Detuning
the violin is a very common technique but there are some risks to the violin so
care should be taken. Wherever possible the violin should tune down as too much
tension could damage the bridge and weaken the strings. Constant retuning will
damage the strings. Slackening the strings too much could result the bridge
falling off if knocked and the sound post could fall as well.
Extended Violin Techniques
Wednesday, 2 May 2012
Prepared Violin
Prepared
instruments are instruments that have had their timbre changed by having
various objects on or between the instruments vibrating strings. It is usually
found on piano’s but there are compositions for prepared violins.
Wrapping a
small piece of wire around a string causes the wire to create a buzzing effect.
The amount of buzz can be controlled by bow speed and bow pressure. The wire
buzz works on all strings, but I used it on the G, as it resonates the most the
buzz lasts for longer. As the wire is vibrated it travels along the string
touching harmonic nodes and these nodes can be heard. Care must be taken when
performing this technique as the strings could be damaged by the vibrating wire
and the bow hair could become damaged.
Another
technique is to place a hairpin over the strings of the violin and to pluck it.
This gives a plethora of different pitches. Stephen Montague introduces
thimbles to the strings in Silence: John
Yvar and Tim. He instructs on how to play the prepared violin.
1.
Violins and violas are held in the lap with the
scroll against the chest (similar to the cello position). The bow is not used.
The strings are played with 2 thimbles – one
thimble on each hand (probably easiest to play if it is on the middle
finger of each hand). In general each thimble (right hand and left hand) plays
across two strings. Each of the strokes of the thimble across the two strings
produces complex non-harmonic pitches due to the pins. The right-hand hits the
E and the A strings, producing a higher pitched timbre, while the left hand
strikes the A and D strings, producing a lower.
2.
A “hairpin pizzicato” is produced by plucking on
the end of the pin
3.
On occation the players “slap” the strings with
the flattened fingers to produce a very different sound from the thimbles.
However the thimbles simultaneously hitting the fingerboard help with the
intensity.
Percussive techniques
As the body of the violin is hollow it does make a good
percussive instrument. Tapping the body in various ways has become popular with
composers and using different parts of the hand can create different timboral
effects. For example you can slap the body of the violin or tap with the pad of
a finger. The composer should explain what is wanted by either writing in the
notes at the front or in the score. The violin gives slightly different sounds
depending on where it is being struck and also with the different parts of the
hand. The option to dampen the strings is again there as striking the body of
the violin will create the to resonate.
The violin
can either be held like a cello when performing these techniques or as normal.
Caution should be taken when striking the instrument, I would advise using a
spare if you have one, also one of the techniques that can be used is to strike
the violin with the fingernails. This will result in a short tapping sound but
may cause varnish to chip off the violin causing damage.
It should
also be noted that if one hand is used to perform the technique then it leaves
the other hand free. For example if the violin was in the normal playing
position and tapping with the right then it would leave the L.H. able to
perform other techniques such as L.H. pizz such as in George Crumb’s Black Angels.
Nail Pizzicato
Using the
nail to pluck the string creates a sharper attack than when plucked with the
pad of the finger. If the nail of the left hand is used then a more metallic sustained
sound can be heard.
Violinists usually do not
generally grow their fingernails as it interferes with their day-to-day
playing. Using plectrums could be an option. Using a banjo fingerpick can
reproduce the sound of plucking with your nail and if it is needed using a
thimble on the L.H. can produce the more sustained sound. Care should be taken
when using these items for sustained periods of time as violin strings were not
designed to be plucked with hard objects, composers should bare in mind that a
set of strings can cost £80!
Subharmonics
Crumb Black Angel (1970)
Subharmonics and A.L.F’s are relatively new and not really
understood. With the correct bow placement, pressure and speed then it is
possible to perform an octave below the fundamental. For example playing an open
G on the violin with a frequency of 196Hz then performing a subharmonic of this
creates an octave G at 98Hz. Using this technique it is possible to play all
the notes in the octave. This technique was one of the hardest for me to get to
grips with as there are so many different variables that affect whether it is
possible to play or not. The bow has to be at the correct speed, the bow has to
be at the correct pressure and it had to be at the correct position along the
string. I also found that it was easier on some violins than others, for
example I found that it was much easier on my lecturers violin than my own and
I think that was because my violin the tension of the G string was less so it
would be much more difficult for it to ‘catch’ the subharmonic.
To play
this technique there seems to be 3 factors mainly at work:
1.
Bow pressure
2.
Bow speed
3.
Bow position
Bow Pressure
Lots of
consistent bow pressure is needed, basically as much pressure as you possibly
can. Start off right at the heel trying to get the crunch sound, then try to
maintain that same pressure throughout the full length of the bow, meaning that
you will have to apply much more as the bow reaches the tip. I found that
holding the bow at the frog helped to get much more leverage and pressure.
Bow Speed
The bow has
to be a consistent slow bow, too fast and you will not get or you will loose
the subharmonic. Too slow and it will not be an even pace and you will not get
the subharmonic.
Bow Position
This will
differ slightly depending on your violin but I found that playing close to the
fingerboard, about 1 – 2cm away was the best position on the violins that I
tested.
It must be noted that you can only play subharmonics on the
G string as the pressure needed and the angle of the bow means that the G
string is the only option.
George
Crumb was the first person to compose for subharmonics in Black Angels calling them pedal tones. He used them to depict the
devil in one of the movements.
A.L.F’s are related to subharmonics but are not true
subharmonics. Mari Kimura has mastered this technique and people compose pieces
containing subharmonics specially for her.
Harmonics
Harmonic Glissando
This can
either be played as a natural harmonic glissando or a false harmonic glissando
both resulting in different effects.
Natural harmonic Glissando
Using this
technique I found that a firm even bow stroke was best so that the harmonics
can catch, with a fast glissando it works best on the lower strings as the
higher harmonics don’t have time to catch. A slow glissando on the G would
optimise all the harmonic series and would bring out all the minute sounds
between the nodes. I particularly like the effect when the finger sliding from
the end of the fingerboard to the bow as the effect is a light fluttering
sound.
False Harmonic Glissando
There are
two ways of producing a false harmonic glissando, the first being to perform a
false harmonic with the first finger stopped slide the fourth finger, lightly
touching the string, towards the stopped finger. The closer the fourth finger gets
to the first finger the higher the pitch of the harmonic.
The second
way to perform a false harmonic glissando is to perform it with a fixed hand.
This means that when you perform the harmonic you slide the whole hand. As a
performer you would have to remember that the higher up the fingerboard you
went with the glissando you would have to move your fingers slightly closer
together to keep the tone correct. Legeti uses this technique in his piece Ramifications.
Sul Ponticello – playing near the bridge
Crumb Black Angel (1970)
This
technique can be used to create either a timberal effect or a pitched effect.
Depending on the distance of the bow to the bridge it can change the effect,
the farther away from the bridge more tone will be produced.
The tone of
this technique reminds me of n overdrive pedal on an electric guitar, it also
works extremely well with overpressure. The closer to the bridge will result in
higher harmonics being produced. If a constant dynamic is required then more
bow pressure will be needed as the bow reaches the tip.
Playing on
the bridge will result in a timberal effect as the bow hair will be divided
across the bridge and it will also be playing the actual wood of the bridge.
For example William Sydeman writes a chord to be played on the bridge and
indicates that specific pitches are not wanted.
This is depicted with the note heads looking more like drum notation
than a normal classical notation. For shorter more sticatto sound it might be
needed to dampen the strings by clamping the L.H. to the fingerboard.
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