pitch in a varying sound. Vibrato does little if anything to disguise an out-of-tune note. Violin students, especially of beginner level, are taught to use it only on extended notes and or during points of emotional tension. Vibrato can be difficult to learn and may take a student several months, if not years, to master.
while bowing close to the bridge can create harmonic
s. Instead of the normal solid tone a wispy-sounding overtone note of a higher pitch is heard. Each node is at an integer division of the string, for example exactly half-way along the length of the string, or exactly one-third along the length of the string. The pitch produced in these two cases will be an octave higher in the case of halves, and an octave and a fifth higher in the case of the string vibrating in thirds. A responsive instrument will provide numerous possible harmonic nodes along the length of the string.
Harmonics are marked in music with a little circle above the note that determines the pitch of the harmonic. There are two types of harmonics: natural harmonics and artificial harmonics (also known as "false harmonics").
Artificial harmonics are more difficult to produce than the natural harmonics described above. Stopping a note on one string, for example first finger "E" on the D string, and having another finger just touching the string a fourth
higher, in this case on the position of the note "A", produces the fourth harmonic of the "E," sounding a tone two octaves above the note that is stopped, in this case, E. Finger placement and pressure, as well as bow speed, pressure, and sounding point are all essential in getting the desired harmonic to sound.
The "harmonic finger" can also touch at a major third above the pressed note, or a fifth higher. These harmonics are less commonly used because they are more difficult to make sound well. In the case of the major third, the harmonic is higher in the overtone series, and does not speak as readily; in the case of the fifth, the stretch is greater than is comfortable for many violinists. The sounding pitch of the major third harmonic is two octaves and a major third above the lower note, and in the case of the fifth, it is an octave and a fifth above the lower note.
Traditional notation of artificial harmonics uses two notes on one stem: the lower note employs a round note-head representing where the string is strongly stopped with the first finger, and the upper note uses an open diamond note-head representing where the string is lightly touched with the fourth finger.
Harmonics are also rarely played in double stops, where both notes are harmonics.
Elaborate passages in artificial harmonics can be found in virtuoso violin literature, especially of the 19th and early 20th centuries.
, dynamics
, articulation
, and certain (but not all) changes in timbre
. The bow is held in the right hand with the thumb bent underneath the frog to support it and the other fingers loosely touching the wood. The middle and ring fingers are usually wrapped around the frog, although in some cases (such as in baroque
performance practice) the whole hand holds the stick above the frog. Holding the little finger curved and resting on the near facet of the octagonal shape of the stick, next to the facet on top of the stick, allows that finger to "unweight" the bow, using the thumb as a fulcrum.
The sounding point where the bow intersects the string also influences timbre. Playing close to the bridge (sul ponticello) gives a more intense sound than usual, emphasizing the higher harmonics; and playing with the bow over the end of the fingerboard (sul tasto) makes for a delicate, ethereal sound, emphasizing the fundamental frequency
. Dr. Suzuki referred to the sounding point as the "Kreisler
highway"; one may think of different sounding points as "lanes" in the highway.
There are several methods of "attack" with the bow that produce different articulations:
) in the written music, it is played by plucking the string with a finger of the right hand rather than by bowing. When the bow hand is occupied (or for virtuosic effect) the left hand can be used; this is indicated by a "+" (plus sign) in the music. This allows players to simultaneously play bowed notes while plucking on a different string. In addition, some players have acquired the trick of playing fast pizzicato passages using two alternating fingers of the right hand. Players continue playing pizzicato until there is an indication to return to arco (playing with the bow).
There are two common positions for playing pizzicato. One is to clench the bow in your right hand, rest your right thumb on the right side of the finger board then pluck the string. This position can enhance the tonal quality of the pluck and is good to use during long durations of plucking. Another pizzicato position is to maintain your bow grip, then pluck the strings with your right index finder. This position is especially helpful when the composer alternates between series of arco and pizzicato notes, because it allows the violinist to quickly and accurately switch styles.
Violinists may also pluck a string with their left hand, denoted on written music as a "+" symbol above the note desired. Left-handed pizz in general is less flexible pitch-wise than the right-handed pizz, but allows the right hand to either stay where it is or simultaneously play or pizz, a technique composer and violinist Niccolo Paganini was renowned for.
A snap pizzicato, first specified by Béla Bartók
, and often called a Bartók pizzicato, requires the player to pull the string away from the fingerboard so that when it is released it rebounds with force onto the fingerboard, yielding a sharp, percussive snapping sound. Examples can be found in Bartók's 44 Duos (No. 42, Arabian Song) and Solo Sonata for violin.
s. In performances, it may give a desired dulled effect. Mutes are mostly used in orchestras with the entire string section playing with mutes, resulting in a soft, hushed sound quality. Parts to be played muted are marked con sord., for the Italian sordino or occasionally mit Dämpfer in German. (The instruction to take off the mute is senza sord., sometimes marked just senza or "ohne Dämpfer" in German.) In French, instruction is given for application of mutes at the beginning of muted passages, "mettez les sourdines", and for removal at the end "ôtez les sourdines".
Sharing the same name but with a completely different purpose, massive metal, rubber, or wooden "practice mutes" or "hotel mutes" are available. These mutes are used to drastically reduce the volume when practicing where others can be disturbed.
