consists of two main parts: housing And vulture, strings are stretched between them.
Frame
Frame The violin has an oval shape with rounded notches on the sides, creating a “waist” - the so-called esi. The roundness of the external contours and lines of the es ensures ease of playing, particularly in high registers. The lower and upper planes of the body - the deck - are connected to each other by strips of wood - shells. They have a convex shape, forming “arches”. The geometry of the vaults, as well as their thickness and its distribution, to one degree or another, determine the strength and timbre of the sound. Inserted inside the housing darling, transmitting vibrations to the lower deck. Without this small detail, the violin's timbre loses its liveliness and fullness.
The strength and timbre of a violin's sound is significantly influenced by the material from which it is made and its composition. varnish When a violin is impregnated with varnish, it changes the density of the original wood. The degree of influence of impregnation on the sound of a violin is unknown, since it depends mainly on the structure and characteristics of the wood itself. After drying, the varnish protects the violin from significant changes in the density of the wood under the influence of environment. The varnish paints the violin with a transparent color ranging from light gold to dark red or brown.
Bottom deck, or the “bottom” of the body, is made of maple, from two symmetrical halves.
Top deck or “lid” is made of spruce. Has two resonator holes - f-holes(in shape they resemble a Latin letter f). In the middle of the upper deck there is stand, over which strings pass, attached to tailpiece (pidneck).
Shells connect the lower and upper deck, forming lateral surface violins. Their height determines the volume and height of the violin, fundamentally influencing the timbre of the sound: the higher the shells, the duller and softer the sound, the lower the shells, the more piercing the sound of the violin. The shells, like the bottom, are made of maple.
Darling– a round spruce spacer that transmits vibrations to the lower deck. Its ideal location is found experimentally, on which the master sometimes spends many hours of work
Piedgriffnik, or tailpiece, serves for fastening strings. Made from hard ebony or mahogany (usually ebony or rosewood, respectively). On one side the pedestal has a loop, on the other there are four holes with slots for attaching strings. The principle of fastening is simple: the end of the string with a button is pulled into a round hole, after which it is squeezed into the slot by tensioning the string towards the fingerboard.
A loop- a loop of thick intestinal string or plastic. The plastic loop is the best because it has an adjustable loop length. When replacing a vein loop with a larger diameter than 2.2 mm with a synthetic one (diameter 2.2 mm), it is necessary to wedge the wedge and re-drill a hole with a diameter of 2.2 mm, otherwise the pinpoint pressure of the synthetic string may damage the wooden neck.
Button– the head of a wooden peg, which is inserted into a hole in the body, which is located on the side opposite from the fingerboard, serves to attach the hinge loop. The wedge is inserted into a conical hole corresponding to its size and shape, completely and tightly, otherwise the wedge and the deck may crack. The load on the button is very high, about 24 kg.
Stand affects the timbre of the instrument. It has been experimentally established that even a small shift of the stand leads to a significant change in timbre (when shifted to the pegboard, the sound becomes dull, and from there it becomes more piercing. The stand raises the strings above the top soundboard at different distances for playing each of them with a bow, distributes them at a greater distance from each other on a plane than the top sill, the recess for the strings in the stand is rubbed with graphite lubricant, which contains oil to soften the wood.
Vulture
Vulture violin - a long block of solid hard wood (black ebony or rosewood. Over time, the surface of the fingerboard either wears away and becomes uneven. The lower part of the fingerboard is glued to cervix, which goes into head, consisting of Pegging boxes And curl.
Upper sill- an ebony plate located between the fingerboard and the head, with slots for strings. The recess in the nut is rubbed with graphite lubricant or graphite (graphite pencil) to reduce friction on the strings and their service life. The holes in the nut distribute the strings at equal distances from each other.
Neck- a semicircular part that the performer covers with his hand during the game. Attached to the neck from above vulture And top threshold.
