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Practical Suggestions for Correct Technical
Development and Good Violin Tone Production
SIEGFRIED EBERHARDT MT 271 E23 1911 C.l MUSI
)
MASTERY AND ARTISTIC USES
1.50
Carl Fischer INC.
184-
62 Cooper Square, New York 3 BOSTON • CHICAGO • DAllAS • lOS
ANf.ElCS
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ran
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TS MASTERY
AND ARTISTIC USES
Practical Suggestions for Correct Technical
Development and Good Violin Tone Production
.SIEGFRIED ]
ranslated from the
-0
EBERHARDT
German by Melzar Chaffee
CarlFischer,
,Nc.
COOPER SQUARE, NEW YORK
184-
3
O "^Z
Boston • Chicago • Dallis •
www.amazon.com/shops/information4all
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FACULi Y M- i.lL::lC LlSHARV
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I.
^T
is
only
in
recent years that the problems of violin technic have been
given more careful consideration than essary.
It is
culties
may
was
formerly thought nec-
true that directions for overcoming certain technical
be found
many
the
in
they rarely touch the essence of the
diffi-
schools of violin playing, but difficulty,
and usually neglect
and separate a difficult passage into its simplest forms. The number of works which treat only of violin technic is small in comparison to the great number of theoretical works at the disposal of the pianist. This may, in part, be due to the more difficult and complicated movements necessarily entirely to analyze
connected with the playing of the alone result in
and supporting of which complications of the technical apparatus which do not exist in
the case of the piano or
The
the holding
violin,
'cello.
playing of either of these instruments permits of a hanging position
of the arms, and the movements of playing do not
make such great demands upon the strength of the player. Although the movements of playing the piano are comparatively simple, they are considered of special importance.
In
they form the basis of the
fact,
method of a master. In playing the violin, the problems of technic are
by the
fact
number of It is
that
each arm performs a
treatises give attention to the
strange that one function of the
has rarely been mentioned.
which
made more
different function.
complicated
Naturally, a large
problems of bowing and of the
left
hand.
hand, and the most important one,
left
In the following,
I
wish
to call attention to
a point
of the greatest importance to the whole technical apparatus employed in playing the violin, I will say at once, however, that we are concerned here is
with a purely technical problem, and not with the interpretive side of playing, nor with the declamation of an art work. "We will discuss here only those functions and conditions
medium
which enable us
what we
express
to
feel
through the
ofbeautiftil tone.
It is
time that
we
finally
determine what belongs to the spiritual side of
music, and what, in contrast thereto, belongs alone to the technic of playing. First of
V^ery
many
all,
from
my
violinists, pupils
personal experience, the following;
and amateurs, complain that even when they know
NI084 (<.M>hkIiI
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how
a piece of music ought to sound, they are unable to plaj' with the desired beauty of tone. Such a player, for example, might possess
or can imagine it
technical equipment
sufficient
and the necessary powers of interpretation
a Mozart Concerto without, however, being able artistic expression which he makes upon himself.
What
to satisfy fully the
to play
demand
for
the difference, then, aside from interpretation, between the artist
is
and the amateur? of an artist "sounds" always, and at
The playing sentially
one
of quality.
point, in point
greater technical
who
amateurs ly
facility lo
It
is
not, as
which the
can be overcome even
in
of his playing
is
On
able to arouse enthusiasm.
with unassuming
little
It
is
There are
due.
They
apparent-
Were
diffi-
a mat-
it
with their limited knowledge, would
the other hand, an artist like Burmester
an audience
pieces, to hold the attention of
impression upon his listeners.
make a deep
to believe, the
only astonishing that such
such an inadequate manner.
ter of technical facility alone, they too,
evening and
most people seem
finish
nothing.
in reality,
It differs es-
strive in vain for artistic perfection, in
astonish by their playing of Paganini Caprices.
do everything, but
culties
who
from the playing of others
times.
all
able,
is
a whole
for
For very many
men, the enjoyment of an evening in a concert hall reaches a great artist is induced to play a simple little encore piece.
bk.
lay-
climax
when
Could the
artist
its
with a prodigious technic interpret simple pieces perfectly, then all players who perform technically difficult tasks should be able to charm with simple means. This, however,
not
is
the case.
would here again emphasize the point which many accept as a matfinish ter of course, and of which so few seem to realize the full significance: in playing does not necessarily come from agility of fingers acquired by techniI
—
cal study.
maintain that the quality of a performance
I
A
technical work.
beginners
certain
whom we
amount of
finish
are accustomed to
is
is
develops.
This
noticeable in the playing of those
consider specially talented.
violinist
to the li-nit of
who, starting with these
endurance at his
of successful result.
sad unto death." of progress playing, NI084
The gen-
a great mistake!
is
Let us here depict the diseased condition, a
never the result of
that the tonal finish of their playing will improve as their technic
eral belief
sion, of
is
is
He
Of him
it
studies, but
might
and
Nevertheless, he
in comparison with others upon
is
in
inelegant
expres-
exerts
himself
conceptions,
never arrives at any degree
justly be said:-
studies faithfully,
apparent.
false
who
use an
to
many
-
"Jubilant unto
Heaven
respects a certain degree
not entirely satisfied with his
whom
own
he looks as more highly favored
4
of
in point
talent, .he finds
certain something
is
own work
his
lacking
in
crude and
search
it
without being able to satisfactorily define the thing that he
is
last,
him
and
effort,
one day he
his tone
that the time has
is
there.
He
carefully practiced, responds lightly
and
he has found
feels that
Each passage
can do everything. without
and
there, calls
At
of.
that a
but which consti-
trifling thing,
tutes the very essence of musical delivery, he searches for here
in
feels
himself which seems to be natural to others.
This extra something, which can be but some
inspiration, soul,
He
lifeless.
so
uncommon
possessed of
come when
his
brilliancy.
efforts are to
arduous
It is
it.