Violins are tuned by turning the pegs
in the pegbox under the scroll, or by turning the fine tuner screws at the tailpiece
. A violin always has pegs, but fine tuners (also called fine adjusters) are optional. These permit the string tension to be adjusted in very small amounts much more easily than by using the pegs. Most fine tuners work by turning a small metal screw, which moves a lever that is attached to the end of the string. (Another type of tuner, using a screw to crimp a short segment of the string's afterlength near the tailpiece, is sometimes found, most generally on smaller instruments.) Fine tuners are usually recommended for younger players, fractional-sized instruments, those using high tension or metal strings, or beginners. Fine tuners are most useful with solid metal strings; since they do not stretch as much as synthetics, solid-core strings can be touchy to tune with pegs alone. Fine tuners are not useful when using gut strings; since these strings are more "stretchy", the tuners lack enough range of travel to make a significant pitch difference, and the sharp corners on the prongs may cause the string to break where the string passes over them. Most players use a fine tuner on the E-string even if the other strings are not so equipped.
The A string is tuned first to a reference pitch
source such as a tuning fork
or, in most orchestra
s, the oboe
, typically to 440 Hz
, although some orchestras tune to another standard A such as 442, or even as high as 445 or 446 Hz to produce a brighter sound. Early music
groups interested in authentic performance may use a lower standard A. When playing with a fixed-pitch instrument such as a piano
or accordion
, the violinist must tune to accommodate that instrument. The other strings are then tuned to the A in intervals of perfect fifths
by bowing them in pairs. This puts the open strings in just intonation
, which means the lower strings may sound flat compared to their nominal equal-tempered
equivalents. In practice, this means some compromises must be made, and the strings not always tuned in perfect fifths, particularly on the viola
and cello
, where the lowest string is the C, three fifths away from the reference A, making the difference more apparent.
Small, temporary tuning adjustments can also be made by stretching a string with the hand. A string may be flattened by pulling it above the fingerboard, or sharpened by pressing the part of the string in the pegbox. These techniques may be useful in performance, reducing the ill effects of an out-of-tune string until the arrival of a rest or other opportunity to tune properly.
Tuning the violin, especially with the pegs, can cause the bridge to lean, usually toward the fingerboard. If left that way, it will warp. After tuning, experienced players typically check that the bridge is standing straight and centered between the inner nicks of the f holes
, since bridges are free to move about, being held in place only by friction and the tension of the strings. Capable violinists know how to straighten and center a bridge; this can easily be done under normal string tension without damage to the instrument.
The tuning G-D-A-E is used for the great majority of all violin music. However, any number of other tunings are occasionally employed (for example, tuning the G string up to A), both in classical music, where the technique is known as scordatura
, and in some folk styles where it is called "cross-tuning." Numerous such tunings exist, often being named for a prominent tune played in that tuning. A good example of scordatura in classical solo violin repertoire is Paganini
's First Violin Concerto in E-flat major
, where the violin part is written in D-major and the violinist is supposed to tune a half tone higher to match the orchestra's key of E-flat major.
Bow (music)
In music, a bow is moved across some part of a musical instrument, causing vibration which the instrument emits as sound. The vast majority of bows are used with string instruments, although some bows are used with musical saws and other bowed idiophones....
across them (arco
Bow (music)
In music, a bow is moved across some part of a musical instrument, causing vibration which the instrument emits as sound. The vast majority of bows are used with string instruments, although some bows are used with musical saws and other bowed idiophones....
), or sometimes by plucking them (pizzicato
Pizzicato
Pizzicato is a playing technique that involves plucking the strings of a string instrument. The exact technique varies somewhat depending on the type of stringed instrument....
). The left hand regulates the sounding length of the strings by stopping them against the fingerboard with the fingers, producing different notes.
Posture
It is possible to play the violin holding it in a variety of ways. Most players hold the lower bout of the instrument between the left shoulder and the jaw, often assisted by a semi-permanently attached chinrestChinrest
A chinrest is a shaped piece of wood attached to the body of a violin or a viola to aid in the positioning of the player's jaw or chin on the instrument. The chinrest may be made of ebony, rosewood, boxwood, or plastic...
and detachable shoulder rest
Shoulder rest
The shoulder rest is an accessory that can be found on violins and violas. It may be made of wood, aluminium, carbon fiber or plastic. Usually, the shoulder rest attaches to the edge of the back of the violin with "feet" padded with rubber tubing or made of soft plastic...
. If held properly under the chin, the violinist can let go of the instrument with their hands and it will stay there firmly. Other common ways to hold the instrument include the seated Carnatic
Carnatic music
Carnatic music is a system of music commonly associated with the southern part of the Indian subcontinent, with its area roughly confined to four modern states of India: Andhra Pradesh, Karnataka, Kerala, and Tamil Nadu...
attitude, with the scroll resting on a foot, or the dancing-master's "kit
Kit violin
The kit violin, dancing master's kit, or kit , is a stringed musical instrument. It is essentially a very small violin, designed to fit in a pocket — hence its other common name, the pochette...
" or "pochette" hold, along the forearm, by the lower margin of the rib cage. In Morocco
Music of Morocco
The music of Morocco ranges and differs according to the various areas of the country.-Berber folk music:There are three varieties of Berber folk music: village and ritual music, and the music performed by professional musicians....
the violin is often held completely upright resting on the seated player's thigh with the left hand stabilizing the balance while fingering.
The chinrest and shoulder rest accessories come in a great variety of styles and shapes, so each individual may find the combination that best suits their build and playing style. The search for the ideal combination can be a lengthy one in some cases. Whatever the equipment, the player will usually aim to maintain a balanced, natural, and comfortable attitude, with the spine straight, especially the neck. Many violinists have a reddish mark on the neck, the so-called "violin hickey" (or "fiddler's hickey") from long-term pressure at that spot. The spot may be aggravated by an allergic reaction to nickel plating on the chinrest clamp hardware, or by microbial pathogens present on the instrument.