Pegs box– part of the neck in which a slot is made at the front, two pairs are inserted on both sides stakes, with the help of which the strings are tuned. The stakes are conical wedges. The wedge is inserted into the tapered hole in the peg box. They must fit each other, not be pressed into the box without rotation, and be inserted completely into the box - failure to comply with this condition can lead to destruction of the structure. For tighter or smoother rotation, the pegs are respectively slightly pressed in or removed from the box during rotation, and for smooth rotation, the lapping paste (or chalk and soap) must be lubricated. The stakes should not protrude too much from the peg box, and must fit into the conical hole. Necklaces are usually made of ebony and are often decorated with mother-of-pearl or metal (silver, gold) inlay.
Curl always served as something like a brand mark - evidence of the taste and skill of the creator. Some masters replaced it with a sculpture - a carved lion's head, for example, as was done by Giovanni Paolo Magini (1580-1632). The 19th century masters, when extending the neck of ancient violins, sought to preserve the head and scroll as a privileged “birth certificate”.
Strings
Strings pass from the headstock through the base above the surface of the fingerboard and through the nut to the stakes on which they are wound in the head.
The violin has four strings:
Accessories and Accessories
Bow– A wooden cane that goes into the head on one side, with a block attached on the other. The hair of the ponytail (artificial or natural) is stretched between the head and the block.
Chin pad. Designed for the convenience of playing as a musician. The lateral, median and their intermediate locations are chosen based on the ergonomic advantages of the violinist.
Bridge. It is also designed for the convenience of the musician's playing. Attaches to the back of the violin and is designed to be mounted on the player's shoulder. It consists of a stand (straight or bent, hard or covered with soft fabric, wood, metal or carbon), and fastenings on each side. Necessary electronics, such as a microphone amplifier, are often hidden in a metal structure.
Pickup device. They are needed to convert the sound vibrations of the violin into electrical impulses for recording or to amplify the sound of the violin using special devices. Depending on the role of the pickup devices, there are:
Case for violin and bow, as well as various accessories.
Surdin It is a small wooden or rubber “comb” with two or three “teeth”. It fits on top of the stand and reduces its vibration, making the sound muffled and very soft. The mute is usually used when performing plays of a lyrical nature. The mute is most often used in orchestral and ensemble music.
"Jammer"- a heavy rubber or metal mute, used for practicing at home or other places where loud sound is inappropriate. When using a jammer, the instrument practically stops sounding and produces barely noticeable pitch tones that are sufficient for the performer to perceive and control.
Typewriter- a metal device consisting of a screw, which is inserted into the holes of the pigtail, and a hook, which is used to fasten the string, located on the other side. The machine allows you to adjust the strings more finely, which is especially important for mono-metal strings that have low stretch. Each size of violin has a specific machine size; there are also universal ones. Typically plated in black, gold, nickel or chrome, or a combination of these. There are models specifically for gut strings, for the E string. You can learn and play the instrument without machines: in this case, the string is inserted directly into the hole in the neck. It is possible to install machines not on all strings to lighten the weight of the headstock. Usually in this case the machine is placed on the first string.
Playing a 17" violin in 3 positions. The strings are pressed with four fingers of the left hand on the fingerboard ( thumb excluded). The strings are drawn with a bow held in the player's right hand.
When pressed with a finger, the string is shortened and gets a higher sound. Strings not pressed with a finger are called open; playing on open strings is indicated by a zero, which is placed above the note. Author's music and poetry on the website kibber.ru, as well as memories and articles.
The violin part is written in treble clef. The range of the violin is from G in the small octave to C in the fourth octave and higher. By half-pressing the string, harmonics are obtained. Some harmonic sounds go further in pitch than the violin range indicated above.
Putting the fingers of the left hand is called fingering. The index finger is called the first, the middle - the second, the fourth - the third, the little finger - the fourth. Position is called the fingering of four adjacent fingers, spaced from each other by a tone or semitone. Each string can have seven or more positions. The higher the position, the harder it is. On each string, they play mainly only up to the fifth position inclusive; and in the higher two they use higher positions - from sixth to twelfth.
The way the bow is held has a great influence on the character and strength of the sound and on phrasing in general. On a violin, you can play two notes simultaneously on adjacent strings. (double strings) and not simultaneously, but very quickly - three (triple strings) and four. This combination, predominantly harmonic, is easier with empty strings and more difficult without them.
