Violin

Playing the violin

The violin is usually held under the chin and supported by the left shoulder. It is played by using the right hand either to draw the bow across one of the strings near the bridge, causing the string to vibrate, or to pluck the string. The left hand then controls the pitch by regulating the sounding length of the string by pressing it down onto the fingerboard. The different fundamental ("open") pitches of the four strings facilitate a wide range of notes to be accessible with the left hand staying in one position.

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Fingering and positions

The placement of the fingers on the strings invokes no physical aid like frets; the player must achieve the correct position from skill alone, or else the instrument will sound out of tune. Violin players practice long hours to attain good "intonation", a skill that results from training the fingers to land in the right places, training the ear to distinguish when a note is or isn't in tune, and cultivating the ability to correct the pitch very rapidly (and automatically) as notes are being played.

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The fingers are conventionally numbered "first" (index) through "fourth" (little finger). The digits 1, 2, 3, 4 and O sometimes appear over the notes in violin music, especially in instructional editions, to indicate the finger to be used, with "O" indicating "open" string. The strings can be referred to either by numbers or by the notes they play when bowed "open" (without being pushed to the fingerboard, see below) from the nut: 1st string = E-string (highest), 2nd string = A-string, 3rd string = D-string, 4th string = G-string (lowest).

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Higher notes can be achieved by sliding the hand up the neck of the violin and pressing the fingers down to shorten the string length, thus playing higher pitches.

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The placement of the left hand on the fingerboard is characterized by "positions". First position, where all beginners start, is nearest to the nut (towards the scroll) and farthest from the bridge (away from the violinist's face). The lowest note available in this position (and on any standard violin in standard tuning) is an open G (again, see below); the highest note in first position is made by pressing the fourth finger down on the E-string, sounding what musicians would call a "high" B.

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Thus, in first position, the first finger placed on the E-string gives an F#. Pressing the first finger instead on a G (still on the E-string) is called second position. Third position is achieved when the first finger presses down on an A, and so on. The upper limit of the violin's range is largely determined by the skill of the player. A good player can easily play more than two octaves on a single string, and four octaves on the instrument as a whole.

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Excepting only the lowest and highest notes, the same note can be played on multiple strings in different positions. That is, the "high" B note referred to above can be played not only by the fourth finger on the E-string in first position, but also by the fourth finger in fifth position on the A-string, in ninth position on the D-string, and in thirteenth position on the G-string.

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Violinists often change positions on the lower strings, sometimes to the consternation of composers and much to the confusion of beginners. This is usually done to handle a musical passage which would otherwise require fast switching (or "crossing") of strings. It is also done to produce a particular timbre: the same note will sound substantially different depending on what string is used to play it. That "high" B, when played on the E-string (the highest, usually a mono-core metal string) can have a clear, even piercing timbre; the same "high" B played on the A-string or D-string or G-string (usually wrapped strings rather than mono-core) may sound "warmer" or less abrasive. For this reason violinists often avoid playing a single note on the E-string within a phrase of notes on the A-string, as one E-string note would stand out with a different timbre.

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Sometimes the composer or arranger will specify the string to be used in order to achieve their desired tone. The most common indication uses the letter name of the string: for example, the composer wants a passage that would otherwise be taken on the D-string to be played on the G-string, so he writes "sul G" or "G saite" or "G corde" on the part. Occasionally, numbers are used, so the example might be written "4. corde" or "IV corde" (as above, with the highest string being #1 and the lowest #4).

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Open strings

A special timbre results from playing a note without touching its string with a finger, thus sounding the lowest note on that string. Such a note is said to played on an open string. Open string notes (G, D, A, E) have a very distinct sound resulting from absence of the damping action of a finger, and from the fact that vibrato (see below) is extremely difficult. Other than low G (which can be played in no other way), open strings are usually selected for special effects.