Keeping the left wrist straight (or very nearly so) allows freedom of finger motion, and reduces the chance of repetitive strain injury
Repetitive strain injury
Repetitive strain injury is an injury of the musculoskeletal and nervous systems that may be caused by...
. Collapsing the wrist to "support" the violin with the heel of the hand is an unfortunate habit that many novice players fall into, and may take years of constant vigilance to overcome. The left forearm will be rather extremely supinated, and the left elbow drawn medially, or to the right. Players may sometimes be advised to bring their left elbow to where they can see it, so as to reach the lower strings more easily.
Raising either shoulder beyond a natural relaxed position is an easy habit to acquire without noticing it. Like any other unwarranted tension, it limits freedom of motion, and increases the risk of injury. It is useful to pay attention to the square formed by the right arm and bow, keeping it in a flat plane, and noticing which parts "lead" in string-crossing motions.
Left hand: producing pitch
Intonation (music)
Intonation, in music, is a musician's realization of pitch accuracy, or the pitch accuracy of a musical instrument. Intonation may be flat, sharp, or both, successively or simultaneously.-Interval, melody, and harmony:...
, violin players practice long hours to train their fingers to land in the right places, learning to hear when a note is in or out of tune, and cultivating the ability to correct the pitch
Pitch (music)
Pitch is an auditory perceptual property that allows the ordering of sounds on a frequency-related scale.Pitches are compared as "higher" and "lower" in the sense associated with musical melodies,...
rapidly and automatically as notes are being played. "Singing" the note mentally helps to land in the right spot. (In practice, intonation
Musical tuning
In music, there are two common meanings for tuning:* Tuning practice, the act of tuning an instrument or voice.* Tuning systems, the various systems of pitches used to tune an instrument, and their theoretical bases.-Tuning practice:...
may be checked by sounding an adjacent open string, and listening for the interval
Interval (music)
In music theory, an interval is a combination of two notes, or the ratio between their frequencies. Two-note combinations are also called dyads...
between the two notes.) Although adjusting to the desired pitch after landing the finger is indeed possible, the amount of adjustment needed may be greatly reduced by training the fingers to fall properly in the first place. That said, a quote widely attributed to Jascha Heifetz
Jascha Heifetz
Jascha Heifetz was a violinist, born in Vilnius, then Russian Empire, now Lithuania. He is widely regarded as one of the greatest violinists of all time.- Early life :...
goes something like: "I play as many wrong notes as anyone, but I fix them before most people can hear them."
The fingers are conventionally numbered 1 (index) to 4 (little finger). Especially in instructional editions of violin music, numbers over the notes may indicate which finger to use, with "0" above the note indicating "open" string, or playing on a string without manipulating the pitch using the left hand. The second finger may be either "low" or "high," corresponding to G or G on the E string in first position. Similarly, the first finger may reach a half-step down for the F, and 3rd and 4th fingers reach up for A and C respectively, as shown on the chart of Bornoff
George Bornoff
George Bornoff was a Canadian violinist and string teacher. He notably developed the method of string teaching bearing his name, the Bornoff Method, which emphasizes an early focus on five patterns of half- and whole-steps formed by the fingers of the left hand. His book on violin instruction,...
finger patterns on the right. (Pattern number 5 may be seen to be the same as pattern number 3, but a half step lower, or in "half position.")
The lower chart on the right shows the arrangement of notes reachable in first position. Note well: left hand finger placement is a matter of the ears and hand, not the eyes, that is, it has strong aural and tactile/kinesthetic components, with visual references being only marginally useful. Note also (not shown on this chart) that the spacing between note positions becomes closer as the fingers move "up" (in pitch) from the nut. The blue bars on the sides of the chart represent the usual possibilities for beginners' tape placements, at 1st, high 2nd, 3d (and 4th) fingers, or Bornoff pattern number 2.
Positions
The placement of the left hand on the fingerboard is characterized by "positions". First position, where most beginners start (some methods start in third position,) is nearest to the nut, or scroll end, and furthest from the player's face. The lowest note available in this position in standard tuning is an open G; the highest notes in first position are stopped with the fourth finger on the E-string, sounding a B, or reaching up a half step to the C two octaves above middle CMiddle C
C or Do is the first note of the fixed-Do solfège scale. Its enharmonic is B.-Middle C:Middle C is designated C4 in scientific pitch notation because of the note's position as the fourth C key on a standard 88-key piano keyboard...
.
Thus, in first position, the first finger placed on the E-string gives an F. Pressing the first finger instead on a G (still on the E-string) is called second position. Third position is achieved when the first finger presses down on an A, and so on. The upper limit of the violin's range is largely determined by the skill of the player. A skilled player can play more than two octaves on a single string, and four octaves on the instrument as a whole.
All except the lowest and highest notes can be played on multiple strings in different positions. That is, the "high" B note referred to above can be played not only by the fourth finger on the E-string in first position, but also by the fourth finger in fifth position on the A-string, in ninth position on the D-string, and in thirteenth position on the G-string.
Violinists often change positions on the lower strings, sometimes to the consternation of composers and much to the confusion of beginners. This is usually done to handle a musical passage which would otherwise require fast switching (or "crossing") of strings. It is also done to produce a particular timbre
Timbre
In music, timbre is the quality of a musical note or sound or tone that distinguishes different types of sound production, such as voices and musical instruments, such as string instruments, wind instruments, and percussion instruments. The physical characteristics of sound that determine the...
: the same note will sound substantially different depending on what string is used to play it. That "high" B, when played on the E-string (the highest, usually a mono-core metal string) can have a clear, even piercing timbre; the same "high" B played on the A-string or D-string or G-string (usually wrapped strings rather than mono-core) may sound "warmer" or less abrasive. For this reason violinists often avoid playing a single note on the E-string within a phrase of notes on the A-string, as one E-string note would stand out with a different timbre.
