Meet the Musicians Session, FORUM FOR YOUNG COMPOSERS organised by Composers Society of Singapore
24 January 2016, Aliwal Arts Centre
VIOLIN
Techniques
Notation
Notes
Tuning
These are the pitches of the 'open strings' of the violin. 'Open strings'
refers to the strings as they sound when they are not touched by any of
the fingers of the left hand.
Fingering
String is firmly pressed against the fingerboard with the fingers on the left
hand to produce pitches higher than those of the open string. Position of
the left hand can be shifted up in order to produce even higher pitches.
Double Stops
Play two notes on adjacent strings at the same time by fingering two
pitches and then having the bow drawn across both strings at the same
time.
Meet the Musicians Session, FORUM FOR YOUNG COMPOSERS organised by Composers Society of Singapore
24 January 2016, Aliwal Arts Centre
Techniques
Notation
Notes
Glissando
Sliding one finger on one string from one pitch to another. It is possible to
glissando upward as well as downward on a string.
Vibrato
Vibrato is to enhance the beauty of the tone and increase the emotional
quality of the pitch. Vibrato is inherent to a player's techniques and is
executed in variable amount depending upon interpretative intentions.
Instructions such as senza vib (without vibrato) or molto vib (much/more
vibrato) may be indicated by the composer for an intended effect. There is
otherwise no notation for vibrato.
On-the-string bowings
Separate bow, can be played at a fast tempo
• Détaché
In a single bow, but with slight breaks between notes
• Portato
• Martelé (fr)/ Marcato (it)
'Hammered” notes, also resembling a strong accent/ sforzando. Will be
most effective at a moderate or slower tempo.
Meet the Musicians Session, FORUM FOR YOUNG COMPOSERS organised by Composers Society of Singapore
24 January 2016, Aliwal Arts Centre
Techniques
Notation
Notes
Off-the-string bowings
Off the string/Bounced bow
• Spiccato/ Saltando
The bow is 'thrown' on the string the create rapid notes
• Jeté (richochet)
similar to Jeté but done over a series of string crossings at a fast tempo
• Arpeggiando
Colouristic Effects
a rapid alteration between two pitches with a tone or a semitone apart
• Trills
• Tremolo
repeat a single pitch as fast as possible
On the fingerboard
• sul tasto
sul tasto (write this term at the start of the phrase)
bow lightly on the fingerboard to obtain a flute-like, soft, hazy tone
On the bridge
bow very near to the bridge to obtain an eerie, metallic timbre.
• sul ponticello
sul pont. (write this term at the start of the phrase)
• with the wood: col legno
col legno (write this term at the start of the phrase)
strike the string with the wood of the bow, creating a percussive effect.
However, definite pitch will hardly be audible.
Meet the Musicians Session, FORUM FOR YOUNG COMPOSERS organised by Composers Society of Singapore
24 January 2016, Aliwal Arts Centre
Techniques
Notation
Pizzicato
Notes
pull the string upwards and allowing it to 'snap' sharply against the
fingerboard. Béla Bartók used it often, hence the nickname
snap/Bartók pizzicato
Left hand pizzicato
to pluck with the left hand instead of the right.
Arppegiated pizzicato
Chord plucked from the bottom up, unless otherwise indicated by
composer.
With mutes/ without mutes
• con sordino/ senza
sordino
con sord/ senza sord (write this term at the start of the
phrase)
when muted, the tone quality is changed, giving a slightly more restraint
and constricted sound. Enough time must be given to put on or take off
the mutes
Scordatura
A verbal instruction to retune, possibly with an additional
staff to show new tunings.
retune the instrument to produce a pitch other than the normal tuning. Do
not retune more than a tone, and in general it is better to lower than raise
the pitch of the string. Give player ample time to retune.
Meet the Musicians Session, FORUM FOR YOUNG COMPOSERS organised by Composers Society of Singapore
24 January 2016, Aliwal Arts Centre
Techniques
Notation
Harmonics - Natural and
Artificial
Notes
Natural Harmonics
−
−
The large round notehead indicates the fundamental
(open G-string in this case), the diamond notehead
indicates the finger position and the small note in
brackets is the resulting soun
overtones of an open string produced by touching the strings
lightly at various points called 'nodes'
The nodal points on a string are as follows:
1/2 (gives 8ve above open string)
th
1/3 (gives 8ve+5 above open string)
1/4 (gives 2x8ves above open string)
rd
1/5 (gives 2x8ves+Maj 3 above open string)
Artificial Harmonics
−
The first will produce a note 2x8ves above the stoped
th
note, the second an 8ve+5 above the stopped note.
the string is stopped normally, and the fingered (with the little
th
th
finger) at a point a 4 or a 5 above the stopped note.
Extended Techniques
• play on the other side of
the bridge
To bow the string between the bridge and the tailpiece. The standard
bowing and plucking techniques may be used for this effect.
• knocking, rapping, or
tapping on the body of the
instruments either with
one's fingers or knuckles
This is usually requested in a footnote or further explained however,
commonly notated by a x-shaped notehead.
Meet the Musicians Session, FORUM FOR YOUNG COMPOSERS organised by Composers Society of Singapore
24 January 2016, Aliwal Arts Centre
Techniques
Notation
Notes
• varying vibratos
like most extended techniques, additional written or verbal explanation is
encouraged
• playing the highest note
Unless a particular string is specified, otherwise simply play the highest
note on the instrument.
Other Considerations:
When writing for the violin, it is important to understand the technical and physical restrictions of the instrument and the player. Allow sufficient time for the player
to shift from one technique to the other. For instance, changing from pizzicato to arco (bow) will be hard to achieve if the tempo is too quick. However, certain
techniques will work only at a certain speed or certain dynamics. For example, fast tempo is required for an effective Arppegiando and double stops are usually
played not lesser than a mezzo forte in order to produce an even tone.
Recommended Resource:
Users’ Manual by Andrew Hugill: http://andrewhugill.com/OrchestraManual/section_strings.html
Composing for the Violin: http://andytanviolin.com/resources/composing-for-the-violin
Recommended music:
Luciano Berio, Sequenza for violin: https://www.youtube.com/watch?v=tqDZJ69iEHk
On Harmonics: Julia Fischer -Saint saens Concerto N° 3 in B Minor Op 61 -2nd movement (7:40)
On String Crossings: https://www.youtube.com/watch?v=Lh6mDL-VwYw (1:09)
On Double-stops/Chords: https://www.youtube.com/watch?v=rSAMK3kiz5c