In addition to playing with a bow, they use one of their fingers to touch the strings. right hand(pizzicato). To weaken the sound, they use a mute - a metal, bone or wooden plate with grooves in the lower part for strings, which is attached to the top of the stand or filly. It is easier to play the violin in those keys that allow the greatest use of empty strings. Convenient passages are those that are composed of scales or their parts.
The prototypes of the violin were the Arab rebab and the German rota, the merger of which formed the viola. The shapes of the violin have settled to XVI century; in this century and at the beginning of the next, the 17th century, violin makers of the Amati family worked. Their instruments are beautifully shaped and made of excellent materials. In general, Italy was famous for the production of violins, among which Stradivarius and Guarneri violins are now extremely highly valued.
The violin has been a solo instrument since the 17th century. The first works for violin are considered to be: “Romanesca per violino solo is basso” by Marini from Brescia (1620) and “Capriccio stravagante” by his contemporary Farina. A. Corelli is considered the founder of artistic violin playing; followed by Torelli, Tartini, Pietro Locatelli (1693-1764), a student of Corelli, who developed a bravura technique of violin playing.
See also: Violinists
There are alto and soprano violins - instruments that play in low and high registers, respectively. Also, violins can be made of wood - the so-called acoustic violins, or they can be made of metal or, in extreme cases, plastic - electric violins.
Violins, like pianos, perform equally well in both ensemble and solo playing, which is why there are an incalculable number of works for , and they continue to be created.
According to some sources, the Spanish fidel is considered the ancestor of the violin. Other resources say that her ancestors were the Arab rebab and the Kazakh kobyz. At first, these instruments formed the so-called “viol”, from where the Latin word “violin” comes. Widespread (as folk instrument) violins were received in Romania, Ukraine and Belarus.
The best violins in the world are the violins of the great, talented Italian master - Stradivari, or rather the so-called “golden period” of his work - the late 17th - early 18th centuries. The violins he created sounded so magical and unusual that his contemporaries said that he had sold his soul to the devil. It is known that Stradivari created about 1000 violins, but only about 600 of the great master’s violins have survived to this day, each costing from one to three million euros.
Some interesting facts. Albert Einstein once performed in a tavern, playing the violin. One journalist who followed this and later found out the name of this artist wrote a note about it. Einstein kept it for himself and told everyone that he was not a great scientist. There is also a legend that while painting the Mona Lisa, Leonardo Da Vinci ordered violins to be played. It is believed that her smile is a reflection of the music.
The violin is a bowed string instrument that no orchestra can do without. Learning to play the violin requires years of practice under the guidance of an experienced teacher.
Instructions
The birthplace of the violin is Europe. The time of birth is the thirteenth century. Before the violin found its familiar form, it underwent various changes and improvements. We can say that the violin has been formed over centuries, and this formation is connected with the development and evolution of music as an art. The world owes the appearance of the classical form of the violin to the Italian master Andrea Amati, who managed to achieve a timbre from the violin that was close to the human voice. The Amati violin, thanks to its strong and rich sound, entered the stage of great concert halls and has become one of the most popular instruments. Another famous Italian master, Antonio Stradivari, improved the structure of the violin, which made it possible to achieve a bright sound combined with the softness and tenderness inherent only in this instrument.
In our time, the violin has not lost its popularity. It is a fairly complex instrument, and mastering it is much more difficult than, for example, a . To learn to play the violin professionally, you need to spend several years, and it is advisable to start in childhood. The sooner you start learning, the better, since the technique of playing this instrument requires great flexibility and mobility of the hands. To play the violin it is not at all necessary to have absolute musical ear, much more important is harmonic hearing. To develop it, you will need regular solfeggio classes.
In addition to mastery of musical performance, caring for the instrument itself is an important element. The violin is very weather-sensitive; strong temperature fluctuations and any environmental changes are destructive to it. It should be protected from direct sunlight, heat, and moisture. It is important to choose a high-quality case for it. Usually choose spacious and heat-resistant. The case must be ventilated periodically. The violin is stored in a special bag made of breathable fabric and cleaned regularly with soft flannel cloths. Inner surface violins are cleaned using heated oats or washed dry rice. In addition, there are a lot of factory-made violin care products. For better glide, the bow is rubbed with rosin.