It
seems
to
be crowned with
That he might be heard now! The next morning however, he makes success. the discouraging discovery that the old conditions still exist. His fingers, which yesterday seemed to go of themselves, today refuse to operate in the same masterly
Most
begin anew.
people, following
selves that a fortunate
improvement
rarely, if ever, to
the hope that I
his
in
all this
have never seen
mood
a
false train
of thought,
now
say to them-
or disposition had, for the time, removed
certain
apparent optical, or more correctly speaking, auricular
hindrances; hence the
is
The whole work must
His playing again lacks brilliancy and repose.
manner.
playing!
Mood,
The
be depended upon. will
this
Unfortunately the player's
indeed!
erratic reasoning
is
continued in
be permanently corrected by increased technical
hope
mood
facility.
realized.
must often struggle against indisthe mercy of what they call indisposition.
Violinists of recognized artistic ability position.
Their
in
At times they are even
many
respects masterly
at
command
of the fingerboard
stroyed by influences w^hich they cannot explain.
own
ability.
Although
their
They
lose
is
at times
de-
confidence in their
musical taste prevents them from playing badly,
only in comparatively few cases do they ever reach that degree of absolute finish
which distinguishes the playing of the
to all
manner of expedients
in trying to
fi-ee
really great
virtuoso.
They
turn
themselves from these "hindrances."
Thus, recently many have tried massage, and not without beneficial results the reason for this I will mention later but whatever they do, they still fail to reach that degree of perfection which characterizes the real virtuoso. Even he may suffer at times ft-om indisposition, but he is usually in form. Rarely indeed The exception but proves the rule. The concertizing is he really indisposed. virtuoso, who performs here today, and tomorrow elsewhere, cannot afford to ba often indisposed, thereby imperilling his reputation, perhaps to the extent of njining his whole career. Is this state of "perpetual preparedness" a sign of
—
extraordinary violin talent?
Allow at first
N1084
me
here to
call
the attention of teachers to a
phenomenon which
glance seems possible of being explained by the fact that different pupils
Certain pupils, considered talented, play
possess different degrees of talent.
\vell
Often the playing of pupils materially improves as soon ?s
from the beginning.
they attempt to play "with feeling."
may
Talented pupils
group
today
varies;
is
it
The
be divided into two groups.
good, but
playing of one
other times, not so good.
at
As regards
hand uncertain. The playing of the second group, on the contrary, is very even always, and one is never unpleasantly surprised by the appearance of indisposition of any kind. They take up the violin and their playing "sounds." They may have practiced but little, but the comparatively good quality of their work never seems to suffer, even when their technic is inadequate. We listen to them with more pleasure than tone quality,
to others
who
uneven and the
is
it
left
possess greater technical
the listener a fair idea of their ability, even nically
How is
beyond them.
even astonishes, the
listener
this to Is
?
it
Whatever they
facility.
when
be explained
play, they give
playing something that
W^hat
?
is it
here that
the manifestation of emotion
tech-
is
satisfies,
?
For the present we leave these questions unanswered and, by way of comparison, look into the process of evolution of the great he, too, is,
charms
of artistic
I
finish.
Violin School
his technic
from the beginner's stage,
his playing,
of artistic
even before
his listeners,
As a
thoroughly ripened
is
child ;
that
already stamped with the quality
is
quote here a few sentences from the Rode-Kreutzer-Baillot
which help
finish.
artist.
to illustrate the essential characteristics of this quality
The author speaks of
of tone of vio-
different character
the
and continuing, says: "but aside from this pliant, peculiar sound of the instrument, there is still another tone which the individual emotion of the musician begets. This tone is so characteristic that the same violin, played upon by lins,
different musicians,
two the
theme
is
appears not to be the same instrument.
and before the
ended,
the composition, this tone fastens
listener
itself
is
upon
able
his
to
Even
before
comprehend the idea of
senses and
stirs his
emotion.
what the first glance is to the eye; in it lies the magic power of the irresistible charm and of the deep indissoluble impression. Paganini's tone and that of Tartini are still so clearly remembered that one is
The
first
tone
is
the ear
to
For a long time
well able to distinguish the individual character of each. expressive tone has been forgotten.
heart.
To
Imperishable
silent, is
its
but
its
hold upon us
imprint,
which
lives
is
such that
in
the
it
will
memory
Viotti's
never be as in the
acquire a beautiful tone, the pupil should prepare himself by the
Beauty of tone begets emotion, and deep discovers the spring from which he draws the power
given mechanical exercises.
in
own
to
soul the pupil
the souis of others." NI084
his stir'
"Even
before
position,
this tone
Here we
find exactly
The
tone!
the
fastens itself
what
able
is
upon
comprehend the idea of the comsenses and stirs his emotions," etc.
to
his
said above: the intellect plays
I
no part
"Beauty of tone begets emotion; and, deep from which he draws the power
pupil discovers the spring I
listener
in the matter.
own
in his
soul, the
to stir the souls of others.''
desire to call particular attention to this last sentence.
First of
the author
all,
more than anything else, takes hold of the listener and keeps him under its spell. That is precisely what I would again emphaSound, particularly beautiful sound, is the most important size here, namely: rightly states that the tone,
—
factor of the art of playing the violin.
Perhaps more or
The
"sound."
less
conscientiously, each
beautiful
sound,
sential characteristic of the
whose
pupil
technic
with such a
rich,
was
whole
make
his technic
tone— that is the esremember the playing of a but who played a Mozart Concerto fine, soulful
art of delivery.
not extraordinary,
I
The
in the soul, etc."
soul of the artist, then
is
Our
reflect-
This sentence contains a grave error, a fundamental error,
the tone.
in
one endeavors to
the so-called
tone that he completely captivated his audience.
full
author continues, "deep ed
All players strive for the beautiful tone.
which
offers opportunity for the
preted
it
becomes but a
most preposterous conclusions.
half-truth.
If the
Rightly inter-
here considered of such great
tone,
importance, reflects the soul, then the beautiful tone should reveal a noble and deeply sympathetic nature.
should
my
part
generally possess I
cannot believe
with the crudest natures
And every a deep
or sympathic
nature,
their instruments
the soul
sought "dee^
nature
more
play "with feeling,"
has been
it
sometimes play
are not able to
find
what they inwardly and tone?
in the soul?"
