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The Art of Playing 'Chin-Off
for the Brave and the Curious.
A Treatise
on one Technical Aspect of Baroque Violin Playing in the Year 2003
Version 2, December 2005
Elisabeth Wallfisch
For My Dad |
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chin |
menton |
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chin-off |
menton ôté |
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brave |
brave |
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curious |
curieux |
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treatise |
traité |
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Baroque Violin playing |
pratique (jeu) du violon baroque |
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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. |
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acknowledgement |
reconnaissance |
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genius |
génie |
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thanks |
remerciements |
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tyranny |
tyrannie |
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inspiration |
inspiration |
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friendship |
amitié |
to |
demand |
exiger |
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at all times |
à tout moment |
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focus |
attention |
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the voice within |
la voix à l'intérieur |
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discomfort |
inconfort |
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confusion |
confusion |
to |
lead to |
conduire à |
a |
searching for |
quête de |
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understanding |
compréhension. |
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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! |
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fiddler (-s) |
violoniste |
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guinea pig |
cobaye |
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beloved |
chère |
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husband |
mari€ |
to |
suffer |
souffrir de |
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absence of mind |
absence de l'esprit |
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at home |
à la maison |
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support |
soutien |
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immeasurable |
incommensurable |
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collarbone |
clavicule |
to |
introduce |
initier à |
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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.
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use |
utilisation |
to |
be read |
à lire |
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essay |
essai |
to |
be designed for |
destiné à |
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player (-s) |
joueur, musiciens |
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actual beginners |
vrais débutants |
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curiosity |
curiosité |
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benefit (-s) |
bénéfice, avantage |
to |
start out as |
démarrer |
to |
teach (taught)t |
enseigner |
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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. |
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whether |
si |
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accomplished |
accompli |
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area (-s) |
domaine |
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in between |
entre les deux |
to |
may prove |
peut se révéler être |
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level |
niveau |
to |
gain |
gagner |
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understanding |
compréhension |
the |
concept |
concept |
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style |
style |
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inherent |
inhérent |
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emotion |
émotion |
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affekt |
sentiments |
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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....
The Art of Playing on the Violin -Published by
Kings Music
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immeasurable |
incommensurable |
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technically |
techniquement |
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conventional |
conventionnel |
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player |
musicien |
to |
search for |
chercher |
a |
way |
moyen |
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without |
sans |
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discomfort |
manque de confort |
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restrictions |
limitation, restriction |
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grip |
prise |
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chin |
menton |
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neck |
cou |
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shoulder |
épaule |
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physical |
physique |
to |
occur |
se produire, arriver |
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over time |
au cours du temps |
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answer |
réponse |
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beginning |
début |
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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.
***To make wedge: Take
one square of chamois
leather,
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|
quest |
quête |
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preliminary |
préliminaire |
to |
stand |
se tenir debout |
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easy |
facilement, naturellement |
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leg (-s) |
jambe |
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apart |
écarté |
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soft knees |
genoux souples |
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arms hanging |
bras pendants |
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not slouching |
pas voûté |
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to attention |
attentif |
to |
sway |
balancer |
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from hip to hip |
de hanche à hanche |
to |
hug oneself |
se réjouir/s'étreindre |
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nicely |
bien, comme il faut. |
to |
cradle |
tenir délicatement |
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cat |
chat |
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roast dinner |
dîner rôti |
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arm (-sp |
bras |
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in front of |
devant |
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body |
corps |
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palm (-s) |
paume |
to |
face |
tourner vers |
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ceiling |
plafond |
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elbow (-s) |
coude |
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in to your side |
accolé |
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arms down to side |
bras le long du corps |
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very loose |
très détendu |
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head easy |
tête souple |
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shoulders down |
épaules basses |
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expectation (-s) |
attente |
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let alone |
seulement |
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violin |
violon |
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collar-bone |
clavicule |
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whatever |
quelque soit |
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shape/size |
forme/taille |
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ledge |
rebord, corniche |
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prop |
support |
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wedge |
cale |
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roll |
rouleau |
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shoulder rest |
appui d'épaule |
to |
fit |
s'adapter à |
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individual |
individu |
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leather |
cuir |
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chamois leather |
peau de chamois |
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fold |
plier |
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corner |
coin |
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tightly |
étroitement |
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fasten |
fixer |
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rubber band |
bande adhésive |
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adjustable to |
ajustable à |
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height (-s) |
hauteur |
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width |
largeur |
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size |
taille |
to |
feel good |
se sentir bien |
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feel secure |
se sentir en sécurité |
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nested |
comme dans un nid |
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without any grip |
sans rien tenir serré |
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need |
besoin |
to |
worry about |
s'inquiéter de |
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length |
longueur |
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chin/jaw |
menton/machoire |
to |
connect with |
être en contact avec |
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experiment |
faire l'expérience |
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narrow |
étroite |
to |
be of concern |
être un problème que |
to |
achieve |
effectuer |
to |
steady |
stabiliser |
to |
tilt towards |
incliner |
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gently |
légèrement |
to |
state |
établir |
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treatise |
traité |
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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.
