Violin is the most commonly used instrument in orchestra. Its playing techniques are rich and expressive. Mainly good at playing singing melody, it is the main melody instrument in the band. It is competent for fast phrases, scales and arpeggios, and it is also expressive as a foil to harmony. In solo, its color changes are diverse, and its dazzling performance is fully displayed. The beautiful piano sound aroused the artist's imagination and brought people extraordinary artistic enjoyment. Therefore, people call it the "queen" of musical instruments.
The violin is equipped with four strings, and the interval relationship between the strings is pure five degrees. Using treble spectrum to fix pitch: generally speaking, the timbre of the first string is clear and clear; The timbre of the second string is soft and elegant; The timbre of Sanxian is like a song, a little nervous; The timbre of the fourth string is deep and generous.
Tuning considerations:
1 The tuning of the violin is a five-degree fixed tuning. Beginners can proofread each empty string with a tuner. After mastering it skillfully, only aim at the A string, then proofread the A and D strings respectively, and then proofread the A and E strings with two tones repeatedly until the four strings are calibrated.
2 When correcting the sound, if the chord is too tight to twist, you can apply a little pencil lead or dry soap; If it is too loose and slippery, you can apply a little rosin powder or chalk powder.
The violin has a wide octave range from G to a4. The common range of bands is from G to a3 (that is, from the first position to the seventh position).
The violin has four strings, so many sounds in the whole range can exist on several strings at the same time, but the tone quality and timbre of the same pitch on different strings are not exactly the same. Among the four strings, the treble on the E string is used the most, followed by the A and G strings, and the treble on the D string is used less. This is because the notes of low chords are boring and tense, so they are rarely used. But the treble on the G string is tense and powerful (even the outermost string can pull out a strong force). When you are excited, it will be better to play with the G string and the higher notes on the G string (high grip).
staff
The staff is composed of five parallel lines with equal distance. The names of lines are called the first line, the second line, the third line, the fourth line and the fifth line from bottom to top. The blank part in the middle of the line is called "room", and the names of the rooms are also called the first room, the second room, the third room and the fourth room from bottom to top.
Treble clef (g clef)
The lines and intervals of staff are used to represent pitch, and clef determines what sound the lines and intervals represent. Each line indicates a certain pitch, and short horizontal lines can be added to the top and bottom of the staff when it is not enough.
musical note
The symbols used to record the length of sound in music are called notes. It consists of a Fu Tou, a pole and a tail.
Notes are divided into different shapes to record the duration of sound, and the different positions of Fu Tou on the spectrum are also used to indicate the level of sound. There are two kinds of notes: simple notes and dot notes.
discontinue
The symbol indicating the pause of sound is called a rest. Rest is divided into simple rest and additional rest.
point
Dashed lines are recorded to the right of notes and rests. Dots increase the duration of the original notes by half.
Multiple attachment points (also called double attachment points)
That is, there are two appendages to the right of the note or pause, and the second appendage increases the duration of the original note or pause by a quarter.
Bar line, bar line, end line
The vertical lines used to divide the beat are called bar lines. The part between two bar lines is called a bar line. The complex vertical line (one thick and one thin) recorded at the end of music is called the termination line, which means that the music ends here. Complex vertical lines (with two lines of the same thickness) recorded in the obvious part of the music indicate that the music has ended.
sound level
Phoneme with seven singing names (do, re, mi, fa, sol, la, si) or any sound name (c, d, e, f, g, a, b), each level has several different pitches, which are distinguished by diacritical marks. The relationship between all levels is the basis of all pitch relations in music. Level 1-nourishing; The second level-the tonic (the adjacent tone leading to the tonic); Grade III-alto (alto of tonic and dominant); Ⅳ-subordinate sound (subordinate sound below the tonic); ⅴ-tonic (tonic above tonic); Grade ⅵ-Lower alto (the middle tone of the tonic); Grade VII-leading sound (leading to the next adjacent sound of the tonic).
Half-tone
A semitone is called a second degree. Two semitones make a whole tone, and the whole tone is called two tones. An octave can be divided into 12 semitones.
space
The distance between two sounds is called an interval. Intervals can be divided into two categories: harmonic intervals that produce sounds at the same time and melody tone that produce sounds successively. Calculate the interval unit of a two-tone interval, expressed in degrees.
One of the main features of sound refers to the length of sound, which is determined by the continuous vibration time of the pronunciation body. Musically, it is mainly manifested in rhythm and beat. Sounds of different durations are marked by many different symbols, such as whole notes, quarter notes and eighth notes. The organized continuity of sound in time. It is one of the most important means of expression of music.
A repetitive sequence of rhythmic units of simultaneous values. In other words, the regular cycle of strong beat and weak beat is called beat. The unit beat in the stressed position is called strong beat, and the unit beat in the weak position is called weak beat.
Beat (time signature)
The unit of beat, expressed by a fixed time value (half note, quarter note, etc.). ). In the staff, it is represented by two Arabic numerals recorded on the right side of clef and key signature and below the third line. The above figures indicate the number of cells in each section,
The following figure shows the time value of the unit beat.
scale
In an octave, a series of sounds arranged in sequence according to a certain pitch relationship are called scales.
Take c major as an example. The distance between the third and fourth tones (mi and fa), the seventh and eighth tones (si and do) is semitone, and the distance between the other two adjacent tones is full tone, which is called major scale. A major scale with the sound name c as the main note is called a c major scale.