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One striking effect that employs open strings is bariolage. Here, the player fingers the same note of an open string (necessarily D, A, or E) on the immediately lower string, then moves the bow with a rapid snake-like motion that causes it to touch the fingered string and the open string alternatingly. The same pitch is thus sounded, but the different timbres of an open string vs. a fingered string produce an audible rhythmic pulsation. Bariolage was a favorite device of Joseph Haydn, who used it for example in his string quartet Opus 50 no. 6, and in the "Farewell" Symphony.

Related Topics:
Joseph Haydn - String quartet - "Farewell" Symphony

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Playing two open strings simultaneously produces a bagpipe-like drone, often used by composers in imitation of folk music.

Related Topics:
Bagpipe - Folk music

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Double-stopping

Double stopping is when two separate strings are depressed (stopped) by the fingers, and bowed simultaneously, producing a chord. This is much harder than normal single-string playing as more than one finger has to be accurately placed on two different strings simultaneously. Sometimes moving to a higher position is necessary in order for it to be physically possible for the fingers to be placed in the correct places. Double stopping is also used to mean playing on three or all four strings at once, although such practices are more properly called triple or quadruple stopping. Collectively, double, triple and quadruple stopping is called multiple stopping.

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See Double stop for general information about the techniques of double stopping and bowing.

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Pizzicato

When a note is marked pizzicato in the written music, it is played by plucking the string with the pointer finger of the right hand rather than being bowed. Sometimes in more advanced music left hand pizz (or pizzicato) will be written in. For details of how pizzicato notes are played, see the Wikipedia article "Pizzicato".

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Vibrato

Vibrato is a very common device used by violinists which causes the pitch of a note to vary up and down quickly. This is achieved by moving the finger pressing on the string slightly forwards and backwards. Violinists oscilliate backwards from the actual note when using vibrato, never forward. Vibrato is often perceived to create a more emotional sound, and it is employed heavily in music of the Romantic era. There are several different styles of vibrato ranging from the use of just the fingers, to the use of the wrist or even the whole forearm. These produce different effects and are favoured by different players for different styles of music. Some styles of music use little or no vibrato at all.

Related Topics:
Vibrato - Romantic

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It is often thought that vibrato can partially disguise an out of tune note, the intuitive idea being that the ear should not be able track pitch as accurately when it is moving up and down. However, recent experimental work finds no such effect: the human ear detects the upper pitch of the vibrato, then the lower one (not the mean frequency). So nobody can cover bad intonation with vibrato. It is not necessarily the case that results obtained under careful experimental conditions will carry over to real-life playing, and there is at least some evidence that vibrato may be able to disguise mistuning at faster tempos. Nevertheless, it now appears that individuals learning to play the violin are well advised never to suppose that using vibrato will help them with their pitch problems. In fact, music students are taught that unless marked in music, vibrato is assumed and even mandatory.

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Harmonics

Just touching the string with a finger and not pressing down can create harmonics. This means that instead of the normal solid tone a wispy-sounding note of a higher pitch is heard. This is caused by the light finger blocking the string's fundamental; the string must be touched exactly at a "node", an integer division of the string, for example exactly half-way along the length of the string, or exactly one-third along the length of the string. When one touches the node at one of these points, the string vibrates in parts: either in halves or thirds, in these two examples. The pitch produced in these two cases will be an octave higher in the case of halves, and an octave and a fifth higher in the case of the string vibrating in thirds. This way, different members of the string's harmonic series are allowed to sound. If the pressure on the string is too deep, the harmonic will not sound, and a scratchy, unclear sound will resonate, so it is essential to touch the node lightly.

Related Topics:
Harmonic - Harmonic series

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Harmonics are marked in music with a little circle above the note that determines the pitch of the harmonic. There are two types of harmonics: natural harmonics and artificial harmonics.

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Natural harmonics are the type of harmonic described in the first paragraph of this section, and are achieved by simply touching the string with one finger at a node point. This is a relatively easy technique, and can be done by most beginner to intermediate students.

