Parts of the instrument. Terminology for string instruments.
Instruments tuned in Fifths.
Violin notation in treble clef
lowest
note (G String) G below the staff (treble clef)
highest
note G+. 3 octaves and a fifth above middle C
Viola notation in both the alto clef
and the treble clef
lowest
note (C String) C, one octave below middle C
highest
note F+. 2 octaves and a fourth above middle C
Cello notation in bass, tenor and
treble clefs
lowest
note (C string) 2 octaves below middle C
highest
note C+. 2 octaves above middle C
Instrument tuned in Fourths. (A few players now
tune in Fifths)
Bass notation in bass and tenor clefs. (sounding one octave lower)
lowest
note E (or C with an extension) written 2 octaves below middle C
highest
note G+. 1 octave and a fifth above middle C.
Use of the Bow (arco)
Down-bow,
heavier at the frog, lighter at the tip.
Natural decrescendo.
Up-bows, the
reverse.
Strong beats on
down-bow. Volume controlled by adjusting speed
and pressure.
Lots of Speed but no pressure: a.k.a. Flautando Eerie
sound popular in contemporary pieces and with French composers (impressionistic
sound).
Lots of Pressure but no speed = crunch, rough
sounding not exactly a pretty sound. (Also
see Scratch Tone).
Separate Implies no slurs. Term: as
it comes. Refers to down then up!
Legato Connecting all the notes, no space at all, no accent!
Slur Self-explanatory!
Brush Strokes a.k.a.
Louré. Repeated notes slurred.
Collé a variation of Martelé. The bow stroke is minimally short.
Hooked bowing. Popular in dotted and double dotted French Overture!
Spiccato Bouncing, quick bows a.k.a. Off the string. Very muddy on the Bass!
Up-bow Spiccato bouncing in the same direction (up bow).
Down-bow Spiccato a.k.a. Saltando. Self-explanatory!
Ricochet
Bowing a.k.a. Jeté.
Repeated Down-bow = pesante (usually at the frog)
Up-bow = Leggiero (usually middle of the
bow)
Piqué Fast and repetitive dotted figure played with separate bows
at the tip.
Tremolo Very fast changes of ups and downs.
Snap pizz. A.k.a. Bartók pizz
Left hand Plucked with the left hand (lack of time...)
Tremolo Alternating between the right hand and left hand plucking
the string.
Sul
__ On the __ string to safeguard the same timbre.
Artificial Altering the length of the string.
Mute Use of a mute to alter the timbre (and volume) of the
instrument.
Glissando/Portamento In practice one and the same. Interchangeable. Sliding the finger from one note to the next note using the same
finger or two different fingers.
Fingered
Tremolos Alternating between 2 notes, same or different, same string
or different strings, measured or unmeasured. (See Bariolage).
Bariolage Crossing
the string purely for color or to
facilitate a fingering.
Vibrato Added
to enrich a held note. In a fast passage little or no vibrato used unless
otherwise indicated (Con Vib.). A lot of Vibrato may be requested (Molto Vib.). No
Vibrato at all (Senza
Vib.).
Scordatura Changing the range
of the Instrument by altering the normal
tuning. (To change the timbre Saint-Saens’ Danse Macabre, to facilitate fingering Kodaly’s Cello
Sonata, Violino Piccolo in Brandenburg #2 or Wachet Auf Cantata #140 of
J.S. Bach. Use 2 Instruments. Notation: simple instruction tune G to
F# or give actual pitches on staff.
Dampening To
stop the ringing and avoid the
natural decay of the sound. Opposite to laisser vibrer.
Bowing on the
Bridge Literally playing on the bridge.
Bowing on the
Tailpiece Literally playing on the tailpiece, more common for Double
Bass writing (audible overtones) produces a very resonant nondescript sound.
Scratch Tone Bow
hair flat on the string. Play with more downward pressure than necessary.
Playing behind
the Bridge Self-explanatory! Unpredictable,
different pitches every time. (ex. Grand Canyon Suite, F. Grofé)
Unconventional
Effects!
“Silent”
Fingering Hitting the string with the fingers on the fingerboard without
using the bow.
Tapping the Instrument Self-explanatory! With the palm of the hand but Never
with a harsh object (i.e. rings or the likes.)
Striking the String Self-explanatory!
A.k.a. Slapping the String More common in Double Bass writing.
Tapping with the Bow Self-explanatory. Not encouraged
The Closer to the Nut, the “Wider” the Semitone
2nd
Position The first finger replaces what used to be played by the
second finger in first position. Varies between a half step
and whole step.
3rd
Position The first finger replaces what was normally played by the
third finger in first position. And so on....
Shifting Going
from one position to another (either direction). The longer the shift, the
harder it is, and the more time is needed to reach that new position.
Bow on the String History of the Bow (Pedal tone!) Curvature
of the Bridge.
Double Stops Open strings and Stopped notes
Triple Stops 3 Adjacent strings
Chords (Arco or Pizz)
Rolling the
Chord Self-explanatory
Breaking the
chord Selecting
2 notes at a time (either direction)
(example Bach’s Sonatas/Partitas for
Solo Violin, Bartók’s Solo Sonata, Rimsky-Korsakov’s
Scheherazade)
(Pizz only)
Fast Break Gives
the impression that all 4 strings are struck at the same time.
Arpeggiated Going back and forth
between 2 or more strings, usually all 4 strings. (See Rolling the Chord, Bariolage) a.k.a. Quasi-guitara
Alla-chitarra The instrument is held like a guitar (ex. Ravel’s Bolero, Rossini’s Barber of
4 or More Notes in the Chord Self-explanatory!
Chords involving more than 1 Position (See Shifting!)
1st Violin
Higher register, Melody line.
2nd
Violin Play in thirds with the 1st Violins. Occasionally
gets the melody, but most often provide the harmony and accompaniment.
Viola Occasionally gets the melody, but most often provide the harmony
and accompaniment.
Cello Bass line – Foundation of chord
Bass Same as Celli – One octave lower