Is
pupils,
all
experience that persons
in
often
whom
not a trace of
play
with beautiful
the exceptional
feel.
Now how
does the matter stand
something which must be
creates individuality of tone?
produced;
do not dispute, however, that tone
is
qualifications
adequate means of expressing upon
the beautiful tone
What
my
be discovered,
to
I
really true
it
a most deeply affecting manner.
in
found that some is
Is
nobility of character than other people?
for
this,
Tlie tone is hfaittifiil lolioi cor redly I
many violinists
on the contrary, possessing
tone, while others,
betv^een
may
teacher will have
of a soulful
since so very
ask the psychologically not uninteresting question:
like to
that violinists
For
And
it
is
My
answer
is:-
no/ an expression of the soul.
individual.
Wilhelmjs tone and Sara-
Yet both charmed the world with beauty of tone large number of works upon the suDJect of beautiful tone have appeared,
sates tone differed essentially.
A
cifferinp;
N1084
the student
all
manner of nonsensical methods
for
acquiring
it.
Nobody
will dispute
that Flesch,
Burmester, Ysaye, Marteau and Wittenberg, for ex-
ample, each have a beautiful tone.
In
the case of Sarasate
not necessary to add the attribute "large." tively
weak
"small tone" must
common mine
is
across
of
great artists
all
we
player from another?
comer
The
How may we
we
Could
violin.
At
it
is
of
This quality
then deter-
the difference in character of tone
lies
hear one after the other of the great
the open strings of his
distinguish one
in the farthermost
beauty.
is
our main question —wherein
Let us imagine that
bow
full
as in the immediate vicinity of the stage.
have possessed extraordinary carrying-power.
to the tone
— this
Hall,
see that
Nevertheless, Sarasate 's compara-
tone sounded just as distinct and
the large Philharmonic
we
draw his an adjoining room
in
we might
best
?
artists
be able to
tell
Wil-
helmj from Sarasate, because the tone of one would be stronger than that of the This,
other. piano,
it
is
plain, is
only a dynamic difference.
Should
all
play equally
then every possible difference would be completely removed.
has been confirmed by prominent artist differs
pretation
on the open another.
from the playing of another
— only
in
one respect, and that
strings,
artist
is
in
the tone of one artist
Individuality of tone
are placed upon the strings.
Nevertheless,
scientists.
can
arise only
These fingers
—aside
is
have
just
inter-
seen that
not distinguishable from that of
when
the fingers of the
They
vibrate.
Difference in vibrato begets difference in tone.
playing of one
from difference of
We
tone.
the
This fact
The
left
hand
vibrate differently.
reply to this will be that
have long been known, but has the importance of this apparently insignificant little movement, in its bearing upon the action of the left hand and upon the work of the right arm, been fully realized ? Are we to believe that the these facts
vibrato of every famous violinist
as
is
correct,
even when the
effect is different?
The answers to these questions are in no respect simple. Far reaching they are, they make clear the devious and erroneous paths into which
some
in the past
have been
led,
because of a
false
conception of the fiinctions
here discussed. In the following chapters
I
quote instances from various works which
appear to have important bearing upon our problem.
From more
than 100
works at my disposal, only the Joachim-Moser School and Tottmann's "Booklet on the Violin" touch the heart of the subject. N1084
8
Leopold Mozart: "An Attempt at an Elementary Violin School."
I.
(Augsburg, 1756) Chapter V.
How to bring
good tone from the Violin by
forth a
^ "It
may
ful in
when one and
in
bringing forth a pure tone at the
enough
that he
and to
all
the other signs,
am,
I
introduced
is
in
the
wrong
I
first
place,
become
learning to hold the violin.
must necessarily
do to correctly observe
to
and with great pains must give his attention, time,
is
the beginning, in order that the pupil might
same time
considers that in order tc play the beginner
further, that he has
manipulation of the Bow.
1.
appear to some that the present discussion
should preferably have been inserted
skillful
all
learn to
draw
skillStill,
the bow,
the prescribed, necessary rules,
to the stroke, then to the notes,
believe, not to be
and
blamed
and
to the
having postponed this
for
discussion until the present time.
^ It
2.
has already been mentioned above that the violin should from the beginning be strung
with thick strings,
with firm pressure of the fingers and a forcible retention of the bow, the muscles become hardened and a powerful, masculine stroke is thereby acquired. For what that,
sounds more insipid than the playing of one who, lacking the confidence instrument, barely touches the string with the
thereby a sort of indistinct
to
artificial
and veiled as
in
bow
(often held with but
properly attack the
to
two
fingers)
producing
whisper, so that only a note here and there can be heard, and
a dream.
Therefore, use heavier strings; try also,
produce a pure tone, whereby a division of the
bow
into its strong
when
all is
as
using force,
and weak parts
will
be of
great value.
n Every wise
it
forcibly attacked tone
would not be a
tone, but
parts,
precedea by an almost imperceptibly weaker sound.
an unpleasant and
be heard at the end of each tone.
and weak
is
One must
learn
this
unintelligible noise.
how
This weakness
to divide the violin
and by means of an even pressure, produce beautiful and
^ Let
3.
be the
first division:
tone; increase the tone
bow
Otheris
also to
into its strong
effective tones.
4.
Begin the up or
down
stroke with an agreeable softness of
by a scarcely perceptible and gradual pressure;
apply the greatest
pressure at the middle of the bow, and modify this by gradually relaxing the pressure, until, at the end of the bow, the tone becomes inaudible. This must be practiced slowly and with as
much
retention of the
bow
as possible, so that one
a long, pure and delicate tone.
It is
similarly
most
may
in
an adagio movement, to hold
when
a singer holds a long, beautiful
be able,
effective
note without taking breath, and alternates between soft and loud. NI084
Here
it
must be
especially
noticed that with soft tones the hngprs of the
the bridge toward the finger-board
;
hand
may
be loosened and ihe
bow moved from but with loud tones, tne fingers must press the strings t^rmly left
and the bow move nearer the bridge.
^
5.