Take care of your violin with love, spare no effort in learning to play it, and it will repay you handsomely - with great sound and longevity!
The violin is the most common bowed instrument, enjoying incredible popularity since the 16th century as a solo and accompanying instrument in an orchestra. The violin is also called the “queen of the orchestra.”
Origin of the violin
Disputes about when and where this legendary musical instrument, do not subside to this day. Some historians suggest that the bow appeared in India, from where it came to the Arabs and Persians, and from them it passed to Europe. During the course of musical evolution there have been many different versions bowed instruments that influenced modern look violins. Among them we can distinguish the Arab rebab, the German company and the Spanish fidel, the birth of which occurred in XIII-XV centuries. It was these instruments that became the progenitors of the two main bowed instruments - the viol and the violin. Viola appeared earlier, she was different sizes, they played it standing, holding it on their knees, and later on their shoulders. This type of viol playing led to the appearance of the violin.
Rebab
Some sources indicate the origin of the violin from the Polish instrument skripitsa or from the Russian skripli, the appearance of which dates back to the 15th century. For a long time, the violin was considered a common instrument and did not sound solo. It was played by wandering musicians, and the main place for its sound was taverns and taverns.
Violin transformation
In the 16th century they began making violins Italian masters, engaged in the production of viols and lutes. They clothed the instrument in perfect shape and filled with the best materials. Gasparo Bertolotti is considered the first master to make the first modern violin. The main contribution to the transformation and production of Italian violins was made by the Amati family. They made the timbre of the violin sound deeper and more delicate, and the character of the sound more multifaceted. They accomplished the main task that the masters set for themselves excellently - the violin, like the human voice, had to accurately convey emotions and feelings through music. A little later, there in Italy, they worked all over the world to improve the sound of the violin. famous masters Guarneri and Stradivari, whose instruments today are valued at entire fortunes.
Stradivarius
In the 17th century, the violin became a solo member of the orchestra. In a modern orchestra, there are about 30% of violinists from total number musicians. The range and beauty of the sound of a musical instrument is so wide that works of all genres of music are written for the violin. The world's great composers wrote many unsurpassed masterpieces, where the main solo instrument was the violin. The first work for violin was written in 1620 by the composer Marini and was called “Romanesca per violino solo e basso”.
Many nations have a prototype of the violin. A modern form and the violin acquired size by the sixteenth century. At the same time, the famous Italian violin maker Nicolo Amati, as well as his students Andrea Guarneri and Antonio Stradivari, also worked. Their violin is still considered the best in the world. It is believed that the great Stradivari created about one thousand one hundred and sixteen musical instruments and many of them were even given names. Names were given in honor famous musicians who played one violin or another at one time. After all, the violin is an individual instrument and many great violinists preferred to have one single instrument that was thoroughly known to them. Each musician poured his soul into his violin, and it responded in kind, producing unique melodies, incomparable in their beauty.
Violin stimulates the brain
The great scientist Albert Einstein was known as an excellent violinist, and even performed at concerts as a child. When Einstein grew up, he still loved to play the violin, claiming that it helped him think. And the well-known Conan Doyle, the brilliant detective Sherlock Holmes, played the violin, pondering his next case.
How are violin and mysterious smile Mona Lisa? According to legend, Leonardo da Vinci invited violinists every time the Mona Lisa came to sit for a portrait. And the pleasure of music was forever imprinted in the smile of Gioconda.
And the smallest violin was created by a violinist from the Chinese city of Guangzhou. Its length is only one centimeter, and it took seven whole years to create. It's a shame it's not playable.
The violin is rightfully considered an instrument because the sound it produces is very expressive and beautiful. The tonality of the violin has a gentle sound that can make any person with an ear for music fall in love with it.
The violin has its origins in India, where the first instruments with a bow appeared. Although in Europe in the Middle Ages the bow was in use, and it was played on a variety of musical instruments that had strings.
In any symphony orchestra, thirty percent of musicians play violins.