Sometimes the composer or arranger will specify the string to be used in order to achieve their desired tone quality
Timbre
In music, timbre is the quality of a musical note or sound or tone that distinguishes different types of sound production, such as voices and musical instruments, such as string instruments, wind instruments, and percussion instruments. The physical characteristics of sound that determine the...
. The most common indication uses the letter name of the string: for example, if a composer wants a passage that would otherwise be taken on the D-string to be played on the G-string, they write "sul G" or "G saite" or "G corde" (or simply, "on G") in the part. Occasionally, numbers are used, so the example might be written "4. corde" or "IV corde" (as above, with the highest string being #1 and the lowest #4); the simplest way to indicate which string to play is to write the number (e.g., 'IV' or 'III') alone.
| Audio sample | |
|---|---|
Violin sounds and techniques:
|
|
| See media help for assistance with audio links. See the Violins category at Wikipedia Commons for more media |
|
Open strings
One striking effect that employs open strings is bariolage
Bariolage
The bowed instrument musical technique known as bariolage involves quick alternation between a static note and changing notes, that form a melody either above or below the static note. This technique is common to Baroque violin music, where the static note is usually an open string note...
. This is the repeated alternation of notes played on two or more strings, where one of the notes is usually an open string. This string crossing is often rapid, and is best executed with a sinuous movement of the bow arm. Sometimes the same pitch as an open string will be fingered on an adjacent string, so that the alternation is between the same note on two strings, one stopped, one open, giving a rhythmic pulsating effect. Bariolage was a favorite device of Joseph Haydn
Joseph Haydn
Franz Joseph Haydn , known as Joseph Haydn , was an Austrian composer, one of the most prolific and prominent composers of the Classical period. He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these forms...
, who used it for example in his string quartet
String quartet
A string quartet is a musical ensemble of four string players – usually two violin players, a violist and a cellist – or a piece written to be performed by such a group...
Opus 50 no. 6, and in the "Farewell" Symphony
Symphony No. 45 (Haydn)
Symphony No. 45 in F-sharp minor, known as the "Farewell" Symphony , was composed by Joseph Haydn in 1772....
. It is also prominently featured in the Preludium of Bach's Partita No.3 in E major for solo violin.
Playing an open string simultaneously with a stopped note on an adjacent string produces a bagpipe
Bagpipes
Bagpipes are a class of musical instrument, aerophones, using enclosed reeds fed from a constant reservoir of air in the form of a bag. Though the Scottish Great Highland Bagpipe and Irish uilleann pipes have the greatest international visibility, bagpipes of many different types come from...
-like drone, often used by composers in imitation of folk music
Folk music
Folk music is an English term encompassing both traditional folk music and contemporary folk music. The term originated in the 19th century. Traditional folk music has been defined in several ways: as music transmitted by mouth, as music of the lower classes, and as music with unknown composers....
. Sometimes the two notes are identical (for instance, playing a fingered A on the D string against the open A string), giving a ringing sort of "fiddling" sound.
Double stops and drones
Double stopDouble stop
A double stop, in music terminology, is the act of playing two notes simultaneously on a melodic percussion instrument or stringed instrument...
ping is when stopped notes are played on two adjacent strings, producing a two-note harmony. This is more difficult than normal single-string playing, as fingers must be accurately placed on two strings simultaneously. Sometimes moving to a higher position is necessary for the left hand to be able to reach both notes at once. Double stopping is also used to mean playing on three or all four strings at once, although such practices are more properly called triple or quadruple stopping. Collectively, double, triple and quadruple stopping is called multiple stopping. Sounding an open string alongside a fingered note is another way to get a harmony. While sometimes also called a double stop, it is more properly called a drone, as the drone note (the open string) may be sustained for a passage of different notes played on the adjacent string.
Vibrato
VibratoVibrato
Vibrato is a musical effect consisting of a regular, pulsating change of pitch. It is used to add expression to vocal and instrumental music. Vibrato is typically characterised in terms of two factors: the amount of pitch variation and the speed with which the pitch is varied .-Vibrato and...
is a technique of the left hand and arm in which the pitch of a note varies in a pulsating rhythm. Mechanically, it is achieved by fingertip movements which alter the length of the vibrating string. There are several different styles of vibrato ranging from the use of just the fingers, to the use of the wrist or even the whole forearm. By employing these different techniques both the speed and amplitude of vibrato oscillations can be varied for musical effect.
Vibrato is often perceived to create a more emotional sound, and it is employed heavily in music of the Romantic
Romantic music
Romantic music or music in the Romantic Period is a musicological and artistic term referring to a particular period, theory, compositional practice, and canon in Western music history, from 1810 to 1900....
era. The acoustic effect of vibrato has largely to do with adding interest and warmth to the sound, in the form of a shimmer created by the variations in projection of strongest sound. A well-made violin virtually points its sound pattern in different directions depending on slight variations in pitch.
Violinists oscillate backwards, or lower in pitch from the actual note when using vibrato, since aural perception
Hearing (sense)
Hearing is the ability to perceive sound by detecting vibrations through an organ such as the ear. It is one of the traditional five senses...
favors the highest pitch in a varying sound. Vibrato does little if anything to disguise an out-of-tune note. Violin students, especially of beginner level, are taught to use it only on extended notes and or during points of emotional tension. Vibrato can be difficult to learn and may take a student several months, if not years, to master.
