By Stanley Ritchie
Drawing at the rules of Francesco Geminiani and 4 a long time of expertise as a baroque and classical violinist, Stanley Ritchie deals a necessary source for a person wishing to profit approximately 17th-18th-and early 19th-century violin approach and elegance. whereas a lot of the paintings specializes in the technical features of taking part in the pre-chinrest violin, those techniques also are appropriate to the viola, and in lots of how one can the fashionable violin. ahead of the Chinrest contains illustrated sections on correct- and left-hand method, features of interpretation throughout the Baroque, Classical, and early-Romantic eras, and a piece on constructing right intonation.
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Additional info for Before the Chinrest: A Violinist's Guide to the Mysteries of Pre-Chinrest Technique and Style
From the musical point of view any stroke that inhibits the instrument’s natural resonance is really a special effect and should be used sparingly. For this reason the hook-stroke, a variation of martelé, is generally not appropriate in Baroque music because of its tendency to stiﬂe the resonance of the sound. Unless a special effect of the kind is called for, it is preferable to lift the bow slightly. When a passage calls for short notes that sound better played on the string in the upper half of the bow one must use the fourth ﬁnger to balance the bow and lighten each stroke, releasing the pressure of the ﬁrst ﬁnger.
Chords may be played either down-bow or up-bow at any dynamic level. In an accompanied recitative in a Mozart opera, for example, off-beat triads are best played up-bow, for in that way there is no hard edge to the sound. A succession of chords should normally be played “as they come”—reserve the “down, down, down” for places where the music calls for a percussive, extremely energetic or angry effect. Finally, the ideal effect in chord playing will be achieved by having the sensation that one is falling through the strings, not going around the outside of them.
As in the continuation of the previous passage: 16 Chordal Technique Notice that I have chosen examples from Bach’s unaccompanied music to make my point, and I have done so for a particular reason that I shall touch on here without delving more deeply into the subject of Bach interpretation: there is, in essence, no such thing as “unaccompanied” music. When you play a chord in an unaccompanied piece, you are providing your own bass line, and therefore your own accompaniment. ” Imagine—if you can—what it would be like to play with a continuo player who always anticipated the beat in the left hand!
Before the Chinrest: A Violinist's Guide to the Mysteries of Pre-Chinrest Technique and Style by Stanley Ritchie