Violin- a high-register bowed string musical instrument. It is of folk origin, acquired its modern appearance in the 16th century, and became widespread in the 17th century. It has four strings tuned in fifths: g, d1,a1,e² (small octave G, D, A of the first octave, E of the second octave), range from g (small octave G) to a4 (A of the fourth octave) and higher. The violin's timbre is thick in the low register, soft in the middle and brilliant in the upper.
Origin and history.
The ancestors of the violin were Arabic rebab, Spanish fidel, British mole, the merger of which formed the viola. The forms of the violin were established by the 16th century; Famous violin makers, the Amati family, date back to this century and the beginning of the 17th century. Their instruments are beautifully shaped and made of excellent materials. In general, Italy was famous for the production of violins, among which Stradivarius and Guarneri violins are currently extremely highly valued.
The violin has been a solo instrument since the 17th century. The first works for violin are considered to be: “Romanesca per violino solo e basso” by Marini from Brescia (1620) and “Capriccio stravagante” by his contemporary Farina. Arcangelo Corelli is considered the founder of artistic violin playing; followed by Torelli, Tartini, Pietro Locatelli (1693-1764), a student of Corelli, who developed a bravura technique of violin playing.
The structure of a violin.
The violin consists of two main parts: the body and the neck, between which the strings are stretched.
Frame.
The body of the violin has an oval shape with rounded grooves on the sides forming the “waist”. The roundness of the external contours and waist lines ensures comfortable playing, particularly in high registers. The lower and upper planes of the body - the deck - are connected to each other by strips of wood - shells. They have a convex shape, forming “arches”. The geometry of the vaults, as well as their thickness and its distribution, to one degree or another, determine the strength and timbre of the sound. A damper is inserted inside the body, transmitting vibrations from the lid to the bottom. Without this small detail, the violin's timbre loses its liveliness and fullness.
The strength and timbre of a violin's sound is greatly influenced by the material from which it is made and the composition of the varnish. When a violin is impregnated with varnish, it changes the density of the original wood. The degree of influence of impregnation on the sound of a violin is unknown, since it depends mainly on the structure and characteristics of the wood itself. After drying, the varnish protects the violin from significant changes in the density of the wood under the influence of the environment. The varnish paints the violin with a transparent color ranging from light golden to dark red or brown.
Bottom deck or "bottom" The body is made of maple, from two symmetrical halves.
Top deck or "lid" made from spruce. Has two resonator holes - f-holes(in shape they resemble the Latin letter f). In the middle of the top soundboard there is a stand, over which strings pass, attached to a tailpiece (neck).
Shells connect the lower and upper soundboard, forming the side surface of the violin. Their height determines the volume and height of the violin, fundamentally influencing the timbre of the sound: the higher the shells, the duller and softer the sound, the lower the shells, the more piercing the sound of the violin. The shells, like the bottom, are made of maple.
Darling- a round spruce spacer that transmits the vibrations of the deck to the bottom. Its ideal location is found experimentally, on which the master sometimes spends many hours of work
Headrest, or tailpiece, serves for fastening strings. Made from hard ebony or mahogany (usually ebony or rosewood, respectively). On one side of the neck there is a loop, on the other there are four holes with slots for attaching strings. The principle of fastening is simple: the end of the string with a button is threaded into a round hole, after which it is pressed into the slot by tensioning the string towards the fingerboard.
A loop- a loop of thick intestinal string or plastic. A plastic loop is preferable because it has an adjustable loop length. When replacing a vein loop with a larger diameter than 2.2 mm with a synthetic one (diameter 2.2 mm), it is necessary to wedge the wedge and re-drill a hole with a diameter of 2.2, otherwise the point pressure of the synthetic string may damage the wooden neck.
Button- the head of a wooden peg, inserted into the hole in the body, located on the side opposite the fingerboard, serves to attach the underneck loop. The wedge is inserted into a conical hole corresponding to its size and shape, completely and tightly, otherwise the wedge and deck may crack. The load on the button is very high, about 24 kg.