In this
first part particularly, as in the following, the fingers of the Ml hand should make a slow movement, not sidewise, but forward and backward, alternately toward the bridge and scroll of the violin; with light bow-pressure, slowly, and with stronger bow-pressure
slight,
quicker."
Here
follow a large
number
of paragraphs
upon dynamics and expression.
Chapter 'XII. "All depends
composer
upon good execution.
charmed and
Daily experience confirms this
upon hearing
fact.
Many
an embryo
works performed by a good player who is able to make effects and lend character to the musicof which he himself had never dreamed; thus, by good performance alone, the player makes the whole miserable inanity at least bearable. And
who
is
flattered
has not oflen heard the best compositions so miserably executed that the composer nad own works."
difficulty in recognizing his
N1084
his
10
"The Duties
II.
an Orchestra VioHnist," by
of
Johann Friedrich Reichhardt (Berlin I.
"a good
tone
high nor too low
produced as follows
is
good,
left
too forcibly against the string, so that
as
we
and do not
;
shall presently see,
Reasons exact spot of a tone
upon the
may
all
the hair and not, as
bow always
the
rest
permissible to withdraw
it is
hold
;
it
commonly
is
upon the
;
draw
bow
the
in a
but do not press
firmly,
the case, the side-hair
strings, particularly
where,
it.
not only necessary on account of pure intonation, to place the finger in the
It is
:
let
away
too far
— not a hair too
the exact place
in
hand be as firm as possible
straight line, not too near the bridge, but not
only touch the string
tone.
full
have each finger
:
the pressure of the
let
;
A
1776).
The
string, but particularly so in order to obtain a fine, clear, fall tone.
be correct even to the finest ear, yet an ear that
is
pitch
able to distinquish quarter tones
and even the eighth and sixteenth part of a tone cannot hear the thirty-second and sixty-fourth part of a tone,
when perhaps
tone clear ana
full,
which
is
That the pressure finger,
by shortening the
rect the tone will it
only the one-hundred-twentieth part
when
the case only
of the
left
The bow should
make
lacking to
the stopped
the vibrations are perfect.
hand should be as firm as
string, fixes the limit of vibration,
be impure.
is
not be
possible,
and should
drawn
is
necessary because the
this not
be perfectly cor-
obliquely, as the tone will whistle
should not be drawn too close to the bridge, because there the tension of the strings
and
in
if,
when
the string
not be
same
order to vibrate the strings strongly, exceptional force
drawn
applied to the bov/, especially
entire length, a disagreeable, jarring tone will result
at its
away from
greatest,
the bridge, because then the force of the
bow
;
but
it
should
will not be in the
relation to the tension of the string."
He
gives further directions and continues
"These are yet
is
too far
is
is
all
unimportant details to the pupil
famous virtuosi often stop
and therefore have a poor sess a fine tone. scales enough,
NI084
if
The
tone.
true cause
at all."
who can
incorrectly, to a fine ear,
Nothing is
given
is
more
perhaps only play a simple minuet,
and scratch and whistle with the bow,
rare than violinists and violoncellists
in the first directions.
Pupils are not
who
made
pos-
to play
11
Dexterity and Certainty in Placing the Fingers.
III.
This point tire
of pre-eminent importance, yet
is
instrumental cantilena depends upon
it
the least thoroughly considered.
is
The
en-
what way, the author does not explain; he
(In
it.
speaks only of "Moving the fingers through various positions.")
Froehlich:
lo
attain a beautiful, singing tone, the author confines himself to the rules for bowing.
Karl Courvoisier: Furthermore,
uncertainty of pitch
consonant harmony does
;
I refer to
when
only
;
Violin Technic.
(Cologne, 1878.)
us dispense with another extreme remedy
let
sanctioned by habitual use
is
Violin School,
this uncertainty
so
really no
more
an extreme case, even
trifling
effect
than that, for
than a soothing one, or the tone wails and whines so that the listener
sympathize with the player.
bow
the stroke of the
then particularly
when
Next ;
The whole
power
real
is
at a loss to
to
Acquire a Large Tone and Expression and expression
to a finished technic, large tone
these
know whether
primarily in an intelligent accentuation, producing rhythmic clarity, and
they are not the
in
and
ear, rather
of expression lies rather in
gift
of Heaven, only bestowed
two
in Playing."
in playing are the ideals of
upon genius, but they are the
studious observation, proper position of the violin and correct bowing.
success
too distinct
upon the
the increase and decrease of tone power."
"How
Piedohl:
violinist
in
;
if
means
as to barely be noticeable in a
quick, the tone sounds nervously excited and has a nervous, exciting effect
to laugh at or
of a finger
and give the impression that the player
relieve the tone of stiffness,
it
The shake has
a person of feeling.
is
for
The wavering
the shaking of the finger.
every
result of
With thorough
study,
chief essentials of playing will not be lacking."
Kross. So that he
may now
direct his attention to acquiring a truly beautiful tone.
the nuances from pianissimo to fortissimo, are in are in painting.
makes
By
music what the arrangements of
Tone-colors,
light
and shade
these means, in an adagio as well as in the cantUena generally, the violinist
his greatest effect."
Directions for bowing follow.
Joachim-Moser It is
beginning.
Violin School.
:
of fundamental importance that the musical imagination of the pupil be fostered from thr
Tartini said:
play a tone before
first
'Fine singing
singing
it,
demands
fine tone.'
The young
violinist
should never
thereby becoming thoroughly conscious of what he intends to
produce.
Book
II.
pression of the
NI084
Next left
to the portamento, the shake or vibrato
hand.
Spohr said about
it
:
When
is
the most important
means
of ex-
a singer sings an impassioned movement,
12
a shake ir the voice, similar to the vibration of a bell forcibly struck, is
able to produce a striking imitation of this, as of
It
consists of a slight
is
produced by a shaking movement of the
must not be too
The
the ear.'
many
other peculiarities of the
wavering of the tone alternately above and below the correct left
pupil should, therefore, avoid using
Let
V
fine in
also be enlivened
a crescendo from piano Xo forte
if
The shake may be
increases in power.
it
too frequently and in the
and strengthened by
and becoming quicker with increasing
at first first
and require much practice
last
two kinds are
to a
slow one be done evenly and not suddenly.
this discussion
rocking
it
difficult,
only necessary to add a
is
in
order that the passing
advice regarding the use of .he shake.
little
by the shake, must not become a cramped kind of trema more or less quick according to the demands of the passage
of the intonation, caused
hand or arm, but
bling in the
effect is also
tone.