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Artificial harmonics, however, are much more difficult. They requires pressing down a finger on one string (for example, first finger on the D string on the note "E"), and having another finger just touching the string a fourth higher, in this case on the position of the note "A". When the violinist stops the string with the first finger, and touches it lightly with the fourth finger in this way, the node one-fourth of the way along the string is touched, and the string will vibrate in four parts, sounding a tone two octaves above the note that is stopped (in this case, E). The distance between the two fingers must be extremely accurate, or else the harmonic will not sound. In addition, the pressure from the bow and the two fingers must be exactly right or it will not sound.

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The "harmonic finger" can also touch at a major third above the pressed note, or a fifth higher. These harmonics are less commonly used because they are even more difficult to make sound well. In the case of the major third, the harmonic is higher in the overtone series, and does not speak as readily; in the case of the fifth, the stretch is greater than is comfortable for many violinists. The sounding pitch of the major third harmonic is two octaves and a major third above the lower note, and in the case of the fifth, it is an octave and a fifth above the lower note.

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Traditional notation of artificial harmonics uses two notes on one stem: the lower note employs a round note-head representing where the string is strongly stopped with the first finger, and the upper note uses an open diamond note-head representing where the string is lightly touched with the fourth finger.

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Elaborate passages in artificial harmonics can be found in virtuoso violin literature, especially of the 19th and early 20th centuries.

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The mute

The tone of the violin can also be altered by attaching a small rubber device called a mute to the bridge of the instrument usually between the middle two strings (D and A). This stops the bridge itself from vibrating as much, and causes a more mellow tone, with fewer audible harmonics above the note being played. It is often used for practice purposes to lower sound, and often in performances for a desired dulled effect. The effect on a single violin is noticeable, but mutes are more often used in an orchestral situation with the entire section playing with muted violins.

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There are also large metal, rubber, or wooden mutes available that encompass the top of the bridge. These are known as "practice mutes" or "hotel mutes". Such mutes are not used in performance, but are used to deaden the sound of the violin in practice areas such as hotel rooms.

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Bowing techniques

The violin produces louder notes when the player either moves the bow faster or pushes down harder on the string. The two methods are not equivalent, because they produce different timbres; pressing down on the string tends to produce a harsher, more intense sound.

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The location where the bow intersects the string also influences timbre. Playing close to the bridge (sul ponticello) gives a more intense sound than usual, emphasizing the higher harmonics; and playing with the bow over the end of the fingerboard (sul tasto) makes for a delicate, ethereal sound, emphasizing the fundamental frequency.

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There are several methods of 'attack' with the bow that produce different articulations

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• Détaché - The term détaché simply means ‘separated’ and it can be applied to any notes not linked by a slur. Stopping the bow on the string deadens the vibrations and thus creates a muted accent, elastic détaché which covered off-the-string strokes, and dragged détaché (détaché traîné) where smooth bow changes leave no audible gap between each note. Video Example of Detache.
• Legato - Of successive notes in performance, connected without any intervening silence of articulation. In practice, the connection or separation of notes is relative, and achieved through the presence or absence of emphasis, Accent and attack, as much as silences of articulation; degrees of connection and separation vary from legatissimo (representing the closest degree of connection), tenuto, portamento, legato, portato, non legato, mezzo-staccato, Staccato (the natural antonym of legato), to staccatissimo, and some of these terms have connotations going beyond simple degrees of connection or separation.
• Sautillé - A bowstroke played rapidly in the middle of the bow, one bowstroke per note, so that the bow bounces very slightly off the string of its own accord. It is not indicated in any consistent manner: sometimes dots are placed above or below the notes, sometimes arrow-head strokes, and sometimes the stroke is simply left to the performer's discretion. Spiccato and sautillé are sometimes used as synonyms, though Spiccato tends to be applied to a broader range of off-the-string strokes. Video Example of Sautille.
• col legno - Occasionally the strings are struck with the back of the bow (col legno). This gives a much more percussive sound, and is most effective when employed by a full orchestral violin section, since it produces little volume.
• "chopping" - A more modern percussive technique, in which the hair near the bottom of the bow is struck against the strings. It is used by some jazz musicians, including the Turtle Island String Quartet.

See also: How to play the violin

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