The orchestral violinist's companion: 2 Left hand technique, pizzicato and other special techniques, rhythm and ensemble playing, notation and performance practice, repertoire and style, profession and career, resources
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Partitur Buch |
| Sprache: | English |
| Veröffentlicht: |
Kassel [u.a.]
Bärenreiter
2012
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | IX, S. 219 - 483 Ill. |
Internformat
MARC
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| 100 | 1 | |a Wulfhorst, Martin |e Komponist |0 (DE-588)135060982 |4 cmp | |
| 245 | 1 | 0 | |a The orchestral violinist's companion |n 2 |p Left hand technique, pizzicato and other special techniques, rhythm and ensemble playing, notation and performance practice, repertoire and style, profession and career, resources |c Martin Wulfhorst |
| 264 | 1 | |a Kassel [u.a.] |b Bärenreiter |c 2012 | |
| 300 | |a IX, S. 219 - 483 |b Ill. | ||
| 336 | |b ntm |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
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Datensatz im Suchindex
| _version_ | 1804150066210930688 |
|---|---|
| adam_text | Contents
Vol.2
Left-Hand
Technique
· Pizzicato
and Other Special Techniques
·
Rhythm and Ensemble Playing
·
Notation and Performance Practice
·
Repertoire and Style
·
Profession and Career
·
Resources
6
Left-Hand Technique
6.1
Toward a System of Orchestral Intonation
..........................................................................219
Consistency
219 ·
Matching Open Strings
220 ·
Pure Perfect Intervals
220 ·
Other Intervals
220 ·
Differences between Intonation Systems
221 ·
Matching and Adapting
222 ·
Not Playing Too Sharp
222 ·
Well-Tempered Half Steps
222
6.2
Fingerings
...................................................................................................................224
Standard Modern Principles
224 ·
Considerations of Orchestral Timbre
226 ·
Secure and Reliable Finger¬
ings
227 ·
Sight-Reading and Fast Learning
228 ·
Developing a Personal System of Fingering
229 ·
Developing a Routine
229
6.3
Diatonic Motion
...........................................................................................................229
6.4
Chromatic Motion
........................................................................................................233
6.5
Partially Chromatic Motion
.............................................................................................237
6.6
Chordal Arpeggiations (Broken Chords)
.............................................................................240
6.7
Scale-Chord-Plus (Framework of Scale Segments and Broken Chords)
...................................244
6.8
High Passages on the
G
String
.........................................................................................249
6.9
Leaps and Silent Shifts to High Pitches
..............................................................................251
6.10
High Passages Across the A String and
E
String
...................................................................253
6.11
Extremely High Passages on the
E
String
............................................................................258
6.12
Remote Keys, Accumulation of Accidentals, and Enharmonicism
.............................................260
6.13
Whole-Tone Motion
......................................................................................................261
6.14
Free Tonality and Atonality
.............................................................................................262
6.15
Finger Twisters
.............................................................................................................264
6.16
Double Stops and Chords
...............................................................................................265
6.17
Trills without Turns and Two-Note Slurred Tremolo
..............................................................267
6.18
Trills with Turns,
Doppelschläge,
and Other Ornaments
.........................................................269
6.19
Portamen
to and
Glissando
.............................................................................................270
6.20
Harmonics
..................................................................................................................272
v¡
_________________________
Contents
Vol.
