ART OF PLAYING VIOLIN


ENGLISH
Lessons


PRESENTATION


James Blunt
Elton John
David Bowie
The Rolling Stones
Baroque Music
















david-bowie-2
elton-john-1 james-blunt rolling-stones-2

Words
The Art of Playing 'Chin-Off
for the Brave and the Curious.
violin-25-350
A Treatise
on one Technical Aspect of Baroque Violin Playing in the Year 2003
Version 2, December 2005
Elisabeth Wallfisch
For My Dad




















chin menton
chin-off menton ôté
brave brave
curious curieux
treatise traité
Baroque Violin playing pratique (jeu) du violon baroque

Primary acknowledgement :
The Art of Playing on the Violin.
by Francesco Geminiani




Whose clear pedagogic genius has been one one my greatest inspirations.
My personal thanks to : My students, past and present, who have been and still are my best teachers.
The tyranny, inspiration and friendship of the violin, which demands at all times total focus and control, to find and to learn to express the voice within.
Discomfort and confusion, which were, and sometimes still are,leading me to a searching for understanding.
acknowledgement reconnaissance
genius génie
thanks remerciements
tyranny tyrannie
inspiration inspiration
friendship amitié
to demand exiger
at all times à tout moment
focus attention
the voice within la voix à l'intérieur
discomfort inconfort
confusion confusion
to lead to conduire à
a searching for quête de
understanding compréhension.
The fiddlers of the Australian Brandenburg Orchestra , the students at George Washington University, the fiddlers of Tafelmusik, Canada and of the Carmel Bach Festiva Orchestra, all of whom consented to be my guinea pigs.

Judy Tarling for all her help with this little book, and also over the years with her books
My beloved family- my husband, Raphael and children- Ben, Simon and Joey, who have suffered my absences, and my absences of mind when at home and whose love and support are immeasurable.
I now must also acknowledge the help I had in my twenties from a small book by Yehudi Menuhin, called '6 Lessons With Yehudi Menuhin' which introduced me to my collar bone!
fiddler (-s) violoniste
guinea pig cobaye
beloved chère
husband mari€
to suffer souffrir de
absence of mind absence  de l'esprit
at home à la maison
support soutien
immeasurable incommensurable
collarbone clavicule
to introduce initier à
INTRODUCTION
Instructions for use :
To be read, while from a music stand, violin in hand/s, with the Geminiani' on another music stand beside it.
This essay is designed for those players who are already violinists, not actual beginners- although it has always been a curiosity for me to discover what the benefits whould be of starting out as a beginner on the violin, using this technique, as Geminiani would have taught.
violin-3-150




use utilisation
to be read à lire
essay essai
to be designed for destiné à
player (-s) joueur, musiciens
actual beginners vrais débutants
curiosity curiosité
benefit (-s) bénéfice, avantage
to start out as démarrer
to teach (taught)t enseigner




Whether accomplished in the areas of 'modern playing' or 'baroque playing' or any level/period in between, this may prove to be the help needed to gain a greater understanding of the concepts of style inherent in the expression of emotion and affekt of the music of the 18th century and earlier.
whether si
accomplished accompli
area (-s) domaine
in between entre les deux
to may prove peut se révéler être
level niveau
to gain gagner
understanding compréhension
the concept concept
style style
inherent inhérent
emotion émotion
affekt sentiments

This can also be of immeasurable use, technically, to the conventional 'modern' player who is searching for a way to play without the discomfort, and restrictions of the 'grip' between chin, neck and shoulder, and the physical problems that can occur over time.

This little book is NOT the answer, but perhaps the beginning of the questions....

 violin-4-150

 The Art of Playing on the Violin -Published by Kings Music

immeasurable incommensurable
technically techniquement
conventional conventionnel
player musicien
to search for chercher
a way moyen
without sans
discomfort manque de confort
restrictions limitation, restriction
grip prise
chin menton
neck cou
shoulder épaule
physical physique
to occur se produire, arriver
over time au cours du temps
answer réponse
beginning début

The Quest

Part the First :

PRELIMINARY:

Stand easy, legs gently apart, soft knees, arms hanging, not slouching, 
not 'to attention' ... Sway a little from hip to hip.

 

 

Hug yourself!  Yes do it!  Nicely!

 

Cradle baby/cat/roast dinner, i.e. arms in front of body, 
palms gently facing the ceiling, elbows in to your side...

 


Arms down to side, very loose...

 

Head easy, shoulders down loose, with no expectations
whatever
of holding anything - let alone a violin!

 

 

1: Position of violin on the shoulder, and collar-bone.

 

A: Whatever your shape/size, your collar-bone acts as a ledge.

 

B:'Props' ie: supports- for example: nothing, a wedge,

** a roll,***a shoulder rest, perhaps to fit the individual. 

 violin-5-150

***To make wedge: Take one square of chamois leather,

 



quest quête
preliminary préliminaire
to stand se tenir debout
easy facilement, naturellement
leg (-s) jambe
apart écarté
soft knees genoux souples
arms hanging bras pendants
not slouching pas voûté
to attention attentif
to sway balancer
from hip to hip de hanche à hanche
to hug oneself se réjouir/s'étreindre
nicely bien, comme il faut.
to cradle  tenir délicatement
cat chat
roast dinner dîner rôti
arm (-sp bras
in front of devant
body corps
palm (-s) paume
to face tourner vers
ceiling plafond
elbow (-s) coude
in to your side accolé
arms down to side bras le long du corps
very loose très détendu
head easy tête souple
shoulders down épaules basses
expectation (-s) attente
let alone seulement
violin violon
collar-bone clavicule
whatever quelque soit
shape/size forme/taille
ledge rebord, corniche
prop support
wedge cale
roll rouleau
shoulder rest appui d'épaule
to fit s'adapter à
individual individu
leather cuir
chamois leather peau de chamois
fold plier
corner coin
tightly étroitement
fasten fixer
rubber band bande adhésive
adjustable to ajustable à
height (-s) hauteur
width largeur
size taille
to feel good se sentir bien
feel secure se sentir en sécurité
nested comme dans un nid
without any grip sans  rien tenir serré
need besoin
to worry about s'inquiéter de
length longueur
chin/jaw menton/machoire
to connect with être en contact avec
experiment faire l'expérience
narrow étroite
to be of concern être un problème que
to achieve effectuer
to steady stabiliser
to tilt towards incliner
gently légèrement
to state établir
treatise traité

