Download Before the Chinrest: A Violinist's Guide to the Mysteries of by Stanley Ritchie PDF

By Stanley Ritchie

Drawing at the ideas of Francesco Geminiani and 4 many years of expertise as a baroque and classical violinist, Stanley Ritchie deals a necessary source for a person wishing to benefit approximately 17th-18th-and early 19th-century violin method and elegance. whereas a lot of the paintings makes a speciality of the technical points of taking part in the pre-chinrest violin, those methods also are appropriate to the viola, and in lots of how one can the trendy violin. ahead of the Chinrest comprises illustrated sections on correct- and left-hand procedure, elements of interpretation through the Baroque, Classical, and early-Romantic eras, and a bit on constructing right intonation.

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Additional info for Before the Chinrest: A Violinist's Guide to the Mysteries of Pre-Chinrest Technique and Style

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The Swing is also an essential ingredient in position-changing technique. Ideally the focus of your attention in the execution of a shift will be the arm, not the fingers, for it is the task of the arm to transport the fingers (whose principal function is changing the vibrating length of the string) from one part of the fingerboard to another. This motion may be lateral or lengthwise or a combination of both: swinging the arm inward when shifting draws the hand up the fingerboard, and swinging it outward draws the hand down.

Here, again, context is everything, and one must always take the harmonic structure and melodic line into account in determining the character of each note or gesture. ” This is what occurs, typically on the note preceding the bar line: a cellist leans forward, makes a crescendo, and elides with the note on the downbeat. Certainly this is desirable in some instances, as with a chromatic upbeat, but even then it is best, in Baroque and Classical music, to articulate almost imperceptibly so as to give the new note a clear start.

Certainly there are times when a chord needs to be percussive or crisply played with little noticeable arpeggiation, but the styles of breaking described above are rarely, if ever, appropriate. Context will dictate whether one should start rolling a chord from a single note or from a double-stop, and the speed of rolling, too. In a particularly soft or tender moment one may roll a chord slowly and gently, as a lute player or harpsichordist might. If there is a particularly interesting harmonic shift or melodic twist it may also be effective to linger briefly on one of the notes.

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