Harmonics
Lightly touching the string with a fingertip at a harmonic nodeNode (physics)
A node is a point along a standing wave where the wave has minimal amplitude. For instance, in a vibrating guitar string, the ends of the string are nodes. By changing the position of the end node through frets, the guitarist changes the effective length of the vibrating string and thereby the...
while bowing close to the bridge can create harmonic
Harmonic
A harmonic of a wave is a component frequency of the signal that is an integer multiple of the fundamental frequency, i.e. if the fundamental frequency is f, the harmonics have frequencies 2f, 3f, 4f, . . . etc. The harmonics have the property that they are all periodic at the fundamental...
s. Instead of the normal solid tone a wispy-sounding overtone note of a higher pitch is heard. Each node is at an integer division of the string, for example exactly half-way along the length of the string, or exactly one-third along the length of the string. The pitch produced in these two cases will be an octave higher in the case of halves, and an octave and a fifth higher in the case of the string vibrating in thirds. A responsive instrument will provide numerous possible harmonic nodes along the length of the string.
Harmonics are marked in music with a little circle above the note that determines the pitch of the harmonic. There are two types of harmonics: natural harmonics and artificial harmonics (also known as "false harmonics").
Artificial harmonics are more difficult to produce than the natural harmonics described above. Stopping a note on one string, for example first finger "E" on the D string, and having another finger just touching the string a fourth
Interval (music)
In music theory, an interval is a combination of two notes, or the ratio between their frequencies. Two-note combinations are also called dyads...
higher, in this case on the position of the note "A", produces the fourth harmonic of the "E," sounding a tone two octaves above the note that is stopped, in this case, E. Finger placement and pressure, as well as bow speed, pressure, and sounding point are all essential in getting the desired harmonic to sound.
The "harmonic finger" can also touch at a major third above the pressed note, or a fifth higher. These harmonics are less commonly used because they are more difficult to make sound well. In the case of the major third, the harmonic is higher in the overtone series, and does not speak as readily; in the case of the fifth, the stretch is greater than is comfortable for many violinists. The sounding pitch of the major third harmonic is two octaves and a major third above the lower note, and in the case of the fifth, it is an octave and a fifth above the lower note.
Traditional notation of artificial harmonics uses two notes on one stem: the lower note employs a round note-head representing where the string is strongly stopped with the first finger, and the upper note uses an open diamond note-head representing where the string is lightly touched with the fourth finger.
Harmonics are also rarely played in double stops, where both notes are harmonics.
Elaborate passages in artificial harmonics can be found in virtuoso violin literature, especially of the 19th and early 20th centuries.
Right hand and tone color
The right arm, hand, and bow are responsible for tone quality, rhythmRhythm
Rhythm may be generally defined as a "movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions." This general meaning of regular recurrence or pattern in time may be applied to a wide variety of cyclical natural phenomena having a periodicity or...
, dynamics
Dynamics (music)
In music, dynamics normally refers to the volume of a sound or note, but can also refer to every aspect of the execution of a given piece, either stylistic or functional . The term is also applied to the written or printed musical notation used to indicate dynamics...
, articulation
Articulation (music)
In music, articulation refers to the musical direction performance technique which affects the transition or continuity on a single note or between multiple notes or sounds.- Types of articulations :...
, and certain (but not all) changes in timbre
Timbre
In music, timbre is the quality of a musical note or sound or tone that distinguishes different types of sound production, such as voices and musical instruments, such as string instruments, wind instruments, and percussion instruments. The physical characteristics of sound that determine the...
. The bow is held in the right hand with the thumb bent underneath the frog to support it and the other fingers loosely touching the wood. The middle and ring fingers are usually wrapped around the frog, although in some cases (such as in baroque
Baroque
The Baroque is a period and the style that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, literature, dance, and music...
performance practice) the whole hand holds the stick above the frog. Holding the little finger curved and resting on the near facet of the octagonal shape of the stick, next to the facet on top of the stick, allows that finger to "unweight" the bow, using the thumb as a fulcrum.
Bowing techniques
Increasing pressure on the strings is the primary way to produce louder notes on the violin. Pressure is added mainly by the index finger of the bowing hand. Another method sometimes used to increase volume is using greater bow speed; however, it is important to note that a violinist can increase bow speed and still play softly at the same time. The two methods are not equivalent, because they produce different timbres; pressing down on the string tends to produce a harsher, more intense sound.The sounding point where the bow intersects the string also influences timbre. Playing close to the bridge (sul ponticello) gives a more intense sound than usual, emphasizing the higher harmonics; and playing with the bow over the end of the fingerboard (sul tasto) makes for a delicate, ethereal sound, emphasizing the fundamental frequency
Fundamental frequency
The fundamental frequency, often referred to simply as the fundamental and abbreviated f0, is defined as the lowest frequency of a periodic waveform. In terms of a superposition of sinusoids The fundamental frequency, often referred to simply as the fundamental and abbreviated f0, is defined as the...
. Dr. Suzuki referred to the sounding point as the "Kreisler
Fritz Kreisler
Friedrich "Fritz" Kreisler was an Austrian-born violinist and composer. One of the most famous violin masters of his or any other day, he was known for his sweet tone and expressive phrasing. Like many great violinists of his generation, he produced a characteristic sound which was immediately...
highway"; one may think of different sounding points as "lanes" in the highway.
There are several methods of "attack" with the bow that produce different articulations:
- Détaché - The term détaché simply means "separated" and it can be applied to any notes not linked by a slur. Stopping the bow on the string deadens the vibrations and thus creates a muted accent, elastic détaché which covered off-the-string strokes, and dragged détaché (détaché traîné) where smooth bow changes leave no audible gap between each note. Video Example of Detaché.