2
7
Pizzicato and Other Special Technical Issues
7.1
Basic Pizzicato Technique
...............................................................................................275
The Left Hand
275 ·
Basic Motion and Beautiul Sound Quality
276 ·
Specific Sound-Quality Challenges
276 ·
Rhythm
277 ·
Blind Pizzicato
278
7.2
Advanced Pizzicato Technique
.........................................................................................278
Speed and Endurance
278 ·
Bow Down
279 ·
Alternating Right and Left Hands
279 ·
Alternating Two or
More Fingers
280 ·
Down and Up
280 ·
Pizzicato Tremolo
280 ·
Violin Down
281 ·
Non-Arpeggiated
Double Stops and Chords
281 ·
Unmeasured Arpeggio
252 ·
Measured Arpeggio
282 ·
Dampening
283 ·
Pizzicato Harmonics
283 ·
Snap Pizzicato or
Bartok
Pizzicato
283 ·
Other Special Pizzicato Techniques
284
7.3
Switching between
Arco
and Pizzicato (and Wee Versa)
........................................................284
7.4
Other Orchestral Techniques and Special Playing Modes
.......................................................287
Turning Pages
287 ·
Playing with a Mute
287 ·
Non-Standard Tuning
257 ·
Non-Standard
Playing Tech¬
niques and Modes
257
8
Rhythm and Ensemble Playing
8.1
Chai
lenges
and Practice Strategies
...................................................................................288
8.2
Conducting Technique
...................................................................................................288
8.3
Counting and Reading Rhythms
.......................................................................................289
8.4
Short Downbeat Rests and Short Downbeat Ties
.................................................................290
Bowed-Out and Linked Patterns
290 ·
Fitting into an Ongoing Motion
290 ·
Legato Patterns
293
8.5
Ostinato
Off-Beats and
Ostinato
Syncopations
....................................................................294
8.6
Irregular Off-Beats and Syncopations, Off-Beat Accents
........................................................301
8.7
Subdivisions of the Beat and Tuplets
.................................................................................302
Tricky Subdivisions and Transitions between Different Note Values
302 ·
Short Upbeats
302 ·
Subdivisions
of Long Beats
303 ·
Difficult Tuplet Patterns
304 ·
Switching betweeen Different Tuplet Patterns
305
8.8
Polyrhythms (Cross-Rhythms) and Polymeters
.....................................................................308
Notational Forms
308 ·
Working and Practicing Strategies
308 ·
Ignoring Polyrhythms
309 ·
Educated
Faking
309 ·
Mental Polyrhythm
310 ·
Notational Polyrhythm
570 ·
Audible Polyrhythm
311 ·
Melodic
Poly rhythm
313
8.9
Irregular and Changing Meters
........................................................................................314
8.10
Jazz and Latin Rhythms
..................................................................................................316
8.11
Flexible Rhythm:
Rubato
and Accompanying
......................................................................318
8.12
Ensemble Playing and Rhythmic Modes
.............................................................................320
A Complex Web of Factors
320 ·
Personal Temperament
320 ·
An Orchestra s Time-Zone
320 ·
Technical
Control
320 ·
Seating Arrangements and Acoustics
321 ·
Phrasing and Pacing
322 ·
Articulation
322 ·
Rhythmic Modes
323
9
Decoding and Marking Orchestral Parts:
A Manual of Orchestral Notation and Performance Practice
9.1
How to Mark Your Part: General
Guidelinesand
Models
.......................................................327
9.2
How Can I Be Expected to Read This?
·
Handwritten, Barely Legible,
and Illegible Parts
................................................................................. 329
9.3
Where Are We?
·
Points of Orientation
..........................................................................330
Measure Numbers
330 ·
Rehearsal Numbers and Rehearsal Letters
330 ·
Musical Form
330 ·
Text Cues
330 ·
Vocal Cues
331 ·
Instrumental Cues
331 ·
Adding Cues
332
Contents
Vol.
2____________________________________________________________________________
vi]
9.4
Where Do I Go Now?
·
Repeats, Jumps, Cuts.
..................................................................333
Repeats and Endings
333 ·
To Repeat or Not to Repeat?
334 ·
Da capo and
dal
segno
334 ·
Cuts and
Jumps
335
9.5
End of Staff, End of Page, Page Turns
...............................................................................336
Adding Warnings
336 ·
Awkward or Impossible Page Turns
336
9.6
Rhythm, Tempo, Pacing: Printed Symbols and Instructions
.....................................................339
Note Values
339 ·
Rests
339 ·
Fermatas, Railroad Tracks, Commas, Caesuras
340 ·
Meters
347 ·
Meter
Changes, Tempo Relationships between Consecutive Sections, Metric Modulation
343 ·
The Tempo Grid
344 ·
Tempo Expressions
344 ·
Metronome Markings
345
9.7
Rhythm, Tempo, Pacing: Handwritten Markings
..................................................................346
Lines, Triangles, Brackets
346 ·
Empty, Full, and Quiet Rests
348 ·
Caesuras and Fermatas
345 ·
Rhythmic Cues and Rhythmic Modifications
350 ·
Tempo Changes and
Rubati
352 ·
The Conductor s
Beating Pattern
352
9.8
Repeated Material, Abbreviated Notation, Tremolo
.............................................................353
Repetition of One-Beat Figures or Entire Measures
353 ·
Measured Pitch Repetition and Tremolo
354 ·
Measured Pitch Repetition or Tremolo?