Fold, to make triangle, fold again to make another, and then another..Finally, roll last smallest triangle, longer corner to longer corner, tightly fasten with rubber band around the final result.  Adjustable to all heights,width and size of person, comfort of individual.

violin-7-300

(The use of a'prop' on the violin depends entirely on the physique 
of the individual.)
Must be confortable Feel good.  Feel secure, 'nested'! 
Yes ... without any grip between chin and shoulder.
There is no need any longer to worry about the length of one's neck, as the chin/jaw does not need to connect with the violin.  
This technique is positively good for those with long necks.
Please experiment !

*It  is of concern that those players with narrow shoulder, most often the female of the species, are often not able to achieve the 'chin-off' playing they desire, because the violin is played with nothing to steady it, keep it securely resting/nesting in a position that is tilted gently towards the floor, as Geminiani states in his treatise.








fold plier
corner coin
tightly étroitement
fasten fixer
rubber band bande adhésive
adjustable to ajustable à
height (-s) hauteur
width largeur
size taille
to feel good se sentir bien
feel secure se sentir en sécurité
nested comme dans un nid
without any grip sans  rien tenir serré
need besoin
to worry about s'inquiéter de
length longueur
chin/jaw menton/machoire
to connect with être en contact avec
experiment faire l'expérience
narrow étroite
to be of concern être un problème que
to achieve effectuer
to steady stabiliser
to tilt towards incliner
gently légèrement
to state établir
treatise traité

3

'THE JO Y OF PLA YING ON THE VIOLIN'-

1 believe in the pleasure principle.:
I mean- That everything about playing the violin is a pleasure.
The feel, how it looks, comfort, quiet strength and balance, beautiful sound, ease of movement facility ... all that

MAKE "HAVING THE VIOLIN IN PLACE" A PLEASURE.

Unlike many schools of thinking and teaching, which ask that your left foot point towards the music stand, a line between your feet may be drawn that is parallel with the ledge of the music stand, the scroll of the violin then pointing a little over to the left of the stand.  This means that your head and neck are not rotated to the side, and you are looking directly ahead of you.

 

Chin-rest:            At this stage it is better to take it off!

In my experience, chin-rests, and the high-tech amazing shoulder rests invite you to grip the instrument between shoulder and neck, in spite of all best intentions to the contrary!

'My funny little chin rest', for later music, but still not for gripping..

violin-8-150

The tailpiece of violin, 'the button' is best slightly to the left of the chin, which may seem unusual to many violinists.

You can see clearly here the position of the tail-piece, in relation to the windpipe and the U in the middle of the collar bone
violin-9-150

joy joie
pleasure plaisir
to mean vouloir dire
the feel sensation
how it looks son aspect
comfort confort
quiet strength force tranquille
balance équilibre
ease aise, facilité, aisance
unlike contrairement à
school of thinking école de pensée
to point towards être dirigé vers
music stand pupitre
to draw a line tirer une ligne
the ledge rebord
to rotate to tourner vers
ahead of en face de
to take off ôter
chin-rest mentonnière
amazing étonnant
shoulder rest coussin
to grip tenir serré
to the contrary au contraire
gripping étreinte
tailpiece cordier
button bouton
slightly légèrement
to the left à la gauche
violinist violoniste
windpipe caisse de résonance
collar bone clavicule

HERE WE GO:

Exercises without bow.

TIP : LEFTARM POSTURE-

Place left arm behind your back, then, very easily, put your left hand on your hip.

violin-10-300

A: (The violin is with/without'prop')

With your right hand, hold violin in front of you, upside down, scroll to the floor

f-holes facing away from you.

I like to hold the instrument with my first finger hooked around the bout of the instrument in this position, it feels safer..

violin-11-150

Using your right hand put violin on to left shoulder, nesting place.

'Nest', 'bury', the violin, keeping left hand on hip, using right hand to lift fiddle.

violin-12-150

Right side of the instrument must be tilted slightly towards the floor- 
NOT FLAT like a billiard table.

(A'clunk'on the collarbone can be your guide to the correct place)

Put violin down, again put on left shoulder,
put down, up, down, up, down etc.

HINT 1: An open necked blouse/shirt means that the front of your collarbone is bare skin, and that the violin won't slip!

(Chamois leather can be of help too, though I find skin is the best'non-slip'there is)

The tailpiece, or if you prefer the little button holding the tail-gut should be just to the left of the chin.

violin-13-300
Watch TV, look out window, walk around, stand on left foot, right foot, sway, chat to cat..
Shake head gently, up and down, side to side.

BE EASY, IT IS EASY!













bow archet
leftarm bras gauce
posture posture
back dos
hip hanche
prop coussin, support
to hold tenir
upside down retourné
scroll volute
floor plancher, sol
f-hole (-s) orifice en forme de f
to face away être orienté loin de
hooked around enroulé autour de
bout bout
to feel safer sembler plus sûr
















nesting place endroit où on cale
( le violon)
to nest caler
to bury enfouir
to keep garder
to lift soulever
fiddle violon
to be tilted towards être dirigé vers
slightly légèrement
flat plat
billiard table table de billard
clunk bruit sourd


to put down déposer
again à nouveau
to put up mettre sur, poser
hint indice , indication
open necked à col ouvert
blouse/shirt blouse/chemise
bare skin peau nue
to slip glisser
chamois leather peau de chamois
of help utile
though quoi que
skin peau
non-slip anti-glisse
tailpiece cordier
button bouton
to hold maintenir, fixer
tail-gut cordes de boyau





to watch TV regarder la télévision
to look out window regarder par la fenêtre
to walk around se promener
to sway se balancer
to chat to parler à
to shake secouer
up and down de haut en bas
side to side de droite à gauche
to be easy être à l'aise
it's easy c'est facile

B:  Violin up, with right hand as step A

violin-14-150

Heel of  LEFT HAND to shoulder of violin, fingers totally relaxed,

(Still holding fiddle with   right hand).

violin-15-150

Left hand down,
Violin down, using RIGHT hand
Repeat many times, (Go back to step A. Get comfortable!)