- MarteléMartelé (bowstroke)Martelé , literally "hammered," is a bowstroke, used when playing bowed string instruments. The effect is usually produced by holding the bow against the string with pressure, then stroked forcefully to produce an intense note...
(French; Italian martellato) - literally "hammered," is a type of détaché stroke with a particularly strong attack. Video Example of Martelé. - Collé - "stuck," or "glued," is a stroke that begins from a heavily weighted bow resting motionless on the string. Ideally, the initial weight will be almost enough to cause an undesirable scratch sound. Video Example of Collé.
- Spiccato - Technique that uses a semi-off-the-string bowing style to produce a light "bouncing" sound. Despite major misconceptions, violinists play this technique with a horizontal stroke; the "bouncing" motion is only due to the natural resistance of the violin string and light weight of the blow. Spiccato becomes easier in faster tempos, due to the smaller magnitude of the "bounce". Spiccato is usually performed at the balance portion of the bow. The balance portion of the bow refers to the area of the bow where weight is distributed evenly on both sides, allowing for maximum control. Spiccato articulation is indicated by a small dot placed directly under the note.
- Legato - Of successive notes in performance, connected without any intervening silence of articulation. In practice, the connection or separation of notes is relative, and achieved through the presence or absence of emphasis, Accent and attack, as much as silences of articulation; degrees of connection and separation vary from legatissimo (representing the closest degree of connection), tenuto, portamento, legato, portato, non legato, mezzo-staccato, Staccato (the natural antonym of legato), to staccatissimo. Some of these terms have connotations going beyond simple degrees of connection or separation.
- Sautillé (French; Italian saltando, German Springbogen, Spanish saltillo) - A bowstroke played rapidly in the middle of the bow, one bowstroke per note, so that the bow bounces very slightly off the string of its own accord. It is not indicated in any consistent manner: sometimes dots are placed above or below the notes, sometimes arrow-head strokes, and sometimes the stroke is simply left to the performer's discretion. spiccato and sautillé are sometimes used as synonyms, though spiccato tends to be applied to a broader range of off-the-string strokes. Video Example of Sautillé.
- Jeté - Also known as "ricochet" bowing, this consists of "throwing" the bow on the string in the upper third of the bow on a down bow, so that it bounces and produces a series of rapid notes. Usually from two to six notes are sounded this way, but up to ten or eleven can be played.
- Louré (French; Italian portato) - This bow stroke, used in slow tempo, separates slurred notes slightly to articulate them, without stopping the bow. It is used in passages of a cantabile character.
- Arpeggio, arpeggiando, arpeggiato - A bouncing stroke, played on broken chords, so that each note of the arpeggio is played on a different string.
- Tremolo - Chiefly used for orchestral playing, this consists of moving the bow back and forth in very short strokes extremely rapidly, not in measured rhythm.
- Col legnoCol legnoIn music for bowed string instruments, col legno, or more precisely col legno battuto , is an instruction to strike the string with the stick of the bow, rather than by drawing the hair of the bow across the strings. This results in a quiet but eerie percussive sound.Col legno is used in the final...
- Occasionally the strings are struck with the stick of the bow ("with the wood.") This gives a muted percussive sound, and is most effective when employed by a full orchestral violin section. The eerie quality of a violin section playing col legno is exploited in some symphonic pieces, notably the "witches' dance" of the last movement of Berlioz'Hector BerliozHector Berlioz was a French Romantic composer, best known for his compositions Symphonie fantastique and Grande messe des morts . Berlioz made significant contributions to the modern orchestra with his Treatise on Instrumentation. He specified huge orchestral forces for some of his works; as a...
Symphonie FantastiqueSymphonie FantastiqueSymphonie Fantastique: Épisode de la vie d'un Artiste...en cinq parties , Op. 14, is a program symphony written by the French composer Hector Berlioz in 1830. It is one of the most important and representative pieces of the early Romantic period, and is still very popular with concert audiences...
. - "Shuffle" - A repetitive pattern of slurs and accents, much used in some fiddling styles. Named shuffles include the Nashville shuffle, the Georgia shuffle, and the double shuffle, which is often considered to be a trick or showoff shuffle.
- "Chopping" - A more modern percussive technique, in which the hair near the frog of the bow is struck against the strings with a quick scratching sound of indeterminate pitch. It is used by some jazz musicians, including the Turtle Island String Quartet, Darol AngerDarol Anger-Career:Darol Anger entered popular music at the age of 21 as a founding member of The David Grisman Quintet. Anger played fiddle to David Grisman's mandolin in The David Grisman Quintet's 1977 debut. He co-founded the Turtle Island String Quartet with David Balakrishnan in 1985 and performed,...
, Casey DriessenCasey DriessenCasey Christopher Driessen is an American bluegrass fiddler and singer. He plays acoustic and electric five-string violins, each of which has an additional low C string....
, and Rushad EgglestonRushad EgglestonRushad Eggleston is a contemporary improvisational cellist.Eggleston, a graduate of Carmel High School in Carmel, California, United States, played the cello as a member of the Youth Music Monterey orchestra in Monterey Bay. Later he attended the Berklee College of Music in Boston, Massachusetts,...
.