354 ·
Speed of the Tremolo
356 ·
Accented Notes and Longer Note
Values in Tremolo or Repetition Passages
356 ·
End of a Tremolo
356 ·
Modifications
357 ·
Measured Two-
Pitch Alternation and Two-Pitch Slurred Tremolo
358
9.9
Accidentals and Pitches
..................................................................................................360
Conventions for Accidentals
360 ·
Courtesy Accidentals and Other Markings to Avoid Oversights
367 ·
Octave Transposition
362 ·
Glissando
and Portamento
363 ·
Adding
Portamenti?
365 ·
Expanded Pitch
Repertoire
{Scordatura
and Quarter Tones)
365
9.10
Harmonics
...................................................................................................................366
Simple, High-Position Natural Harmonics
366 ·
Simple, Low-Position Natural Harmonics
366 ·
Simple,
Mid-Range Natural Harmonics
367 ·
Artificial Harmonics
368 ·
Decoding and Performing Harmonics
369
9.11
Ornaments (I): Grace Notes and Appoggiaturas
...................................................................370
Lack of Congruence between Symbol and Execution
370 ·
Grace Notes Versus Appoggiaturas
377 ·
Multiple Grace Notes or Little Notes
374
9.12
Ornaments
(II):
Doppelschläge.........................................................................................375
Type
A
Doppelschlag 375 ·
Type
В
Doppelschlag 376 ·
Type
С
Doppelschlag 377 ·
Type
D
Doppelschlag 378 ·
Type
E
Doppelschlag 378 ·
Type F
Doppelschlag 378 ·
Type G
Doppelschlag 378 ·
Type H
Doppelschlag 378 ·
Adding Accidentals
379
9.13
Ornaments (III): Inverted Mordents and Trills
......................................................................380
Inverted Mordent
380 ·
Pitch of the Trilled Note
357 ·
Speed and Length of the Trill
357 ·
Trill Begin¬
nings
382 ·
Trill Endings
383 ·
Adding Turns
384 ·
Interpreting the Trill Sign and Other Universal Orna¬
mental Signs
385
9.14
Articulation and Bowings: Development and Styles
..............................................................386
The Development of the Bow
386 ·
The Baroque Bow and Baroque Bowing Technique and Style
386 ·
Transitional Bow Types
387 ·
The
Tourte
Bow and litth-Century Bowing Technique and Style
387 · 20th-
century
Bowing Technique and Style
388 ·
Historically Informed Performance (HIP)
359 ·
Notational
Developments
390
9.15
Articulation and Bowings: Signs and Terms
........................................................................391
Notes without Articulation Signs or Terms
391 ·
Slurs Serving as Articulation Signs and Bow Markings
(Type A)
393 ·
Technical Slurs (Type B)
395 ·
Slurs Serving as Articulation or Phrase Markings (Type C)
395 ·
Divisi,
Staggered, and Free Bowings
395 ·
Dot, Stroke, or Wedge Added to the End of a Slur
396 ·
Linked
Bowings
396 ·
Articulation Signs Added to the First Note of a Slur
397 ·
Slurs over Notes with the Same
Pitch
395 ·
Several Dots under a Slur
399 ·
Articulation Stroke and Dot
400 ·
Wedge and Dash
407 ·
Terms for Articulation and Bow Strokes
402 ·
Printed Bowings
403 ·
Handwritten Bow Markings
403
9.16
Emphases and Accents
...................................................................................................404
Accent Sign (>)404»sf, sfz, fz,
f405
·
fp
405 ·
rínf.,
riz, ri
406 · Hat Symbol
(A)
406 ·
Recent Accent
Signs
406
v¡¡¡
_____________
__^_
_____________________
Contents
Vol.