Both of these
To
proper
and becoming slower with decreasing tone, and with very long tones.
from a quick shake
The wavering
The
place.
divided into four kinds
Slower, for broad tones of impassioned cantilena passages.
Slow
to
the shake begins slowly and becomes quicker qs the tone
Quick, for strongly accentuated tones.
Quick at
The
means.
this
2.
3.
wrong
it
movement
to indicate to the violinist its
1.
4.
this
and
be used only as an expression of passion, and to intensify noves marked
it
Long notes may
or ^~.
But
hand toward the bridge.
pitch,
and the deviation from the perfect pitch of the tone hardly noticeable
great,
above mentioned instances, as employed by the singer, serve application.
The violinist human voice.
noticeable.
is
movement
tion better the less
—
—
The
of the hand, with the wrist kept very loose. it
is
latter will
perform
'While using the shake
required to support the violin.
it
is
its
func-
therefore
thumb joint (in instrument does not come in contact
advisable to allow the neck of the violin to rest only upon the inner side of the the higher positions,
upon the
ball of
the
thumb) so
that the
with any other part of the hand except the finger-tips. firmly under the chin, the shake will in no or hand, and
by Spohr,
it
may
is
way
If
the violin be held according to directions,
interfere with the free
only a question of time and practice
when
this
The pupil, however, cannot be the wrong place."
be acquired.
habitual use, particularly in
II.
The Character of
"Although the production of tone on the
violin
giving body, clarity and pregnance to
ooen string vibrate;
;
D
flat
depends left
in
a large measure upon good
hand contributes not a
There are three kinds of
little
to-
violin tones
To
The sound
of the covered scales
is
slow passages, tue vibrato
is
clear.
duller than
on the
violin.
that of the free or
same time enhance
equalize this unevenness, and at the
the carrying
employed.
of the vibrato, the vibration of the string (the
made moi e
free tone
be divided into free (with open strings), and covered (without open
of the tone, particularly in
By means NI084
may
major.)
open-string scales.
the tone
Violin"
and covered tones, which, besides themselves, have no other
strings, as
its
stopped tones which are the double or octave of the open string with which they
Accordingly, the scales
power
the tone.
warned against
the Tone.
bowing, yet the firm, precise stopping of the fingers of the
ward
of thf fingers
of expression, as indicated
too emphatically
Albert Tottmann: "Booklet on the
Part
movements
means
life
of the tone)
is
increased and
13
When
VI.
the pupil
is
able to keep the given position with ease, the teacher should try
to obtain greater surety of the fingers
done
and
two ways.
in
bv emancipating
lower
forth along the neck of the violin, then loosen the
violin neck,
and
lightly
move
paration for the vibrato.
are essential. side of the fingers
the lower part of the hand, at
hand from the
more independent
necessary later
violin neck,
:
'Some
— an
slowly and then
be
from the
faster.
(
Pre-
emancipation of the inner
positions
in shifting
is
and
for
making the
caused by the shaking movement of the
used
human
in
voice in
moderation, or
moments it
finger.
of pas-
becomes
senti-
Leopold Mozart early protested against a too frequent use of the vibrato.
shake on every note, as though they had a
violinists
joint of the first finger
fine for the
imitation of the trembling
vibrato, like the portamento, should only be
and annoys.
Only a quick vibrato makes a good
speed.
may
Vibrato.
minute, intentional impurity of pitch
The
sion.
This
thumb slowly back
"Method of Violin-playing and Violin-teaching."
Therein originates the vibrato
irental
the
of the hand."
The
A
first
move
In this exercise, a firm placing of the fingers and flexibility of the hand
)
Both of tnese exercises are exceptionally
Joseph Bloch
from the hand.
the fingers
should require the pupil to
First, the teacher
effect.
The
Its
fever.'
beauty depends upon the
nervous, trembling vibrato, and
still
when used in the proper place, sounds unpleasant and is to be Some French players use a peculiar kind of vibrato, intended less as a means of expresthan as a means of making the right arm and wrist independent."
more
so,
the slow shake, even
avoided. sion
Paul Stoeving: "The Art of Bowing."
How may a beautiful, "Naturally,
upon the quality
much
singing tone on the violin be acquired
?
depends upon the inborn talent of the pupil, and to a certain extent
of his instrument.
however, unquestionable that, even under the most favor-
It is,
able circumstances, a beautiful tone
is
the result of continuous study, keen observation and
conscientious self-criticism, especially upon these points: (a)
Special
tone studies
— particularly
long notes with slowly
drawn bow, must be
practiced.
The author
continues
(b)
Kinds of bowing.
(c)
Shading of tone.
(d)
No
opportunity of hearing great violinist? and singers should be
be particularly noticed
N1084
how
these artists treat the cantilena, etc."
lost,
and
it
should
14
III.
JET us
"We
confine ourselves to the excerpts quoted.
see that the
majority of these authorities believe that quality of tone depends essentially
upon the bow.
right
some
attention
admit
the vibrato and concede
its
importance £s a means of enhancing the quality of the tone.
any
directions
its
arm upon
this
one movement
fully
The main
left
a
fine tone,
hand and of the
Nowhere
recognized.
nificance of the vibrato thoroughly understood
significance,
for acquiring
great dependence of the functions of the
the
is
something of
give
to
In none of the violin schools, nor in
how^ever,
who
Also, those
the
is
full
sig-
and emphasized.
point of our subject, then, necessitates a thorough investigation
of the effect of the vibrato-movement upon the
left
hand and the
right
arm.
This movement, the undoubted influence of which must be admitted, has been or
either entirely neglected,
has been treated as a matter of only secondary
it
more than secondary importance, but it is the Beauty of tone has always principal function of the w^hole technical apparatus. been considered a special gift; and to acquire it we have contented ourselves with experiments upon the right arm, and have sought for secrets w^here no importance.