C: Violin up,

Heel of left hand to shoulder of violin
Drop right hand
Right hand up
Drop left hand
Violin down, using right hand
Repeat many times.

D: Violin up*

Left hand to first position on neck
Right hand down
Right hand up
Left hand down
Violin down.
Repeat many times

violin up soulevez le violon
step étape
to heel of incliner
relaxed relâché
to leave down laisser tomber
hand main
violin down baissez le violon
using en utilisant
to get comfortable se mettre à l'aise
to drop laisser tomber
neck (of violin) manche du violon

























ROUTINE, A PLEASURE

(5 minutes have now passed)

:    Starting to move
Violin up

Left hand to first position on neck of violin
Drop right hand- DON'T PANIC, (people- do-)
Look out of window, free your head, shake head, stand on one foot, the other -Walk around room
Left hand up to 4th position, heel of hand ONLY, touching shoulder of violin, fingers completely relaxed and free
Right hand up to hold violin
Left hand down
Violin down.
Repeat the above many times!

B:Violin up

Left hand to first position
Drop right hand
Left hand up to 4th position
Left thumb BACK, only as far as is comfortable on the neck
violin-16-150
The above (thumb) is too far....hhhm, so be warned, this is not IT.  However, below is IT!
A gentle stretch across the hand
Left thumb UP to normal 4th position place Thumb back, thumb up, thumb back, thumb up, as often as needed, to become familiar with the movement.

to panic paniquer
to free libérer
head tête
to shake secouer
heel of hand inclinaison de la main
only seulement
touching touchant
finger (-s) doigt


left thumb pouce gauche
back en arrière
as far as it is tant que cela reste/est
far loin
be warned soyez avertis
this is not it. ce n'est pas cela.
below en dessous
below is it en dessous cela l'est
gentle doux
stretch tension
across the hand dans la main





thunb up lever le pouce
thumb back retirer le pouce
as often as aussi souvent  que
needed nécessaire
to become familiar with se familairiser

6

violin-14/150

NO ARM ROTATION AT THIS STAGE.

(The thumb works a little like a windscreen wiper, though with a little bend as your physique demands)
Right hand up to hold violin with right hand
Left hand down
Violin down

Repeat etc.

TIP:
It îs very important never to practise in bad habits.
When discomfort or imbalance of any kind occurs, stop.
Go back to the very basics, even if it is every couple of minutes, and start again.

MAJOR!  DIVERSION- necessary!  A VERY IMPORTANT POINT!

Look at left hand, first finger- base/lowest joint.
See crease.  Study crease!  Feel the joint.  See middle joint.  See flesh in between.

press the flesh'with the left thumb
violin-18-150


rotation rotation
at this stage à ce stade
windscreen wiper lave glace
with a little bend avec peu d'amplitude
as your physique  demands suivant votre physique
to practise in bad habits prendre de mauvaises habitudes
discomfort inconfort
imbalance manque d'équilibre
to occur se produire
to go back to retourner à
basic (-s) basique
every couple of toutes les
to start again reprendre au début
diversion diversion
first finger index
base/lowest joint articulation de base
to see voir, regarder
crease pli
to feel sentir, toucher
joint articulation
flesh chair

C: Violin up

Left hand first position
Right hand down
Heel of left hand up to 4th position
Balance, yes, balance violin on that flesh just above where the first finger meets the hand, at the base joint.

(This is only time I ask you to balance)

violin-19-150

violin-20-300

violin-21-150



NOTE /

It helps at this stage to swing the elbow out to the left as far as you dare.
It may also help to hold the violin slightly higher than horizontal, as you balance the fiddle.

Come back to normal 4th position left hand.
Balance fiddle, then back to normal, repeat this swing often- it gets easier..
Thumb back
Thumb up to normal (the windscreen wiper)
Right hand up - etc- Repeat the above often

THROUGHOUT ALL THE EXERCICES
SOFT KNEES.  SOFT SHOULDERS, FREE HEAD, 
WALK AROUND THE ROOM,
SHUT EYES, 
WATCH
TV-THERE IS NO NEED TO WATCH THE LEFT HAND INTENTLY AS THIS CREATES TENSION IN THE NECK AND SHOULDER !














































to swing se balancer, osciller
out to the left vers la gauche
to dare oser
to come back revenir à
then back to puis revenir à
swing balancement
to get easier devenir plus facile
thumb back retirer le pouce
thumb up relever le pouce
throughout au travers de
soft knees genoux souples
to shut  fermer
intently intensément

D: Violin up

Left hand to first position
Right hand down
Left hand to 4th position
Thumb back

SQUEEZE neck between thumb, and first finger just above base joint.
Thumb to normal
Thumb back ... THEN....... still squeezing.. (gently)

Bring wrist away from body of fiddle. 
(the movement will be led by the wrist).

The left wrist is the lead role in the movement backwards thereby freeing the whole hand from the neck of the fiddle.

Draw left hand back to roughly first position using thumb as your anchor, your first finger as the moving part, the base joint squeezed against the neck of fiddle

violin-22-150

lt helps to raise the fiddle a little above the horizontal for this movement

When back to roughly the first position, put one left hand finger down, (any one will do), bring thumb back to join the rest of the hand.
Thumb where comfortable.This will be different for everyone








to squeeze presser
neck manche
to bring away éloigner
wrist poignet
to be led by être mené par
to be the lead role in avoir le rôle principal dans
backwards en arrière
thereby ainsi, au passage
freeing libérant
whole complet
to draw back to retirer
anchor ancre
moving part partie mobile
to raise lever

To start with take your time to get comfortable.