Straight Bow
No matter what attack or bow stroke is used, most violinists use a straight bow. This ensures that the bow will stay in the desired sounding point and will create a consistent sound quality. One technique to achieving a straight bow is as follows. When taking a downbow, focus on the upper arm, the lower arm, and the hand/wrist. First, move the upper arm backwards as if elbowing someone in the nose. Next, follow through with the lower arm. Near the end of the bow stroke, rotate the wrist and hand as if opening a jar of peanuts. When used correctly, these motions will create a straight downbow bow stroke. A crucial step is to watch the bow and make sure it remains straight. An upbow is created in the opposite way. Still keeping an eye on the bow, move the lower arm in the direction that it came. Follow through with the upper arm. Near the end of this stroke, rotate the hand and wrist as if closing a jar of peanuts.Pizzicato
When a note is marked pizz. (abbreviation for pizzicatoPizzicato
Pizzicato is a playing technique that involves plucking the strings of a string instrument. The exact technique varies somewhat depending on the type of stringed instrument....
) in the written music, it is played by plucking the string with a finger of the right hand rather than by bowing. When the bow hand is occupied (or for virtuosic effect) the left hand can be used; this is indicated by a "+" (plus sign) in the music. This allows players to simultaneously play bowed notes while plucking on a different string. In addition, some players have acquired the trick of playing fast pizzicato passages using two alternating fingers of the right hand. Players continue playing pizzicato until there is an indication to return to arco (playing with the bow).
There are two common positions for playing pizzicato. One is to clench the bow in your right hand, rest your right thumb on the right side of the finger board then pluck the string. This position can enhance the tonal quality of the pluck and is good to use during long durations of plucking. Another pizzicato position is to maintain your bow grip, then pluck the strings with your right index finder. This position is especially helpful when the composer alternates between series of arco and pizzicato notes, because it allows the violinist to quickly and accurately switch styles.
Violinists may also pluck a string with their left hand, denoted on written music as a "+" symbol above the note desired. Left-handed pizz in general is less flexible pitch-wise than the right-handed pizz, but allows the right hand to either stay where it is or simultaneously play or pizz, a technique composer and violinist Niccolo Paganini was renowned for.
A snap pizzicato, first specified by Béla Bartók
Béla Bartók
Béla Viktor János Bartók was a Hungarian composer and pianist. He is considered one of the most important composers of the 20th century and is regarded, along with Liszt, as Hungary's greatest composer...
, and often called a Bartók pizzicato, requires the player to pull the string away from the fingerboard so that when it is released it rebounds with force onto the fingerboard, yielding a sharp, percussive snapping sound. Examples can be found in Bartók's 44 Duos (No. 42, Arabian Song) and Solo Sonata for violin.
Mute
Attaching a small rubber, wooden, or metal device called a "mute" to the bridge of the violin alters the tone, softening the instrument's sound by adding mass to the bridge and so reducing its ability to vibrate freely, decreasing volume and giving a more mellow tone, with fewer audible overtoneOvertone
An overtone is any frequency higher than the fundamental frequency of a sound. The fundamental and the overtones together are called partials. Harmonics are partials whose frequencies are whole number multiples of the fundamental These overlapping terms are variously used when discussing the...
s. In performances, it may give a desired dulled effect. Mutes are mostly used in orchestras with the entire string section playing with mutes, resulting in a soft, hushed sound quality. Parts to be played muted are marked con sord., for the Italian sordino or occasionally mit Dämpfer in German. (The instruction to take off the mute is senza sord., sometimes marked just senza or "ohne Dämpfer" in German.) In French, instruction is given for application of mutes at the beginning of muted passages, "mettez les sourdines", and for removal at the end "ôtez les sourdines".
Sharing the same name but with a completely different purpose, massive metal, rubber, or wooden "practice mutes" or "hotel mutes" are available. These mutes are used to drastically reduce the volume when practicing where others can be disturbed.
Tuning
Tuning peg
A tuning peg is used to hold a string in the pegbox of a stringed instrument. It may be made of ebony, rosewood, boxwood or other material. Some tuning pegs are ornamented with shell, metal, or plastic inlays, beads or rings....
in the pegbox under the scroll, or by turning the fine tuner screws at the tailpiece
Tailpiece
A tailpiece is a component on many stringed musical instruments that anchors one end of the strings, usually the end opposite the end with the tuning mechanism the scroll, headstock, peghead, etc.-Function and construction:...
. A violin always has pegs, but fine tuners (also called fine adjusters) are optional. These permit the string tension to be adjusted in very small amounts much more easily than by using the pegs. Most fine tuners work by turning a small metal screw, which moves a lever that is attached to the end of the string. (Another type of tuner, using a screw to crimp a short segment of the string's afterlength near the tailpiece, is sometimes found, most generally on smaller instruments.) Fine tuners are usually recommended for younger players, fractional-sized instruments, those using high tension or metal strings, or beginners. Fine tuners are most useful with solid metal strings; since they do not stretch as much as synthetics, solid-core strings can be touchy to tune with pegs alone. Fine tuners are not useful when using gut strings; since these strings are more "stretchy", the tuners lack enough range of travel to make a significant pitch difference, and the sharp corners on the prongs may cause the string to break where the string passes over them. Most players use a fine tuner on the E-string even if the other strings are not so equipped.
The A string is tuned first to a reference pitch
Pitch (music)
Pitch is an auditory perceptual property that allows the ordering of sounds on a frequency-related scale.Pitches are compared as "higher" and "lower" in the sense associated with musical melodies,...
source such as a tuning fork
Tuning fork
A tuning fork is an acoustic resonator in the form of a two-pronged fork with the prongs formed from a U-shaped bar of elastic metal . It resonates at a specific constant pitch when set vibrating by striking it against a surface or with an object, and emits a pure musical tone after waiting a...
or, in most orchestra
Orchestra
An orchestra is a sizable instrumental ensemble that contains sections of string, brass, woodwind, and percussion instruments. The term orchestra derives from the Greek ορχήστρα, the name for the area in front of an ancient Greek stage reserved for the Greek chorus...
s, the oboe
Oboe
The oboe is a double reed musical instrument of the woodwind family. In English, prior to 1770, the instrument was called "hautbois" , "hoboy", or "French hoboy". The spelling "oboe" was adopted into English ca...