Stand affects the timbre of the instrument. It has been experimentally established that even a small shift of the base leads to a significant change in timbre (when shifted towards the base, the sound is duller, while from there it is more shrill). The stand raises the strings above the top soundboard at different distances for playing each of them with a bow, distributing them at a greater distance from each other on a plane than the top nut. The grooves for the strings in the stand are rubbed with graphite lubricant, which uses oil to soften the wood.
Grif.
Violin neck- a long block of solid hard wood (ebony or rosewood). Over time, the surface of the fingerboard either wears off or becomes uneven. The lower part of the neck is glued to the neck, which goes into the head, consisting of a peg box and a curl.
Upper sill- an ebony plate located between the fingerboard and the head, with slots for strings. The grooves in the nut are rubbed with graphite lubricant or graphite (graphite pencil) to reduce friction on the strings and extend their service life. The holes in the nut distribute the strings at equal distances from each other.
Neck- a semicircular part that the performer covers with his hand during the game. The neck and nut are attached to the top of the neck.
Pegs box- a part of the neck in which a slot is made at the front; two pairs of pegs are inserted on both sides, with the help of which the strings are tuned. Pegs are conical wedges. The wedge is inserted into the tapered hole in the tuning box. They must fit each other, not be pressed into the box without rotation, and be inserted completely into the box - failure to comply with this condition can lead to destruction of the structure. For tighter or smoother rotation, the pegs are respectively slightly pressed or pulled out of the box when rotating, and for smooth rotation they must be lubricated with lapping paste (or chalk and soap). The pegs should not protrude too much from the peg box, and must fit into the tapered hole. The pegs are usually made of ebony and are often decorated with mother-of-pearl or metal (silver, gold) inlay.
Curl has always served as something like a brand mark - evidence of the taste and skill of the creator. Initially, the curl rather resembled a woman’s foot in a shoe, but over time the similarity became less and less - only the “heel” was recognizable, the “toe” changed beyond recognition. Some masters replaced the curl with a sculpture - a carved lion's head, for example, as did Giovanni Paolo Magini (1580-1632). Masters of the 19th century, lengthening the neck of ancient violins, sought to preserve the head and scroll as a privileged “birth certificate”
Strings.
Strings pass from the underneck through the stand, over the surface of the fingerboard and through the nut to the pegs, which are wound around in the head.
The violin has four strings:
first(“fifth”) - upper, tuned to E of the second octave. The metal solid E string has a ringing, brilliant timbre.
second- tuned to A first octave s. The vein (intestinal or made from a special alloy) solid “A” has a soft, matte timbre.
third- tuned to D first octave. The vein (intestinal or artificial fiber) “D”, entwined with aluminum thread, has a soft, matte timbre.
fourth(“bass”) - lower, tuned to minor octave G. Vein (intestinal or artificial fiber) “salt”, entwined with silver thread, a harsh and thick timbre.
Accessories and supplies.
Bow- A wooden cane that goes into the head on one side, with a block attached on the other. The hair of the horse's tail (artificial or natural) is stretched between the head and the block. Horsehair, especially thick hair, has large scales, between which there is rubbing rosin, which has a beneficial effect on the sound.
Chin pad. Designed for the convenience of playing as a musician. The lateral, middle and their intermediate locations are selected based on the ergonomic preferences of the violinist.
Bridge. It is also designed for the convenience of the musician's playing. Attaches to the back of the violin and is designed to be mounted on the player's shoulder. It consists of a stand (straight or curved, hard or covered with soft fabric, wood, metal or carbon), and fastenings on each side. Necessary electronics, such as a microphone amplifier, are often hidden in a metal structure. The main brands of modern bridges are WOLF, KUN, etc.
Sound pickup devices. Required in order to convert the sound vibrations of the violin into electrical impulses (for recording or to amplify the sound of the violin using special devices).
If on a violin the sound from sound pickup devices that perform an additional function (sound amplification or other) is insignificant in relation to the sound created by structural elements (body, head, etc.), then the violin is acoustic .
If both make an important contribution to the formation of sound, then it is - semi-acoustic violin.
If the structural elements do not have a big impact on the sound, then this electric violin .
