By Stanley Ritchie
Drawing at the ideas of Francesco Geminiani and 4 many years of expertise as a baroque and classical violinist, Stanley Ritchie bargains a priceless source for somebody wishing to profit approximately 17th-18th-and early 19th-century violin process and magnificence. whereas a lot of the paintings specializes in the technical points of taking part in the pre-chinrest violin, those methods also are acceptable to the viola, and in lots of how you can the fashionable violin. prior to the Chinrest comprises illustrated sections on correct- and left-hand procedure, facets of interpretation throughout the Baroque, Classical, and early-Romantic eras, and a bit on constructing right intonation.
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Extra info for Before the Chinrest: A Violinist's Guide to the Mysteries of Pre-Chinrest Technique and Style
A lively, energetic dance such as a bourrée requires greater contrast of strong and weak notes than does a more sorrowful or philosophical one like a sarabande. In a menuet measure the second and third quarter-notes must be “let go” (played lightly) and the third unaccented in order for the dance to have its characteristic lilt, and the music must be grouped in two-measure units. Frequently in Baroque music, because of an irregularity in the number of bars in a phrase or the hierarchy of harmonies, the “downbeat” will occur on another subdivision of the measure, and for this reason it is important to understand both the harmonic structure of the music and the function of the metrical accent.
An essential tool of actors and orators, it was therefore also used by musicians in conveying their emotional message effectively. The songs of the troubadours and trouvères dealt mainly with courtly love, and their purpose was not only to entertain but, according to one contemporary music theorist,1 to move the royal or noble listener to act with fortitude and magnanimity. Commentaries on musical performance in the seventeenth and eighteenth centuries are replete with references to the expressive power of music and descriptions of its effect on various performers.
For example, here is some music by Telemann in which the bass notes are obvious: Once the bass-line is identiﬁed, the next step is to discern the harmonic structure, hearing each chord and being aware of its duration. Sometimes a harmony will change while the bass note remains constant, as in a simple 6/4–5/3 progression: In this case, with the stronger 6/4 resolving on the weaker 5/3, a diminuendo is appropriate. 39 Interpretation A slight variation of this harmonic progression, however, can alter the expression noticeably: An important principle of interpretation to bear in mind, then, is that a dissonance will always be stronger than the consonance on which it resolves.
Before the Chinrest: A Violinist's Guide to the Mysteries of Pre-Chinrest Technique and Style by Stanley Ritchie