It
is
not only of
secrets exist.
In regard to the vibrato, Artistic finish in playing
can claim that:
I is
impossible without a correctly
made
vibrato.
The bow occupies a dependent relationship — is dependent upon the left hand. The left hand is entirely dependent upon the oscillation. No matter how great the technical
facility,
it
will
unless the vibrato function the greatest technic
The
not always be "ready" correct.
is
failing,
if
the
and
to
be depended upon
There always remains the
movements of
the
left
possibility of
hand are
incorrect.
correct vibrato pre-supposes a fiill-sounding technic.
As we have already seen, the playing of distinguishable when confined to the open strings.
Let us turn back once more. different
The as
violinists
is
not
individual characteristics of different artists are also not recognizable as long
the
fingers
are held passive
upon the
only becomes apparent w^hen the vibrato to distinguish
ence N1084
Hartmann
ft-om
in their vibratos alone.
strings. is
The
employed.
difference
We
in
playing
are able at once
Ysaye, Petschnikoff from Flesch, by the
The masters do
not differ essentially in
theii"
differ-
hand-
15
bow, by which only dynamic shadings are obtained; but they do
ling of the
widely
differ
movements of
the
in
the
left
Here
hand.
alone, in
the individ-
ualization of tone, clearly lies the great importance of the vibrato.
Some
have an extremely quick shake
artists
Having excluded
greater amplitude.
is
it
differences in interpretation
necessary to consider only four tones, played
with the shake.
The sense,
is
of the
definition
word
"vibrato" reads:
Vibration (oscillation)
to alter the pitch.
is
from our ques-
For a
exclude the shifting of positions at this point.
tion, I will also
tion
others a slower one of
;
clear illustra-
in the first position,
—To
a musical
vibrate, in
the forward
and
and backward
movement made by a body or part thereof, held in a fixed position or balance, when this balance is disturbed by any cause and the body is released to the which
forces
re-establish the original position
A
or balance.
complete forward
from the lowest to the highest position and
and backward movement,
for example,
return to the lowest,
reckoned as a vibration, and these are designated as
the
number of
is
vibrations per second of time.
Vibration, then,
is
the alteration of pitch, caused by the
movement
of a
body or part thereof forward and backward of a certain fixed position or balance. The mistake made by most players is that they confuse trembling with vibratthat
ing;
is,
movement
they tremble with the hand without thereby conveying a specific
to the finger.
The
result
is
a wavering of the pitch, similar to that
of the correct vibrato, but not an alteration of the pitch according to funda-
mental
principles.
the tone
Naturally,
pressed physically by the following points
/\A/\
instead of
The
movement.
upon
effect
lines:
^^—^
waves
all
is
the
as
The
affected.
— the
effect
trembling
might be ex-
movement
results in
must be the case with the correct
muscles of the arm, of the trembling
more or less of a convulsive movement can be most convincingly ascertained by experiments upon one's self or upon pupils. Not only does the trembling shake hold the hand cramped upon one point, instead of freeing and shake,
(
which
lightening
it,
is
but
)
— what
is
much
of
,
greater importance
—
its
direction
is
false.
In comparison, imagine a runner with his body inclined in the direction
runner
he goes.
Let
his course
and imagine what
is
exactly the
this
same
idea.
of which continually original direction.
incline his
his progress
hand
NI084
is
tliereby
in
another direction from
like.
movement
The trembling shake there are two, each
with the other, tending to throw
it
•
out of
its
players find particular difficulty in playing scales, be-
cause the lightness of the hand the
would be
Instead of only one
interferes
Some
body sidewards
is
interfered with
by an incorrect
vibrato,
prevented from moving easily in the desired
and
direction.
16
The
scale
Here the
tain point.
of the
a run which moves step by step
is
arm
is
effect of this
another
The groups
result.
cipated from each other,
movement
in
most plainly evident.
is
of muscles,
become numb and
finally
your attention the favorable circumstances of
(here massage
of good effect) the hand
is
Fatigue
eman-
not sufficiently
being connected with the arm, or constantly strained
by the convulsive shake, to
one direction toward a cer-
fatigued.
would
I
By some chance
disposition.
brought into a natural
is
recall
state.
At
once the entire technical apparatus operates; the arms become exceptionally light; the
some reason
for
seem
fingers
move
to
to
the tone sounds
a certain extent of their
The reason
and round.
full
own
volition,
for this
and that
is
hand and arm, while the incorrect
the correct vibrato relaxes the muscles of the
vibrato contracts them.
The cause conditions. easily,
It is
of the uncertainty of the
not natural that on one day passages
and on the next
fail
come out smoothly and
in spite
of their endeavors, continue to
which they believed had long ago been mastered. Massage is of value because it frees, lightens, and, in the case of musthat are stiffened and cramped by an incorrect vibrato, makes the natural,
in points
fail
cles
easy movements again possible. degree, to
overcome the
The remarkable have not practiced supposed that the
ease with which the
Some
left
one practices, the better he plays.
•ppear after a long period of
But not only the
left
motion
— causes
it
friction
hand
to saddle,
I
affected
however,
to be
The old
playing
is
better
hindrances again
by the vibrato; the
The
intensity
of the
string vibrates freely
tone,
and the
its
becomes complicated only
sets the string
tone depends upon
the
and unhindered from bridge
off.
naturally take for granted.)
comparatively simple matter to
N1084
The
not,
between the bridge and finger-board,
The
independent subject, and, in
functions.
is
where the vibrations are sharply cut
chanical part of bowing,
the)-
it.
to vibrate.
amplitude of the vibrations.
free.
is
also
work.
are also dependent upon
The bow, by
It
is
when
people play particularly well
because the muscles have become rested and
bow
hand sometimes operates,
a considerable length of time.
for less
continued use will even help, to a certain
Its
fault.
caused by chance conditions.
ter
in these
as though they had never been studied.
entirely,
many who,
This condition discourages
in
hand originates alone
left
meof bowing is an
(Proficiency
The
way, of great importance.
