OPEN STRINGS
(all ranges are given at written pitch (not sounding or concert)
VIOLIN EXAMPLE (index finger is numbered "1")
The "positions" indicate the basic framework the l.h. is trained to follow. The fingers are
normally positioned over the diatonic pitches. The number of the position indicates the diatonic
interval above the open string the first finger is (in "5th position," the first finger is placed a fifth above
the pitch of the open string):
The fingers are shifted forward or backward to play the chromatic variations of the basic letter-named pitches. For instance, the finger normally playing d slides forward to play d-sharp and backward for d-flat:
SCALE: VIOLIN, FIRST POSITION
(the fourth finger on the next lower string could have been used instead of open D, A, and E. Note that it is impossible to apply vibrato to an unstopped or open string)
POSITIONS ABOVE FIRST
Positions above first are used to extend the range of the highest string upward. They are also used on the lower strings for two main reasons:
1. To avoid l.h. shifts from one position to another. Notice that in the first example, although all four pitches fall within the range of the e-string, the l.h. must shift from 5th position down to 1st; in the second example, the l.h. stays in the same position and the bow crosses over to the A string:
2. Often, a particular tone quality is desired. In 1st position, the first two pitches in the example below would be played on the A-string and the third on the E. This would result in a change of tone quality when the bow crossed over to the E-string. By playing in 3rd position on the A-string, the whole figure can be played on one string, creating a more uniform sound
.
Changing from one string to another involves changing the angle of the bow. A true legato can only be achieved between adjacent strings. Shifting from one l.h. position to another becomes more risky the greater the distance of the shift.
BOWING
The heavier, stronger part of the bow is toward the heel (frog). Downbows are usually on strong beats, upbows on weak. Unless indicated, the bow changes direction from one note to the next:
A slur indicates that the bow is not to change direction:
(in the preceding example, only the first downbow symbol is actually needed, if even that; the slurs indicate when the bow is to change)
Slurs can even be used over rests to indicate same bow direction:
The amount of bow length required for a given duration depends on the dynamic; loud tones require more bow speed and pressure.
ON-THE-STRING BOWINGS (bow does not leave the string)
legato:
détaché (despite the name, this means not detached. The bow makes one stroke per note with a clear articulation but no space between notes).
louré: the bow gently articulates each note without changing direction. The amount of break between notes can vary from almost none to a clear break (clear articulations are more difficult at faster rates).
martelé: a sharp stroke with a clear stopping between notes- bow does not leave string. Generally used for slower, accented staccato.
OFF-THE-STRING BOWINGS (bow leaves string between notes, either by being lifted or by its own resiliency. Always results in staccato)
The proportion between vertical and horizontal bow motion controls the length of the notes. For slower tempi, the bow is lifted and dropped in the case of spiccato, or at faster speeds bounces on its own as in sautillé and ricochet. In the example above, the bow would probably be lifted for each note if the passage were andante, but would bounce on its own for presto.
At slower tempi, the bow can even be lifted and stay in the same direction (slurred staccato). This is most effective with an upbow.
Note: Dotted rhythms are often played:
BOWED TREMELO
measured tremelorepeated notes (the second measure shows a shorthand notation for the first):
unmeasured tremelo as fast as possible (use more slashes in slower tempi to distinguish this from measured tremelo)
GENERAL NOTES
1. The discipline of string fingering favors diatonic writing over chromatic.
2. The tuning of the strings favors sharp keys over flat keys.
3. In the larger instruments (cello and bass), the l.h. cannot cover the span that it can on the violin. As a result, the fingering is different and generally requires more shifting. The larger instruments also respond more slowly in their lower ranges; therefore, fast passages tend to sound blurred.
4. It is better to lead up gradually to the higher positions than to suddenly skip to them.
5. A safe upper range limit is one octave above the highest open string (more for violins, less for double-bass). Advanced players can, of course play much higher.
DIRECTIONS FOR STRINGS
pizzicato plucked
arco bowed (usually used to cancel pizz. )
col legno (with the back, wooden part of the bow)
con sordino with mute
senza sordino cancels above indication
div. section divides to play two or more parts
unis. cancels above
non div. do not divide; play as multiple stop
(note: preparing for pizz. or changing back to arco takes a moment. Placing or removing a mute takes a measure or two. String sections often divide into two parts by having the outside player on each music stand play the upper part and the inside play the lower part.)
THE STRING SECTION
Chamber music combinations
Trio: 1 violin, 1 viola, 1 cello
Quartet: 2 violins, 1 viola, 1 cello
Quintet: 2 violins, 1 viola, 1 cello, 1 double-bass
2 violins, 2 violas, 1 cello
2 violins, 1 viola, 2 cellos
Octet: 4 violins, 2 violas, 2 cellos
Orchestral combinations, based on Violin 1, Violin 2, Viola, Cello, Double-bass
minimal: 2-2-2-1-1
chamber: 3-3-2-2-1
small: 4-4-3-3-2
large: 14-14-10-8-8
THE STRING CHOIR
The four-part texture of the string choir is typically distributed:
Vn. 1 - Soprano
Vn. 2 - Alto
Va. - Tenor
Vc. - Bass
Db. - Bass octave lower
Because the range of the string choir is greater than one made up of voices, more freedom in voicing (especially open voicing) is possible. To switch from closed voicing to open, sometimes it is possible to simply swap the alto and tenor parts (note that in the second measure, both soprano and tenor are now an octave higher):