Case(or case) for the violin and bow, as well as all kinds of accessories.
Mute It is a small wooden or rubber “comb” with two or three “teeth”. It fits on top of the stand and reduces its vibration, making the sound muffled and very soft. The mute is usually used when performing plays of an intimate, lyrical nature. Most often, the mute is used in orchestral and ensemble music.
"Jammer"- this is a heavy rubber or metal mute, used for home exercises, as well as for exercises in places that do not tolerate noise. When using a jammer, the instrument practically stops sounding and emits barely audible pitch tones that are sufficient for the performer to perceive and control.
Typewriter- a metal device consisting of a screw inserted into the holes in the neck, and a hook used to fasten the string, located on the other side. The machine allows you to make finer adjustments, which is most critical for monometallic strings that have low stretch. There is a specific machine size for each violin size; there are also universal ones. Usually have black, gold-plated, nickel-plated or chrome-plated, or a combination of these. There are models specifically for gut strings, for the E string. You can learn and play the instrument without machines: in this case, the string is inserted directly into the hole in the neck. It is possible to install machines not on all strings to lighten the weight of the neck. Usually in this case the machine is placed on the first string.
Record.
The violin part is written in treble clef. The standard range of the violin is from G of the small octave to the fourth octave. Higher sounds are difficult to perform and are used, as a rule, only in solo virtuoso literature, but not in orchestral parts.
Hand placement.
The strings are pressed with four fingers of the left hand to the fingerboard (thumb excluded). The strings are drawn with a bow held in the player's right hand.
When pressed with a finger, the length of the vibrating area of the string decreases, due to which the frequency increases, that is, a higher sound is obtained. Strings that are not pressed with a finger are called open and are indicated by a zero when indicating the fingering.
By touching the string with almost no pressure in certain places, harmonics are obtained. Some harmonic sounds go beyond the standard violin range in pitch.
The placement of the fingers of the left hand is called fingering (from the word fingering). The index finger is called the first, the middle finger is the second, the ring finger is the third, and the little finger is the fourth. Position is the fingering of four adjacent fingers, spaced one tone or semitone apart. Each string can have seven or more positions. The higher the position, the more difficult it is to play cleanly. On each string, excluding fifths, they go mainly only up to the fifth position inclusive; but on the fifth or first string, and sometimes on the second, higher positions are used - up to the twelfth.
There are at least three ways to hold the bow:
Old("German") method in which forefinger touches the bow cane with its lower surface, approximately opposite the fold between the nail phalanx and the middle one; fingers tightly closed; the thumb is opposite the middle finger; The bow hair is moderately taut.
New("French-Belgian") method in which the index finger touches the cane at an angle with the end of its middle phalanx; there is a large gap between the index and middle fingers; the thumb is opposite the middle finger; strongly stretched bow hair; inclined position of the cane.
Newest(“Russian”) method in which the index finger touches the side of the cane with a bend between the middle phalanx and the metacarpal; deeply enveloping the middle of the nail phalanx and forming a cane with it sharp corner, he seems to direct the bow; there is a large gap between the index and middle fingers; the thumb is opposite the middle finger; loose bow hair; straight (not inclined) position of the cane. This way of holding the bow is the most appropriate for achieving the best sound results with the least amount of energy.
Bowing has a great influence on the character, strength, timbre of the sound, and on phrasing in general. On a violin, you can normally play two notes simultaneously on adjacent strings (double notes), in exceptional cases - three (strong bow pressure is required), and not simultaneously, but very quickly - three (triple notes) and four. Such combinations, predominantly harmonic, are easier to perform on open strings and are usually used in solo works.
Left hand position.
"Open Strings"- the fingers of the left hand do not pinch the strings, that is, the violin plays four notes separated by fifths: g, d1, a1, e² (G of the small octave, D, A of the first octave, E of the second octave).
The first position - the fingers of the left hand, except the thumb, can pinch the string in four places, separated from each other and from the open string by a diatonic tone. In conjunction with open strings form a 20-tone series of sounds from the note Sol of the small octave to B of the second octave.
First position.