, typically to 440 Hz
Hertz
The hertz is the SI unit of frequency defined as the number of cycles per second of a periodic phenomenon. One of its most common uses is the description of the sine wave, particularly those used in radio and audio applications....
, although some orchestras tune to another standard A such as 442, or even as high as 445 or 446 Hz to produce a brighter sound. Early music
Early music
Early music is generally understood as comprising all music from the earliest times up to the Renaissance. However, today this term has come to include "any music for which a historically appropriate style of performance must be reconstructed on the basis of surviving scores, treatises,...
groups interested in authentic performance may use a lower standard A. When playing with a fixed-pitch instrument such as a piano
Piano
The piano is a musical instrument played by means of a keyboard. It is one of the most popular instruments in the world. Widely used in classical and jazz music for solo performances, ensemble use, chamber music and accompaniment, the piano is also very popular as an aid to composing and rehearsal...
or accordion
Accordion
The accordion is a box-shaped musical instrument of the bellows-driven free-reed aerophone family, sometimes referred to as a squeezebox. A person who plays the accordion is called an accordionist....
, the violinist must tune to accommodate that instrument. The other strings are then tuned to the A in intervals of perfect fifths
Interval (music)
In music theory, an interval is a combination of two notes, or the ratio between their frequencies. Two-note combinations are also called dyads...
by bowing them in pairs. This puts the open strings in just intonation
Just intonation
In music, just intonation is any musical tuning in which the frequencies of notes are related by ratios of small whole numbers. Any interval tuned in this way is called a just interval. The two notes in any just interval are members of the same harmonic series...
, which means the lower strings may sound flat compared to their nominal equal-tempered
Equal temperament
An equal temperament is a musical temperament, or a system of tuning, in which every pair of adjacent notes has an identical frequency ratio. As pitch is perceived roughly as the logarithm of frequency, this means that the perceived "distance" from every note to its nearest neighbor is the same for...
equivalents. In practice, this means some compromises must be made, and the strings not always tuned in perfect fifths, particularly on the viola
Viola
The viola is a bowed string instrument. It is the middle voice of the violin family, between the violin and the cello.- Form :The viola is similar in material and construction to the violin. A full-size viola's body is between and longer than the body of a full-size violin , with an average...
and cello
Cello
The cello is a bowed string instrument with four strings tuned in perfect fifths. It is a member of the violin family of musical instruments, which also includes the violin, viola, and double bass. Old forms of the instrument in the Baroque era are baryton and viol .A person who plays a cello is...
, where the lowest string is the C, three fifths away from the reference A, making the difference more apparent.
Small, temporary tuning adjustments can also be made by stretching a string with the hand. A string may be flattened by pulling it above the fingerboard, or sharpened by pressing the part of the string in the pegbox. These techniques may be useful in performance, reducing the ill effects of an out-of-tune string until the arrival of a rest or other opportunity to tune properly.
Tuning the violin, especially with the pegs, can cause the bridge to lean, usually toward the fingerboard. If left that way, it will warp. After tuning, experienced players typically check that the bridge is standing straight and centered between the inner nicks of the f holes
Sound hole
A sound hole is an opening in the upper sound board of a stringed musical instrument.The sound holes can have different shapes: round in flat-top guitars, F-holes in instruments from the violin or viol families and in arched-top guitars, rosettes in lutes. Bowed Lyras have D-holes and Mandolins may...
, since bridges are free to move about, being held in place only by friction and the tension of the strings. Capable violinists know how to straighten and center a bridge; this can easily be done under normal string tension without damage to the instrument.
The tuning G-D-A-E is used for the great majority of all violin music. However, any number of other tunings are occasionally employed (for example, tuning the G string up to A), both in classical music, where the technique is known as scordatura
Scordatura
A scordatura , also called cross-tuning, is an alternative tuning used for the open strings of a string instrument, in which the notes indicated in the score would represent the finger position as if played in regular tuning, while the actual pitch is altered...
, and in some folk styles where it is called "cross-tuning." Numerous such tunings exist, often being named for a prominent tune played in that tuning. A good example of scordatura in classical solo violin repertoire is Paganini
Niccolò Paganini
Niccolò Paganini was an Italian violinist, violist, guitarist, and composer. He was one of the most celebrated violin virtuosi of his time, and left his mark as one of the pillars of modern violin technique...
's First Violin Concerto in E-flat major
Violin Concerto No. 1 (Paganini)
The Violin Concerto No. 1, Op. 6, was composed by Niccolò Paganini in Italy, probably between 1817 and 1818. The concerto reveals that Paganini's technical wizardry was fully developed...
, where the violin part is written in D-major and the violinist is supposed to tune a half tone higher to match the orchestra's key of E-flat major.
See also
- Bowed string instrument extended techniqueBowed string instrument extended techniqueString instruments are capable of producing a variety of extended technique sounds. These alternative playing techniques have been used extensively since the 20th century...
- Musical tuningMusical tuningIn music, there are two common meanings for tuning:* Tuning practice, the act of tuning an instrument or voice.* Tuning systems, the various systems of pitches used to tune an instrument, and their theoretical bases.-Tuning practice:...
- Pitch (music)Pitch (music)Pitch is an auditory perceptual property that allows the ordering of sounds on a frequency-related scale.Pitches are compared as "higher" and "lower" in the sense associated with musical melodies,...
External links
- Violin Fingering Charts - various violin fingering charts for beginners