Up to 4th position.
Thumb back
Squeeze, (lst finger, above base joint) then down.

Thumb to join hand........    wait for it!

Up, thumb back, squeeze, wrist back, down, thumb join
Up, thumb back, squeeze, wrist back, down, thumb join
Up, thumb back, down
Up, thumb back, down

DONE IT !!!

This is a pivotal moment in your playing life.
Repeat for the rest of your life, every warm up!
All  of the above will become second nature, and you will be able to shorten it all to a few quick movements, automatically.


 


to take your time prendre son temps
to get comfortable se mettre à l'aise
pivotal moment moment crucial
playing life vie musicale
warm up échauffement
second nature seconde nature
to shorten réduire
quick rapide
automatically automatiquement

Moving on:

E: Violin up

Left hand to first position
Right hand down
Left hand to fourth position                               
Thumb back                                                 
Stop a note with second finger (no bow yet), on the A or D string, to begin with…the E and G are more difficult.

violin-23-150

Slide down to first position, using thumb and  second finger gently squeezing the neck as you move.

The base joint of the lst finger, is far better away from the neck as you move.

TIP:- It helps to form something like a circle/oval, between finger-tip and thumb for the move.

I love to feel the friction between the fingertip and the string !

F As E:

Use each finger of the left hand in turn until it feels easy, and you start to gain fluency.













to stop a note bloquer une note
string corde
to slide down glisser
finger-tip bout du doigt
in turn à /son leur tour
to gain fluency gagner de la fluidité


THE SUPPORTERS of the Violin-

THUMB,
COLLAR BONE
FLESH ABOVE THE BASE JOINT OF THE 1ST FINGER, 
THE FINGER TIP OF 1ST  OR ANY OTHER FINGER         

THERE MUST ALWAYS BE THREE POINTS
OF CONTACT WITH THE VIOLIN.

DO NOT EVER ATTEMPT TO USE  ‘BALANCE’
AS THE :SUPPORT, it doesn't work....              

(This  is one the chief reasons violinist give up their attempts to play ‘chin-off’)

TIP: as above, a reminder
It is very important never to practise in bad habits.
When discomfort or imbalance of any kind happens, stop.
Go back to the very basics, even if it is every couple of minutes,
and start again.
violin-24-150


Work through 'Part the first' a couple/three/four times
There will come a time very quickly when you can go immediately to violin up comfortably on collar bone, and then- ‘UP, THUMB BACK,  DOWN’



















chief principal
to give up abandonner
attempt tentative
reminder rappel
to work through travailler
a couple/three/four times deux/trois/quatre fois

10
« A note written by Peter Waalfisch 1927-199… to his grandson Benjamin, 1979 ».

What is technique ? It is the ability and art to be able to programme your actions at will.

Always treat the instrument as if it were priceless, drawing the sound out.

In my opinion, the best purpose of so called technical work is to stimulate friendly sensations in the various muscles, joints, tendons etc, to transmit the kind of pleasant messages to the brain that the ear and eye do constantly.

A COMFORTABLE feeling when performing means that you have managed to establish this state of affaires : Harmony all round :

You will find to your key after a time that your playing parts, will be as receptive thence as dependable as your ears are.

Dependable because a corner of your brain will RECOGNISE the PHYSICAL FEELING and be able to plan what is correct at the time, and what you know you have intended as being good.

So, the best effect these exercises can have is not to drill but to open up all kinds of happy sensations and through regular repetition, call them in to being time and time again and finally memorize them so well (all by themselves) that all your actions have become as assured as steepwalking, so your real concentration can be on emotional feeling and intellectuel thinking music and listening to it, which after allt is the goal of it all.  You really become the perfect mirror...
You can talk to me whenever you like, 1 wish YOU luck and contentment and remember.
All prescriptions warn:
DO NOT EXCEED THE
STATED DOSE
 (and keep away from children)


grandson petit fils
ability capacité
at will à volonté
priceless d'une valeur inestimable
to draw out tirer de
sound son
purpose objectif, but
friendly sensation sensation agréable
pleasant agréable, plaisant
brain cerveau
to stimulate stimuler
that ce que
ear l' oreille
eye l'oeil
when performing quand on interprète
to mean signifier
to manage to réussir à
to establish établir
state of affaires état de choses
harmony harmonie
all round tout autour
to find to your key trouver ses marques
after a time that au bout d'un moment quand
playing part  parties du corps qui jouent
receptive réceptive
dependable fiable
corner coin
to recognize reconnaître
physical feeling sensation physique
to be able to être capable de
what you know you have intended ce que vous avez l'intention de faire
to drill faie des exercices
to open up s'ouvrir à
steepwalking escalade
to call them in y faire appel
time and time again régulièrement
to memorize mémoriser
assured assuré
to be on se porter sur
goal but
mirror miroir
contentment contentement
remember se souvenir
to warn avertir
to keep away rester éloigné de

Part the third :

THE SYSTEM...
The work really begins now.
Essential Primary Source Material

FRANCESCO GEMINIANI

THE ART OF PLAYING ON THE VIOLIN    1751
This book makes very entertaining reading, but.... not at bedtime!
Please have your wits and your violin about you when you open this wonderful book.
So that everything you read you will translate immediately into action.
In this way -you will remember it !

Read Geminiani's commentary, for each example, many times, referring to his corresponding musical examples.

Efsemyio 1

A: Please read, with the mind of the beginner
B. Geminiani says: : The violin must be rested just below the Colar-bone, turning the right hand side of the violin a little downwards, so that there be no necessity of raising the bow very high when the fourth string is to be struck.