2
9.17
Decoding and Clarifying Printed Dynamics
.........................................................................407
Flowery Terms and Terms Based on Quantitative or Comparative Attributes
407 ·
Dynamic Levels on Either
Side of a Crescendo or Diminuendo
409
9.18
Dynamic Reminders and Warnings
...................................................................................411
Playing Too Loudly
411 ·
Playing Too Softly
412 ·
Surprising Dynamics
412·
Gradual Changes
413 ·
The
Mid-Range of the Dynamic Scale
474 ·
Instructions in Negative Form
414 ·
Surprising Dynamic Events
414
9.19
Adjustments of Dynamics
...............................................................................................414
Acoustic Conditions
474 ·
Juxtaposition of Different Registers and Playing Modes
474 ·
Dynamic Processes
That Are Too Slight or Too Long
476 ·
Musical Importance of the Individual Parts
476 ·
Extreme Dynamics
477 ·
Modifications
47 7
9.20
Phrasing and Micro-Dynamics
..........................................................................................418
Succession of Stressed and Unstressed Notes in the Baroque
475 ·
Moving Away from a Perfunctory
Scheme of Stressed and Unstressed Notes
479 ·
Analyzing the Phrase Construction
427
9.21
Expanded Modes of Playing
............................................................................................422
Mute Instructions
422 ·
Mute Types
423 ·
Col legno
424 ·
Ponticello
and
Tasto
424 ·
Pizzicato
425 ·
Printed Fingerings and Instructions to Use Specific Strings
427 ·
Non-Standard Playing Techniques and
Playing Modes
428
9.22
Timbre, Character, Expression, Vibrato
..............................................................................428
Terms and Phrases Describing Character and Expression
428 ·
Orchestral Vibrato:
Clichés,
Myths, and
Half-Truths
429
9.23
Which Part Should I Play?
·
Strategies for Dividing the Violins
.........................................
<$493
Section Size ®
493 ·
Non-Standard Section Divisions and Stage Music
Φ
493 ·
Solo, Soli, Tutti
Φ
494 ·
The
Notation of
Divisi
Passages ®
494 ·
Marking
Divisi
Passages
W
496 ·
To Divide or Not to Divide? ®
499 ·
Assigning Two
Divisi
Parts ®
500 ·
Assigning Three or More
Divisi
Parts ®
507 ·
Reading and Performing
Divisi
Passages
Ш
502 ·
Alternating
Divisi ®
502 ·
Complementary
Divisi 9>
504
9.24
Is My Part Accurate?
·
Misprints, Mistakes, Inconsistencies, Improvements
.......................
<Ш
505
Discrepancies between Score and Parts ®
505 ·
First Editions
Φ
507 ·
Mistakes in the Full Score
<Ш
507 ·
Critical or
Urtext
Editions
Φ
507 ·
Vertical Inconsistencies ®
509 ·
Horizontal Inconsistencies
# 509 ·
Oblique Inconsistencies®
570 ·
Inconsistencies Motivated by Limited Playing Technique®
572 ·
Perform¬
ance Philosophies, Performance Traditions, Improvements ®
572
10
Repertoire and Style
?
10.1
Selecting a Core Repertoire for Study and Practice: Goals and Criteria
..........................(433)
Φ
515
Musical and Technical Benefits and Relevance to the Style Grid ®
575 ·
Frequency of Performance ®
526 ·
Inclusion in Lists of Audition Repertoire
Φ
527
10.2
Building Your Core Repertoire and Style Grid
..................................................................
®
528
10.3
Individual Styles of Orchestral String Writing and Their Challenges: A Brief Historical Survey
..............
Φ
530
Baroque
Φ
530 ·
Viennese Classicism ®
530 ·
The 19th Century
Φ
530 ·
The 20th Century
Φ
537 ·
Musicals, Film Scores, Pops Pieces, and Commercial Music
<è
532 ·
Second-Violin Parts
É
532
11
Profession and Career
11.1
Planning an Orchestral Career
.........................................................................................434
11.2
Making a Career Decision: Is This Profession Right for Me? Am I Right for This Profession?