(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. |
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fold |
plier |
|
corner |
coin |
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tightly |
étroitement |
|
fasten |
fixer |
|
rubber band |
bande adhésive |
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adjustable to |
ajustable à |
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height (-s) |
hauteur |
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width |
largeur |
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size |
taille |
to |
feel good |
se sentir bien |
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feel secure |
se sentir en sécurité |
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nested |
comme dans un nid |
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without any grip |
sans rien tenir serré |
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need |
besoin |
to |
worry about |
s'inquiéter de |
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length |
longueur |
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chin/jaw |
menton/machoire |
to |
connect with |
être en contact avec |
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experiment |
faire l'expérience |
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narrow |
étroite |
to |
be of concern |
être un problème que |
to |
achieve |
effectuer |
to |
steady |
stabiliser |
to |
tilt towards |
incliner |
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gently |
légèrement |
to |
state |
établir |
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treatise |
traité |
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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..
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
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joy |
joie |
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pleasure |
plaisir |
to |
mean |
vouloir dire |
the |
feel |
sensation |
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how it looks |
son aspect |
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comfort |
confort |
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quiet strength |
force tranquille |
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balance |
équilibre |
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ease |
aise, facilité, aisance |
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unlike |
contrairement à |
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school of thinking |
école de pensée |
to |
point towards |
être dirigé vers |
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music stand |
pupitre |
to |
draw a line |
tirer une ligne |
the |
ledge |
rebord |
to |
rotate to |
tourner vers |
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ahead of |
en face de |
to |
take off |
ôter |
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chin-rest |
mentonnière |
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amazing |
étonnant |
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shoulder rest |
coussin |
to |
grip |
tenir serré |
|
to the contrary |
au contraire |
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gripping |
étreinte |
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tailpiece |
cordier |
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button |
bouton |
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slightly |
légèrement |
|
to the left |
à la gauche |
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violinist |
violoniste |
|
windpipe |
caisse de résonance |
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collar bone |
clavicule |
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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.
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..
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.
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.
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!
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bow |
archet |
|
leftarm |
bras gauce |
|
posture |
posture |
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back |
dos |
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hip |
hanche |
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prop |
coussin, support |
to |
hold |
tenir |
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upside down |
retourné |
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scroll |
volute |
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floor |
plancher, sol |
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f-hole (-s) |
orifice en forme de f |
to |
face away |
être orienté loin de |
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hooked around |
enroulé autour de |
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bout |
bout |
to |
feel safer |
sembler plus sûr |
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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 |
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B: Violin
up, with right hand as step A
Heel of
LEFT HAND to shoulder of violin, fingers totally relaxed,
(Still holding fiddle with right hand).
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)
3 : 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
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
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
|
|
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)
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
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.
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.
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) |
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