I am not sure at all about 'below the collar-bone', where he exactly means.
But, he is absolutely right about the right side of the violin being a little downward!
Read- Enjoy the beautiful instructions. (4a, 3a etc denote which string)







entertaining distrayant
reading lecture
at bedtime à l'heure du coucher
wit (-s) esprit
have ...about you avoir avec soi
wonderful magnifique
to translate into action traduire en action
in this way de cette manière
commentary commentaires
referring to se référant à
corresponding correspondant
mind état d'esprit
beginner débutant
to be rested être posé
just below juste en-dessous de
downwards vers le bas
to raise lever
bow archet
very high très haut
to strike frapper
string corde
to be right avoir raison
to enjoy apprécier

Especially pay attention to the use and expression of the bow, as stated in B:

One of the principal Beauties of theViolin is  the swelling or increasing and softening the sound. Which is done by pressing the bow upon the strings with the fore-finger more or less. In playing all long notes the sound shoud be begun soft and gradually swelled till the middle and from thence gradually sotftened till the end.

Whole bows, with swells, er … swells.

HE IS RIGHT ABOUT THE THUMB NEEDING TO GO BACK
AS YOU GAIN THE HIGHER POSITIONS in these exercises.

(Please do not over-do this!  Some players have long thumbs, others not.  Be careful to go with your hand-type, not beyond)
The point of this exercise is to learn that the thumb can be another independent digit, as the fingers are, with its own role to play, not just as a support.

TIP:
In each position, and on each string, the left hand must be comfortably over the fingerboard, neither too far, - raised high above, nor too close, - with any feeling of cramping

(As you go from G string to E string the left elbow may gently move outwards, back under the violin)
NOTE:
All these exercise must be practised both up and back, which means reading them backwards!  The commas at the ends of the bars indicate the reversal.


to pay attention to accorder de l'attention à
use of the bow utilisation de l'archet
expression expression
swelling amplification
increasing augmentation
softening atténuation
to press presser
forefinger index
from thence à partir de là
to over-do exagérer
to go with accompagner
to go beyond aller au delà
digit doigt
support soutien, support.
fingerboard touche
neither too far ni trop loin
nor too close ni trop près
raised high above levé très au dessus
cramping crampe
outwards à l'extérieur
to practise pratiquer
up and back dans les deux sens
backwards en arrière, à l'envers
reversal changement

GEMINIANI:           

The fingering, indeed, requires an earnest application and therefore it would be most prudent to undertake it without the use of the bow.

A Tricky point to watch!

If you have been used to preparing your thumb under the neck of the violin, for all your shifts UPWARDS, it may be confusing at this stage, with your chin 'off, to move up the violin.
It is better to just simply move upwards, the hand all of a piece, taking as little notice of the thumb as possible, certainly NOT preparing it for the upward shift, by bringing it under the neck of the violin in advance of the shift.
The hand becomes confused in the'chin-off technique, and loses its way, if the thumb is moved up in advance of the hand.
Then, on the note before descending, pause/ prepare, put the thumb back deliberately.


fingering doigté
earnest plus sérieux
application application
to undertake entreprendre
tricky délicat
to be used to être habitué à
shift mouvement
upwards vers le haut
confusing troublant
to move up the violin évoluer vers le haut
to move upwards remonter
all of a piece dans sa totalité
in advance of the en anticipation
to lose its way perdre son chemin
eliberately délibérément

D: NOTE: (ESSENTIAL FOR ALL EXEMPLES!) (And for life)

FOR EACH DOWNWARD SHIFT, PREPARE THE THUMB AT THE NOTE or 2/3/4 BEFORE THE SHIFT!

i.e. Move the thumb back and partly under the neck of the violin.

Then, gently squeezing the violin between the base of the first finger, if you are shifting on an open string, OR the finger--stopping the note, ... and the thumb creating the counterpressure/anchor-

Shift Down.
Tips: To start with, change the bow whenever you change the string.
Also, remember- it is very helpful to make a little –swell with the bow, on every change of position.
Note- this may mean one, two or three swells per bow stroke.


for life pour la vie
downward shift mouvement descendant
counterpressure contre-pression
anchor ancre
a swell crescendo
a bow stroke coup d'archet

TO SWELL OR NOT TO SWELL

That is a question... WHY do it?
LEOPOLD MOZART-.
'A TREATISE ON THE FUNDAMENTAL PRINCIPALS OF VIOLIN PLAYING'

(Translated by Edith Knocker) Chapter V, *3.

'Every tone, even the strongest attack, has a small, even if barely audible, softness at the beginning of the stroke, for it would otherwise be no tone but only an unpleasant and unintelligible noise.  This same softness must be heard also at the end of each stroke.  Hence one must know how to dîvide the bow into weakness and strength, and therefore how by means of pressure and relaxation, to produce the notes beautifully and touchingly.'

Some other answers:

1: To support the shift.

2: To use the bow to help stabilise the instrument, when shifting.

3: To use the expression intrinsic to the expression of the period when 'chin-off (in violin playing) playing was the norm/fashion?? (Another book!)

(Up, thumb back, down)

Remember to play each exercise both up and down- i.e. 
reading forwards and backwards.

I have also practised these exercises, disregarding the commas, and going all the way up, and then all the way down again-very challenging indeed)










tone ton
barely à peine
audible audible
softness douceur
stroke coup d'archet
unpleasant déplaisant
unintelligible inintelligible
noise bruit
hence donc
weakness faiblesse
stength force
pressure pression
relaxation relaxation
to produce the notes produire les notes
beautifully de manière belle
touchingly de manière touchante
to support soutenir
intrinsic intrinsèque
up and down aller et retour
to disregard ne pas tenir compte de

A QUESTION OFTEN ASKED:

What is the best position for my thumb in the first position

Answer : whatever is comfortable and free.

It may poke up the side of the neck, the neck resting in the crook of the hand.

Your thumb may be too short for this however, and may be simply lying on the side of the neck, or in fact ANY STAGE in between these two.

However a pinched, closed hand is not desirable under any circumstances!

Start !
E:
Geminiani gives us great challenges here!
With a little patience, and practice, this efsemyfo can be mastered.

Tips:
As before, bow change with string change, and swells with position changes, forwards and backwards.


 


to poke up pousser
resting reposant
crook of the hand creux de la main
in fact en fait
pinched transi
desirable souhaitable
any stage à n'importe quel niveau
challenge challenge
to be mastered être maîtrisé

IMPORTANT

These are very big shifts, simply to gain mastery. 
You will hardly ever encounter such fingerings in real life!