art
It is,
in
the
however, a
make an open string vibrate evenly. The matwhen the fingers of the left hand assume their
If the finger is placed firmly
and immovably upon the
string, the ef-
17
The
the open string.
same as with
be the
feet will
finger shortens the siring
new saddle. The fingers of my left hand, however, do not remain in repose. They move, that is. they vibrate. The string is then set in motion at two points:— by the bow which vibrates it and by the left hand, which brings about an alteration in the tone. The oscillation of the tone
and,
is
a way, forms a
in
The bow, which open
the
string,
even though unnoticeably
bow
hindrance
between the
relationship existing
bow, freed of
When
the string.
pointed line
when
all
easily
would
I
there
is
hand must
this
is,
the peculiar
to
hand and an improved
left
when
waved and
the
shake
quality of tone (the
to the intensity of vibration) but
it
The
must,
in
may
any
not the
felt
is
even
wave -motion does
regular, even,
string.
hand,
left
contact with
correct
no trembling of the bow, which
The
Never-
defect.
the absence of hindrances in the
bow and
break the contact between
movable
this
left
attention
call
of the
correct, that
is
existing in the slightest degree.
terially injure the
overcomes
disturbing elements, acquires the
the vibrato
created,
is
by
so,
In playing loudly this
to tremble.
disposition
Through
condition of the right arm. the
Again,
there.
is
made
bow more
not the case, for then the
theless, the
be
will
when on
influences
playing pianissimo the vibrato of the
in
not be over-done or the is
any outside
not disturbed by
is
affected,
is
For example,
saddle.
caused by the bow.
to the free vibration
added
false vibrato
need not ma-
weak
be too
not
in
proportion
case, effect the absolute purity
of tone. Alteration of tone
is
only possible at this point.
Given the bow and the
degrees of dynamic variation, from the softest pianissimo to the loudest fortissimo, are possible. That which we are accustomed to call emotion
open
string, all
proceeds only from the
hand.
left
Courvoisier writes very curiously:
Is Is
relieves
it
wholly essential that
finger,
This
I
has
on the
A
kamed string,
at the
proper vibrato
we
feel
is
that the player
effect
than that."
a person of feeling?
is
the result of con-ect mechanical treatment.
to play only
upon the open
strings, place the
Let
second
and then move the finger quickly and slowly, backward
proper pitch.
The
movement by a second
surprising change in the tone takes place. N1084
of
produced by means of a correct vibrato, an expression of most emphatically deny. Since the vibrato is produced me-
who
and forward,
tone
tone,
chanically, the beautiful tone pupil,
the
a person of feeling."
—
a beautiful
feeling?
a
vibrato
and conveys the impression that the player is then naively continues: "The shake nas really no more
stiffness,
He
— "The
finger
should be
person. (See figure It
becomes
made 1.)
to
execute the
Immediately, a
metallic, larger
and "emo-
18
tional."
In spite of this apparent "emotion"
"soul" of the pupil has in
way
no
taken pai
it t
must be acknowledged
in the
performance.
that the
The mistake
consists in confusing a beautiful
sound with an expression of
Many teachers comfort pupils who would learn to
feeling.
their
play "with feeling," v/ith the ex-
come of itself w^hen they become older Then, and more developed. planation that this will
naturally, "feeling" finally does assert itself
The
pupil begins
to imitate, after a fashion, the
of
vibrato
his
teacher.
chance favors, the will
may
more
acquire a
beautiful tone than his teacher,
the explanation, finally concludes that
The study
the pupil
is
of vibrato, however, should not be
By means
ly the case.
correct,
oscillation
consequently
the tone will be beautiful.
Figure 1.
haps he
be
If
who,
at
a
Per.
loss for
exceptionally talented. left to
chance, as
is
common-
of exercises and clear explanation, the pupil should be
very important part of the technic. This may be done even with beginners, as the correct thing is never harmful but always of assistance. Very many teachers are opposed to the use taught the correct manner of acquiring
of the vibrato; in
fact,
they
in-
sist
that in the study of etudes,
the
hand be kept thoroughly
repose.
The
probably
is,
this
in
explanation of this
that fi-om experience
with themselves and with
pupils,
they have found the vibrato to be detrimental to the develop-
ment of
technic.
The
vibrato
can be detrimental only when incorrectly
made, and
it
course, better to ignore a
ment
entirely than
incorrectly. NI084
it
to
is,
of
move-
perform
Figure 2.
19
With advanced the
pupils,
of primary importance that the functions of
is
it
hand be minutely examined.
left
In case of the existence of the ftindamental error, against
take the
important that he
first
learn
by rocking the whole (Figure
left
When
may move
freely
remains
Here
and
it is
itself,
we have
similar condition. in
preventing the
manner
In this incorrect
some way or hand from swinging
executed vibrato taxes the of
The
made.
in its place (firmly
we may
all
incorrect
the
first
pressed against fi-ee
false vibrato.
often
of
find
vacillating
(Figure
3).
a somewhat
of vibrating, the muscles of the
arm
other, concerned,
at
the wrist,
The
and independent of the arm.
and permits
first
when made with
a typical case of the finger,
of assist-
easily.
and trembles and does not enliven the tone by a
Also, in the case of the fourth
free
finger
not hindered by the necessity of
is
correctly or incorrectly
is
this finger in vibrating
movement within
always,
is
Let him
movement with each
comparatively easy to detect, particularly
the violin-neck)
are
it
wrist with the right hand; then
the exercises on the instrument may be commenced.
whether the vibrato movement is
the beginner,
necessary, in the case of advanced pupils, to determine
It is
here
2.)
holding the instrument, and
finger.
left
hand, perform the vibrato
ance to prop up the violin so that the hand
vibrato
— For
emancipate the hand from the arm.
to
place the finger upon a table, firmly holding the
Then
we
that should be corrected before proceeding further.
field,
Rules and examples for acquiring the vibrato:
singly,
which
arm musc'es
in
properly
no way,
Through (by rolling move-
no contraction thereof.
relieving the muscles of contraction
ments or massage)
it
may become
possible,
to
a
certain extent, to acquire the correct vibrato.