........435
Love of Orchestral Music
435 ·
Working in an Ensemble
435 ·
Personality Traits
435
11.3
Career Goals (I): Which Orchestra is Right for Me?
............................................................
436
Contents
Vol.
2_____________________________________________________________________________ix
11.4
Career
Goa
Is (II): The Concertmaster
.................................................................................437
Artistic Responsibility
437 ·
Personal Qualities
437 ·
Preparing
Tutti
Passages
437 ·
Preparing Solos
438 ·
Leading
439 ·
Solo Concertos
440 ·
Marking Parts
440
11.5
Career Goals (III)
·
Other Principal Positions and Sectional Positions
........................................441
Leading Positions in the First-Violin Section
441 ·
Leading Positions in the Second-Violin Section
441 ·
Section Players
441 ·
First Violinists
447 ·
Second Violinists
442
11.6
Audition ing
.................................................................................................................442
(I)
Setting
Your[ç]oals
442 · (2)
Gathering [[Information
442 · (3)
[pjlanning
442 · (4)
Gathering Ap¬
plication Materials
442 · (5)
Supplementary Training and Professional Experience
443 · (6)
Choosing and
Preparing a Mozart Concerto
443 · (7)
Choosing and Preparing Other Solo Repertoire
443 · (8)
Pre¬
paring Orchestral Excerpts
443 · (9)
Sight-Reading
444 · (10)
Preparing for Other Audition Tests
445 ·
(II)
Practicing the Audition Process
445 · (12)
Coping with Performance Anxiety
445 · (13)
Taking the
Audition
445 · (14)
Coping with Post-Audition Stress
445
11.7
Working in an Orchestra
................................................................................................446
Rehearsals
446 ·
Performances, Recordings, Tours, Educational Programs
447 ·
The Perfect Conductor
447 ·
Complementing the Conductor
448 ·
Cordiality within a Section
449 ·
Unsatisfactory Work Conditions
450
11.8
Long-Term Work
inan
Orchestra
......................................................................................450
After Several Years of Orchestral Work
450 ·
Performance Anxiety
451 ·
Preventing and Coping with
Health Problems (Hearing Loss)
457 ·
Deteriorating Technique and Musicianship
457 ·
Identity Issues
457 ·
Lack of Recognition
452 ·
Unrewarding Music
452 ·
Lack of Perfection, Growth, Creativity, Self-Expression,
Self-Fulfillment, and Self-Determination
453
12
Resources
12.1
Websites
.................................................................................................................
<*550
(A) Lists of Links ®
550 ·
(B) Orchestras and Associations of Orchestras ®
550 ·
(C) Unions, Musicians
Associations, Internet Forums
Φ
550 ·
(D)
Orchestra Vacancies and Freelance Work ®
557 ·
(E)
Medicine
for the Performing Arts, Health and Science, and Holistic Practices ®
557 ·
(F) Other Issues of Orchestral
Work
Φ
552 ·
(G)
Violin Playing and Teaching
Φ
552 ·
(Η)
Publishers of Sheet Music and Music Books ®
552 ·
(I) Other Useful Websites
Φ
555
12.2
How to Locate and Obtain Scores, Books, Articles, and Other Materials
.................................
Φ
556
12.3
Why Shouldn t I Download or Copy This Item? »A Crash Course in Copyright Law
................
®
557
12.4
Recommended Resources
·
An Orchestral Violinist s Library
................................................
Φ
558
12.5
J1
Orchestral Music: Complete, Unmarked Parts and Scores
...............................................
Φ
563
(A) Critical
(Urtext)
Editions ®
563 ·
(B) First Editions
Φ
564 ·
(С)
Reprints ®
564
12.6
Collections and Individual Editions of Orchestral Excerpts: A Systematic Overview
...................
Φ
565
12.7
Ρ
Orchestral Excerpts, Marked Orchestral Parts, Studies, and Methods
.................................
Ш
567
12.8
З
Printed andOn-Line Periodicals
.................................................................................