Remember to take the time and make the effort to bring the thumb back on the note prior to the shift, and then to make your move.  This will become second nature after a very short time!

This wil speed up!  You will  eventually not even think about it !

Efiemyio ii,
As before: (Read commentary)

Up,thumb back, down

I do like to vary the bowing here,
Start with 2 slurred, up and down, (note values in la, i.e.; quarter notes/half notes, denote semitones, not the rhythm)
Then 3 slurred, up and down.
4 then 6, then 8, then the whole thing in one bow.

Start to gain speed



mastery maîtrise
to encounter rencontrer
to speed up accélérer
to vary varier
bowing jeu de l'archet
slur liaison
slurred lié
quarter note noire
half-note blanche
to denote signifier
semitone demi-ton
in one bow en un coup d'archet
to start commencer
to gain speed. gagner de la vitesse

ATTENTION:

Swells to the middle of each slur (not each shift) here!
Point:

The bow is an essential stabiliser, not only the source of our expression.
Use some force on the bow hair against the string, without drawing a sound.  At times this can really aid the shifting.

Efiempyii iii-iv-v-vi

iii: Diatonic scales,  simply.  Each one has alternative fingerings at the top of the scales, so it is worth working up, and of course down, with each of those fingerings. ( the l's, and 1/2s under the notes denote tones and semitones)
iv:. Up and back
v. Up and back, also using the alternative fingerings shown
vi Up and back

Efsempio v ii,
And now for something completely different!
Here you are challenged not only in the areas of intonation, position changing, but, in the use/ misuse of your bow.








swell (-s) crescendo
middle milieu
slur liaison
shift mouvement
stabiliser stabilisateur
bow hair crin de l'archet
scale échelle
diatonic diatonique
area domaine
intonation intonation
position changing changement de position

GO ALL THE WAY BACK 

TO BEGINNING OF HOLDING THE VIOLIN-up, 
thumb back, down,
several times.
Begin this esempio using separate bows, in the middle of the bow, very easy, no intensity, gently.
Repeat, two slurred.
Again four slurred, then eight slurred, then sixteen, gaining speed, and expression on the way.
(Forget not the swells)

Do each of the sections in this way.

BEWARE:
You may find that the string crossing in numbers 5a, 6a, 7a, and 8a, etc., will slow you down as you add notes under slurs, and increase speed.
NO WORRIES!
Allow it to be slower as you maintain control at all  times,

(Maybe do some mixed rhythms, with and without slurs, AND some slurring across the beats to increase fluency.)

Esemyfi viiiix, xiii are not concemed principally

with position changing, as this tiny treatise is, so I am not inctuding commentary here.


on the way en chemin
in this way de cette manière
beware faire attention
string crossing croisement des cordes
to slow down ralentir
no worries pas d'inquiétude
to allow permettre, laisser
to maintain maintenir
across the beats dans le rythme
qto increase augmenter
fluency fluidité
tiny minuscule

14

BUT, when there are changes, use your skills, decide your fingerings and then work on fluency and ease of movement.

Do not revert to old habits, at any price !

Essempii x-xi-xii-xiv

These exercices can all be practised with the specific view to improving your position changing.


ease facilité
to revert to retourner à
old habit (-s) vieilles habitudes
with specific view avec l'objectif spécifique

ATTENTION !

METRONOME, (I use it all the time).

Metronome, that 'taskmaster' of an invention can become your best friend.

For those who are not accustomed to using a metronome: -

Start by using the metronome at a slow speed, gradually increasing, as you become more fluent, with the position changes.

A TIP :

I like to take the speed up gradually, until it is JUST too fast, (only just though, mind you) to be able to play the whole thing in one go.
l.e. You can manage a couple of bars, and then stumble.
Then leave it!

Next time you will find that your fluency has increased, as if by magic!


taskmaster tyran
to be accustomed être habitué à
to take up speed monter la vitesse
bar (-s) mesure
a couple of quelques
to stumble faire un faux pas
as if by magic comme par magie

THE RESULTS OF THIS KIND OF PRACTICE  ARE ASTOUNDING

There is More......

SCALES !
Yes, that is what I said. (Please forgive me if I sound patronising)
We need them on the Baroque violin too...
The mastery of scale practice is one of the cornerstones of a violinist's technique- Chin 'on' or ‘Off.

We need them more than ever now.
1.Let's get organised.
The key circle/cycle of fifths is our friend here.  Start with:

C Major, then a minor, (down a third) to F Major, d min, Bb, g, Eb, c, Ab, f, Db, bb, F#, d#, B g#, E, c#, A, f#, D, b, G e and here we are back at the beginning.


astounding étonnant
patronising condescendant
scale (-s) gamme
cornerstone pierre d'angle

2.Fingering

The easiest to understand (and the best for me in this area,) are 
Carl Flesch, and his Scale System, and Sevcik, op 1, no 3.
For the purposes of this technique, start with the 3 octave scales- 
NOT the scales on one string.  They can come later...
His system of fingerings for all keys is clear, logical and beautifully set out for the person with the L-plates on.
Melodic and harmonic minor scales, plus arpeggios, dominant and diminished 7ths are also on the menu.
Double stops are the dessert!
HOWEVER: be warned !
You are now adept, fluent even, at playing 'chinoff.

So-Pay attention to the minutest detail of every shift
DO THEM RIGHT, EACH ONE !

Take the time to make sure you are confident enough to move on to this advanced level, incorporating your new skills in your scale practice.
NO COMPROMISE !

be warned soyez avertis
adept at playing adepte du jeu
minutest le plus minutieux
to be confident avoir confiance

15

BOWING:

You must be vigilant, and imaginative in your use of the bow, and your choices of bowings with which to practise your scales.

I would recommend that you do as you were on the Geminiani.

l.e. Separate bows, then 2 slurred, 3 slurred, 4, 6, 8, 9, 12, 24, etc.
Changing the rhythms is very helpful in developing speed and lightness,

Each bow stroke having a lovely swell.