The thumb is directed towards the player, forming a “shelf” on which the neck of the violin rests - it performs only a supporting function. The other fingers of the left hand are placed on top, pressing on the strings without holding the neck. Left hand has only seventeen “basic” positions, which are based on the following:
The fingers are located in the position corresponding to the white keys of the piano;
The fingers do not move along the fingerboard;
The distance between adjacent fingers of the same string is a tone or semitone;
The distance between the fifth and second (outermost working) fingers of the next string is one tone.
Basic techniques:
Detache- each note is produced by a separate movement of the bow, by changing its direction;
Martelé- a stroke performed by a push of the bow, in which the length of the sound itself is much shorter than the period of attenuation of sonority;
Staccato down and up with a bow - movement of the bow with a stop;
Staccato volant- a type of staccato. When playing, the bow jumps, breaking away from the strings;
Spiccato- bouncing stroke, very light staccato;
Ricochet-saltato- a stroke performed by striking the hair of a raised bow on the string, as a rule, performed by a continuous group;
Tremolo- multiple rapid repetition of one sound or rapid alternation of two non-adjacent sounds, two consonances (intervals, chords), separate sound and consonance.
Legato- coherent performance of sounds, in which there is a smooth transition from one sound to another, there is no pause between sounds.
Col legno- strike the string with the shaft of the bow. Causes a knocking, deathly sound, which is also used with great success by composers in symphonic music.
In addition to playing with a bow, they use one of the fingers of the right hand to touch the strings ( pizzicato). There is also pizzicato with the left hand, which is used mainly in solo literature.
There is also a special way of isolating an overtone from the timbre of a sounding string - harmonic. It is performed by partially pressing the string at the point where its length is divided by 2 (the pitch of the string increases by an octave), by 4 (two octaves), etc.
Famous performers.
17th century
Arcangelo Corelli (1653-1713) - Italian violinist and composer, considered the creator of artistic violin playing.
Antonio Vivaldi (1678-1741) - Venetian composer, violinist, teacher, conductor. One of the most famous works- a cycle of 4 violin concertos “The Seasons”.
Giuseppe Tartini (1692-1770) - Italian violinist and composer. He improved the design of the bow, lengthening it, and developed the basic techniques of bowing, recognized by all contemporary violinists in Italy and France and which came into general use.
XVIII century
Ivan Khandoshkin (1747-1804) - Russian virtuoso violinist, composer and teacher. The founder of the Russian violin school. Russia's first violin virtuoso. During his lifetime he was popular in wide circles Russian society.
Giovanni Battista Viotti (1753-1824) is a famous Italian violinist of the generation that preceded Niccolò Paganini. Apart from ten piano concertos, all of Viotti's works were written for string instruments, the most important of which are the 29 violin concertos.
19th century
Niccolo Paganini (1782-1840) - Italian violinist and virtuoso guitarist, composer. One of the most prominent personalities musical history XVIII-XIX centuries. Recognized genius of world musical art.
Henri Vietan (1820-1881) - Belgian violinist and composer, one of the founders of the national violin school. Vieutang is the author of numerous works for violin, which are still very popular: seven concertos with orchestra, a number of fantasies, variations, concert etudes, etc.
Leopold Auer (1845-1930) - Hungarian, Russian violinist, teacher, conductor and composer. He is the founder of the so-called Russian violin school.
Eugene Ysaye (1858-1931) - Belgian violinist, conductor and composer. He wrote 6 violin concertos, variations on a theme by Paganini and others.
XX century
Jascha Heifetz (1901-1987) - American violinist of Jewish origin. Considered one of the greatest violinists of the 20th century.
David Oistrakh (1908-1974) - Soviet violinist, violist, conductor and teacher, professor at the Moscow Conservatory, National artist THE USSR.
Yehudi Menuhin (1916-1999) - American violinist and conductor. He also left his mark on philately; one of the philatelic prizes is named in his honor.
XXI Century
Vanessa Mae (October 27, 1978) is a world famous violinist and composer. She is known mainly for her techno adaptations of classical compositions. Performance style: “techno-acoustic fusion”
Famous violin works.
J. S. Bach. 3 sonatas and 3 partitas for solo violin