(ê
585
12.9
D
Books and Articles, @CD-ROM Documents,
eBooks,
&Web Documents
.............................
Ф586
12.10
Θ
Audio Recordings and ©Video Recordings
..................................................................
Φ
614
12.11
Щ
Computer Software
................................................................................................
Φ
615
12.12
Equipment
...............................................................................................................
Φ
615
13
Index
(1)
and Glossary: Terms, Abbreviations, Symbols
...................................................454
14
Index
(2):
Compositions, Composers, Other Musicians
.....................................................466
|
| any_adam_object | 1 |
| author | Wulfhorst, Martin |
| author_GND | (DE-588)135060982 |
| author_facet | Wulfhorst, Martin |
| author_role | cmp |
| author_sort | Wulfhorst, Martin |
| author_variant | m w mw |
| building | Verbundindex |
| bvnumber | BV040744581 |
| ctrlnum | (OCoLC)859367256 (DE-599)BVBBV040744581 |
| format | Musical Score Book |
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| id | DE-604.BV040744581 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:33:01Z |
| institution | BVB |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-025724440 |
| oclc_num | 859367256 |
| open_access_boolean | |
| owner | DE-1259 DE-M29 DE-12 DE-384 DE-B170 |
| owner_facet | DE-1259 DE-M29 DE-12 DE-384 DE-B170 |
| physical | IX, S. 219 - 483 Ill. |
| publishDate | 2012 |
| publishDateSearch | 2012 |
| publishDateSort | 2012 |
| publisher | Bärenreiter |
| record_format | marc |
| spelling | Wulfhorst, Martin Komponist (DE-588)135060982 cmp The orchestral violinist's companion 2 Left hand technique, pizzicato and other special techniques, rhythm and ensemble playing, notation and performance practice, repertoire and style, profession and career, resources Martin Wulfhorst Kassel [u.a.] Bärenreiter 2012 IX, S. 219 - 483 Ill. ntm rdacontent n rdamedia nc rdacarrier Violintechnik (DE-588)4229409-5 gnd rswk-swf Orchestermusik (DE-588)4131523-6 gnd rswk-swf Violinspiel (DE-588)4188374-3 gnd rswk-swf Violinspiel (DE-588)4188374-3 s Violintechnik (DE-588)4229409-5 s Orchestermusik (DE-588)4131523-6 s b DE-604 (DE-604)BV040744559 2 Digitalisierung BSB Muenchen 21 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025724440&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Wulfhorst, Martin The orchestral violinist's companion Violintechnik (DE-588)4229409-5 gnd Orchestermusik (DE-588)4131523-6 gnd Violinspiel (DE-588)4188374-3 gnd |
| subject_GND | (DE-588)4229409-5 (DE-588)4131523-6 (DE-588)4188374-3 |
| title | The orchestral violinist's companion |
| title_auth | The orchestral violinist's companion |
| title_exact_search | The orchestral violinist's companion |
| title_full | The orchestral violinist's companion 2 Left hand technique, pizzicato and other special techniques, rhythm and ensemble playing, notation and performance practice, repertoire and style, profession and career, resources Martin Wulfhorst |
| title_fullStr | The orchestral violinist's companion 2 Left hand technique, pizzicato and other special techniques, rhythm and ensemble playing, notation and performance practice, repertoire and style, profession and career, resources Martin Wulfhorst |
| title_full_unstemmed | The orchestral violinist's companion 2 Left hand technique, pizzicato and other special techniques, rhythm and ensemble playing, notation and performance practice, repertoire and style, profession and career, resources Martin Wulfhorst |
| title_short | The orchestral violinist's companion |
| title_sort | the orchestral violinist s companion left hand technique pizzicato and other special techniques rhythm and ensemble playing notation and performance practice repertoire and style profession and career resources |
| topic | Violintechnik (DE-588)4229409-5 gnd Orchestermusik (DE-588)4131523-6 gnd Violinspiel (DE-588)4188374-3 gnd |
| topic_facet | Violintechnik Orchestermusik Violinspiel |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025724440&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV040744559 |
| work_keys_str_mv | AT wulfhorstmartin theorchestralviolinistscompanion2 |