POINT-.

Please stay within the expressions demanded by the concepts of style that are intrinsic in this new learning (i.e.: Performing 17/18th century music) even if you are using the exercices of the much later periods.

no martelé please.

vigilant vigilant
imiginative imaginatif
bowing technique d'archet
lightness légèreté
lovely très beau
swell crescendo

TROUBLE SHOOTING: (in no particular order)

Holding on to old postural habits
Do not underestimate the strangeness of this technique at first.
I find it is very important never to hurry from step to step.
It helps to:

act as if you have never played the violin before,
imagine you are a beginner,

Don't forget that when you are attempting this new skill, the instrument you are learning to play becomes new to you.
Your new skills al become natural in a surprisingly short time.


to hold on se raccrocher
postural habits habitudes posturales
underestimate sous-estimer
strangeness étrangeté
to hurry se dépêcher
from step to step d'une étape à l'autre
to attempt essayer

b. Fear of  dropping

And therefore holding on for dear life as if an abyss is open beneath!
CALMLY.  Go back to the very beginning.
Check the violin is as if in a nest (see d)
See page four of this little book, and go over all the details of your position at every step.
Do not proceed from one step to the next until you have discovered you are comfortable and free.

CAREFUL:

I see some people leaning back, gritting teeth, tensing every muscle in their necks, and other signs of great struggle in the effort to move ... and the fear of dropping the violin.

Not necessary...

It slows down the process of leaming if, by trying too hard, going too fast, 'horrible habits'jump in!


fear peur
dropping de laisser tomber
to hold on tenir à
beneath en-dessous
nest nid
to go over parcourir
to lean back s'appuyer
to grit teeth grincer des dents
to tense every muscle tendre tous les muscles
struggle combat
to jump in intervenir

C: Pain in thumb/ shoulder/ neck etc.

Change in even the most subtle of ways can bring into play different use 
of muscle groups.
If the body has adapted to one position, then the new can initially bring some problems.
One of the benefits of this type of technique however is to alleviate the tensions and injuries brought about by 'gripping' the violin between shoulder and chin.

Some habitual movements can remain, such as: 
Raising the left shoulder,
Looking to the left at the left hand,
Bringing the head down as if to hold the violin,

Twisting the left of the body towards the music stand, instead of remaining in a neutral and straight posture, with the head and shoulders facing the stand, and the violin 'aiming' to the left of it.

Feet together ? 
This can cause the whole of the upper body to somehow 'freeze'.

Knees locked?  Same effect!

Violin too flat?

The left arm may be having to swing too far across the body, in order for the fingers to reach the lower strings.
That really hurts me!

The left thumb:

Is it working too hard?
Holding on too tight?

'Pinching'the neck?






to bring into play mettre en jeu
muscle groups groupe de muscles
to alleviate alléger
injury (-ies) blessure
to remain rester, subsister
to bring down baisser( la tête)
to twist tourner
the music stand pupitre
aiming to se dirigeant vers
feet together pieds joints
the upper body la partie supérieure du corps
to freeze geler
knees locked genoux bloqués
to swing se balancer
to hurt faire mal
to pinch pincer

16

Remember that the thumb is one of three or oven sometimes four points on contact/ support of the instrument.
It never has to work alone.
It is worthwile to practise making the thumb work for you in all its positions...wherever your left hand is on the violin.
For instance-.

In E’F-SEMPIO 1, (C) of Geminiani, 
the playing in one position, from First to Seventh Position, 
practise each position FOUR times, each time with the thumb in Ist, 2nd ,3rd, 4th position, regardless of which position the exercise is in.

This will mean that if your thumb gets tired being in one position for too long, then you will have the confidence to be able to move it subtly and not lose control in your playing.

All muscles tire if held in one position too long.

Subtle changes of grip/support are as necessary when playing a musical instrument, as they are when holding a tennis racquet.


 










to have to devoir
worthwile qui vaut la peine
subtly subtilement
to lose control perdre le contrôle
to tire fatiguer

D:The wobbles

Some movement is essential-'movement is life'
If the wobble is excessive though, there is something wrong in your basic support position on the shoulder/collar-bone.

Please check: wedge/pad/chammie/shoulder
Rest/position on collarbone etc.

Does your violin feel 'nested'?  Snug?  Horizontal? I mean, to the floor, not to itself!  Drooping fiddles feel very uncomfortable!

The right side of the violin (fingerboard facing) must be tilted slightly towards the floor.

NOT flat like a table!

e: The bow cannot  find the right string to play on :

lt only needs a little time for the right arm to find the strings again.

A sense of the new space is needed, but the body is astoundîngly quick to adapt.  Do no be tempted to LOOK at the bow, as your head posture will suffer! (It is often helpful to close your eyes.)


 


wobble (-s) oscillation
though cependant
wedge rebord
pad coussinet
chammy (-ie) peau de chamois
nested blotti
snug confortable, douillet
fingerboard touche
to be tilted towards être dirigé vers
sense sentiment
space espace
astoundingly étonnament

f: Vibrato

This can be a very serious worry for some players.

One is used to the 'freedom' that holding the violin between chin and shoulder can give to the left hand.

It can feel as if the whole'mechanism' of vibrato is stuck when the thumb is used as one of the support structures in the playing.

THE BIG, and the only real  DIFFERENCE IN VIBRATO TECHNIQUE IS:

The left thumb and the finger stopping the note, and of course the collar-bone/shoulder, are the only three points of contact with the violin.


worry souci
freedom liberté
to be used to être habitué à
to be stuck être bloqué
it can feel on peu avoir l'impression
support structures structures de support
playing jeu

So...

PERHAPS THE KEY to mastery:

Begin by making a circle between the thumb against the neck of the fiddle, and the finger stopping the note...

The base joint of the first finger MUST BE AWAY from the neck.

Your usual vibrato technique can come into play
in this position..

Try it!
Stay cool, relaxed.