The
difficulty
ing consists the
left
arm.
ly tends to
arm
in
caused by the position
the fact that
it
is
in play-
necessary to
lift
This taxes the muscles, and natural-
induce contraction.
Therefore, the pupil's
should be pressed downw^ard from the instru-
ment,
in
order to relieve
all
unnecessary tension.
Figitfo 3.
(Figure 4.)
To
free
be practiced.
and lighten the arm, In this
way much may
of a trained masseur be obtained. NI084
rolling
movements of every kind should
be accomplished, especially
if
the advice
20
exercises should be played nrst in the fourth position, because
The the
hand
finds a point of support
and the action of the arm muscles
is
tnere
mini-
Figure 4.
mized. (Figure
5.)
should be played only the
tip
The same
thing
is
The
true in the third position.
in the first position last.
Here, the position of the
exercises
first finger,
of which should be allowed to come in contact with the instrument,
the greatest importance.
The palm
is
of
of the hand must also be kept from touching
the neck of the violin. (Figure 6.)
Double-stops offer particular
difficulty.
In the study of these
it
is
also
advisable to begin in the
and go
fourth position
the
position last.
first
In
wish
to
to
concluding,
warn
I
the student
against the nervous, ex-
aggerated vibrato. the excessive the voice, able.
it
One's
Like
tremolo in is
disagree-
artistic taste
should be his guide.
The Figure 5.
NI084
experience of
21
Prof. Carl Flesch
He,
of special interest.
is
has
too,
of late given special attention to the correction of the
movements of
vibrato
false
which he kindly explained the
main
His views,
me, bear directly upon
distinguishes betw^een
too,
an incorrect
pupils.
of our discussion here.
point
He,
to
his
vibrato,
a correct and
and describes the incorrect one as
a movement, the impulse of which comes from some
arm and not from the fingers. The inmovement begins either at the elbow (the
point in the correct
being a quick, trembling
effect
wrist
(too
cramped
The
oscillation),
Both lack charm and cause a
slow).
of contraction of the
kind
or at the
arm
muscles.
correct vibrato, according to the views of
Flesch,
way
is
Figure
Prof
a combined movement of fingers and wrist
6>
which the arm
in
in
no
participates.
Through cellent
the kindness of
exercise
for
the
Prof Flesch,
study
of this
I
am
much
able
by
technic,
of
Rivarde,
Royal
the
branch
violin
prominent French
the
Prof
violinist.
at
present here an ex-
to
neglected
College
teacher
Music,
of
London.
To
of the hand.
directs
that
held
violin
tive violinists.
note
;
at the last
"With the
the
close
(Figure
C were
7),
like
first
finger (B natural),
on the
A
to be as little
flat.
with each finger, not longer than
minutes in succession.
amples.) N1084.
the
string, hold
This movement should be practiced
five
neck of the position
taken by beginners or very
ought
played a
palm of the hand the
makes an extraordinarily quick movement toward the bridge. (Figure 8). Should an alteration of pitch be though
Prof Rivarde
to
32nd only the finger
noticeable, the effect
necessary
the
repose
be
•''^"'^ '•
acquire
(See exFigure 8.
primi-
a whole
22
The
required position minimizes the action of elbow and wrist muscles,
consequently the action
is
confined entirely to the finger.
It
is
important that
the finger be placed as flatly as possible on the string, to allow sufficient play for the
firmly
forward movement.
upon the
string, thereby, as is well
quality of the tone.
N1084
Disregard of
this
point brings
the finger-nail too
known, diminishing the volume ana
23
Vibrato Exercises. To
isolate the
hand from the arm, the hand should be placed against the edge of the
olin, and the vibrato made only with the finger while a rocking movement the hand. The following exercises are to be played in the 4^-" position.
is
vi-
carried out by
I.
D
string.
U
A
string.
xeffite
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G
string.
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24
III.
To be played
in
3^ position.
Alleg^ro.
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To be played
in
39
Adagio. ^_
I.
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I3
1
2
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8
IV.
position
scgne
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so that the lower part touches the edge of the violin.
25
Exercises for Vibrato
in the First Position.
In the first position, the vibrato demands great freedom in the position of the especially of the first fin^^er. Seei Fig. V.
left
hand, and
I.
G
string.
D
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On
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26
Vibrato Exercises in Double Stops. Thirds.
I.
Begin
5
in the
G & D
position.
.
strings.
12-1
12-1
«J
D &A
strings.
A& E
strings^^
3
.
2
3
4
bfete
striniis.
A& E
strings.
S
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2
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3
position.
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^^
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1
3
3
II.
2 4
— —
1
1
3
3
2 4
— —
O
1
3
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1
3
Sixths.
segue
segue
segue
2
^
*^
2
4
2
4
3
1
3
1
3
2
1^ 5L
^SL
_ —
4
2
3
1
—
^-?4 3
3
2
2
3
1
2
_ —
2 1
III. In the 4*]^ position.
segve
f=f
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27
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Exercises by Professor Rivarde. Directions for playing the following exercises will be found on page 30 of the text Fig. VII.
See
LU times. ^
I.
10 times.
lO times.
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3
Practice on
all
3_
.
strings
Practice with each finger and
on
III,
PhJ*"77» ^•••'^••'' ^••"'"^•' W^-'W'^g-' 1.
14374-10 NI084
• ^•
on
all strings.
IV &
V
with each finger and
all strings.
28
Exercises for the Singing Tone, with application of the Vibrato. F.
4
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31
Exercise for the Slow Vibrato.
Adagio sostenuto CAllegro 7nudcrat(>.)
14374-10 NI084
Kreutzer.
32
Exercises for Vibrato in Double Stops. Kreutzer.
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THE ART OF VIOLIN PLAYING
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O
BASIC STUDIES (Urstudien)
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A
series of exercises in shape of a condensed extract of the technical needs of the violin. Comprises the elements upon which the entire general violin technic is based.
SCALE SYSTEM, Supplement
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PROBLEMS OF TONE PRODUCTION
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scales in
IN VIOLIN
all
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PLAYING
based on the thesis that physiological responses must be thoroughly understood if the desired violin tone is to be realized.
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