 The knack of it is there, in your previous training, waiting to come to Life in the new-found freedom.

Part the Fourth:

FURTHER READING-PRACTISING:


mastery maîtrise
to be away from être écarté de
usual usuel, habituel
to come into play entrer en jeu
knack truc
training entraînement
to come to life venir à la vie
new-found nouvellement trouvé
freedom liberté

SEVCIK OP 8

Position changing, from the beginning, with special care in the use of the bow.

Slowly, bars divided into 2 bows, 4 bows, whatever it takes to be in control of every shift.

2-. Every bow must contain a small fwell of expression, at every shift, up and down.

3- To avoid boredom ... never stay too long on one exercise, move on one, and leave one behind each time you practise these(exercices).

4-Maybe do three of them at a time, and finally the end is in sight, and mastery is there!


special care attention spéciale
bar (-s) mesure
whatever it takes ce qu'il faudra
swell of expression bouffée d'expression
boredom ennui
behind each time après chaque temps
to be in sight être en vue

SEVCIK OP 1 NO 3

As the above Sevcik:
For the more advanced, confident and speedier 'chin-off player.

This is all reinforcing the techniques described.

Kreutzer Etudes:

(I have the edition in which there are the original 40 studies, so 1 will descilbe the ones I mean, in the hope you can find them, as in modern editions there are 42)

FABULOUS !

Please feel free to choose which of the studies you feel suits your needs best.
I love the following-

Number II: The triplet study in E major.
Please start your-practice with 3 notes to a bow, THE FIRST GROUP ONLY BEING 4 notes to the bow, which leads to crossing the beat under the slur.
This means that you can swell-on each shift, as a support.
Then 6 notes to a bow, then 12, 24 ... etc
(though, please start the study each time with one extra note to the bow.
I mean, 7 notes, when you continue with 6, etc.)

Number I4: In Bb Major

Start without the trills!
When fluent without, then add them, GENTLY! 
Remember:effs etc.
Please use the middle of the bow, not a martelé stroke.
Number I8: D Major, trill exercise, dotted rhythms.

Start without the trills, and then add them, when fluent without.
MIDDLE BOW!  Easy articulation, light hands,

Number 20: D Major, in triplets, trills on the beats.
No trills to begin with, then add, as before.
Mid bow, light bowing, no martelé....

 MAKING MUSIC, and the relevance of the above to all violinists.

A THINKING POINT-

This skill is nothing of itself!

lt is not a trick learnt for the sake of having the skill, or for simply 'being correct'.


advanced avancé
confident confiant
speedy rapide
player musicien
to suit convenir à
need (-s) besoin
3 notes to a bow 3 notes
pour un coup d'archet
slur liaison
to cross the beat parcourir la mesure ?
to swell on amplifier
an extra note une note supplémentaire
trill (-s) trille
not a martelé stroke pas de martelé
dot point
dotted pointé
on the beats en mesure
light bowing jeu d'archet léger
relevance pertinence, intérêt
thinking point point de réflexion
skill habileté

NOT AT ALL!

  
lt has its truth in the performing practices on the violin of an earlier time.
It was described in detail and taught by the great masters of the violin of our past, and for me this is enough to pique my curiosité.

These players were there.
They spoke the musical language of their time.
They, and their teachings can teach us to understand those languages of expression, and emotion.
Attempting to create a sound, a world of expression and AFFEKT- of learning to speak the rhetoric intrinsic in the music- simply BEGINS with the learning of the skill of playing without gripping the violin between chin and shoulder.

 Finally- and fundamentally

THE RIGHT ARM IS LIBERATED, TO SPEAK AND TO SING.

performing practices pratiques d'interprétation
to pique curiosité piquer la curiosité
teaching (-s) enseignement

Elizabeth Wallfisch has reached the great age of 53, in 2005.

She has played and later taught violins of all persuasions, for about 44 years.

She grew up in Melbourne, Australia in the 50's and 60's in a large family of eccentric and creative characters.

Her grandfather was the very celebrated conductor, Albert Coates- father, mother, wonderful step-mother, sisters, brothers, uncles, aunts were, and are all musiciens of note, er, notes.

Libby, ( as she is universally known) was fortunate in that she had enormous encouragement, fine teaching, and wonderful organisations in all areas of musical study.

Of course a lot of water, and notes have flown under many bridges since then: studying in London at the RAM, then marrying Raphael Wallfisch, (one of the II people in my family who play the cello) three wonderful, warm-hearted and talented children following- Ben Simon and Joanna- four beautiful cats in the fullness of time, the garden...

She has travelled the world, as a 'baroque' fiddler, 'classical'fiddler, and as a 'modern' player, and continues to do so each year, working as chamber music player, concert-master of many orchestras, soloist, director.

However

lt is always wonderful to come home to South London and open that bottle of Australian wine!







to reach atteindre
to teach (taught) enseigner
to grow up grandir
eccentric excentrique
creative créatifs
character (-s) personnages
conductor chef d'orchestre
step-mother belle-mère
to be fortunate avoir de la chance
encouragement encouragement
fine teaching bonne éducation
warm-hearted chaleureux
talented de talent, talentueux
following se suivant
in the fullness of time en pleine mâturité
concert master premier violon

Biblîography:

Carl Flesch, SCALE SYSTEM, Edition, RIES and ERLER /BERLIN

Geminiani, 'THE ART OF PLAYING ON THE VIOLIN'

(Published in facsimile by KING'S MUSIC)

Kreutzer, Etudes published by C.F. PETERS

(I have referred to the edition that contains only 40 studies, not 42, but I hope it is clear which ones I am refering to)

Leopold Mozart, 'A TREATISE ON THE ART OF VIOLIN PLAYING'

(Translated by Edîth Knocker, published by OXFORD UNIVERSITY PRESS)

Sevcik, op 8, Position Changing (published by BOSWORTH)

Sevcik, op I part 3, Scales and Arpeggios (published by BOSWORTH)

Yehudi Menuhin, '6 LESSONS WITH YEHUDI MENUHIN'(published by FABER and FABER)