Minor scale: with la as the main key, it consists of seven sounds: la, si, do, re, Mi, fa and sol. It has three forms:
1 nature minor
Like major, it consists of seven tones. Different from major, semitone is between the second and third notes (si and do), between the fifth and sixth notes, and the distance between the other two adjacent notes is a whole tone. The tones used in natural minor are exactly the same as those in relational major, but the tonic is different and the scales are arranged differently (also called coordinate keys). The tonic difference between major and relative minor is three degrees. For example, the relative minor in C major is A minor, and the relative major in A minor is C major.
2 harmony minor
On the basis of natural minor, the seventh sound (#sol) is improved, and two degrees are added between the sixth sound and the seventh sound (fa and #sol), and the seventh sound forms a semitone relationship with the tonic.
Melody in 3 minor
On the basis of natural minor, the sixth and seventh keys (#fa and #sol) rise when going up and recover when going down.
Basic postures and methods of violin playing
1. Body posture
The real meaning of posture is a changing movement. Posture comes from action: because you have to act in order to play, posture comes from the need of action; Posture also serves action; Good posture makes the action convenient and the performance effective. Correct posture is one of the basic conditions to ensure the high development of students' playing level.
When you learn to play the violin, you must master the correct playing posture at the beginning. If the playing posture is incorrect, it will directly affect the pronunciation, timbre and playing skills of the bow. Violin can be played in two positions: sitting and standing.
Sitting posture is the posture used in ensemble and ensemble. Sit upright, keep your waist straight, and don't lean on the back of the chair (it is best to sit in the front of the chair). Choose a higher chair, so that the right knee can be slightly extended, so as not to touch the right thigh when playing the E-string bow. For younger students, in order to reduce physical fatigue, you can sit for a small part of time to practice every time you practice the piano.
Standing posture is the posture used in solo and practice. The body is required to be upright, relaxed naturally, and the feet are separated left and right (consistent with shoulder width)
Form a figure of eight, with your whole body center of gravity flat on your feet. When playing, you can naturally swing your body with the thoughts and feelings of music and the inner excitement caused by it. However, when playing, we should avoid too many body movements, because too many movements not only look uncomfortable, but also constantly adjust the relationship between the bow and the piano, which will bring many unfavorable factors to the performance.
Trim the piano
① Pick up the piano with your right hand (the thumb is on the piano panel and the other four fingers are on the back of the piano).
(2) Pick it up and put it on the left shoulder (the hand is still holding the piano, the head is in a natural position, and the chin pad of the piano is close to the left cheek).
(3) Hold the piano with chin and left shoulder (the body and shoulder form a 45-degree angle, the face of the piano is slightly tilted to the right, and the direction of the piano is slightly left). The angle of the harpsichord (moving slightly to the left or right) depends on the length of the left arm and the right arm. Generally, the position of the bow tip on the chord is parallel to the bridge horse and crosses the chord.
(4) Bend your left hand to hold the piano alone (you can put the piano aside at this time).
⑤ The root of the index finger of the left hand touches the neck of the piano, and the thumb touches the neck of the piano (for this reason, you can hold the piano with your right hand first and then put it on your shoulder).
⑥ The palm of the left hand bends inward into a semicircle. (Make the arrangement of fingers back and forth consistent with the direction of the fingerboard, and keep the wrist and forearm basically straight).
⑦ Put the four fingers of the left hand in the four-degree position.
3. The posture of left hand and left arm
As a whole, the left hand, fingers, wrists, arms and elbows are interrelated, and the actions of each part interact and influence each other. Four fingers often keep the basic position (four-degree relationship) when playing, which should be the case in any position. The left and right rotation of the left arm can adjust the relationship between the finger and the fingerboard, so that the finger can play the sound on any string in a comfortable position. When pulling the G string, the elbow will turn right to adapt to this position, and when pulling the E string, it will turn left, so that the elbow is like a rudder on a ship. So this action is called "rudder action of left arm".
When changing from the low grip position to the high grip position, the left arm also changes. On the one hand, it bends more and turns to the right to meet the needs of fingers playing in a high grip position.
In order to understand these two movements, we can carefully observe how the arm moves by playing two octaves with fixed grip and a scale with three octaves transposed.
Step 4 Hold and transport the bow
First of all, I took a pencil instead of a bow.
1. Put your right hand flat on the table, and your palm will face up naturally.
2. Hold a pencil with one end at the top of the little finger and the other end at the second level of the index finger.
3. The thumb is slightly curved, and the fingertip (slightly to the right) is placed where the middle finger touches the pencil.
4. Put your fingers together, hold the pencil gently, and your thumb will arch slightly at the same time.
5. The hand looks like it has been done above, then turn it over, palm down, and finger joints can move freely up and down.
6. The little finger should not be stiff. It should be relaxed and naturally bent on the bow rod to offset the weight of the bow at the other end of the fulcrum.
If every movement is done accurately, when it is turned over, we will find that it has become a beautiful bow-holding posture (of course, the pencil is still in hand). Next, you can practice on the violin bow with the same steps. In order to reduce students' psychological tension and sudden overload of the little finger, we can start from other parts of the bow (such as the middle of the bow).
It is of great significance to hold the bow correctly in your hand. Whether the bow method is correct or not has a lot to do with the method of holding the bow. From the appearance, no joint of a good bow is prominent and rigid, but soft and comfortable. If it is found that the knuckles are too tight or the fingers are stiff, it will greatly affect the freedom of pronunciation and the development of bow technology.
5. How to start the back bow?
After holding the bow, you can learn to recite. Starting from the middle bow, the reason is that the forearm is easier than the big arm. The middle arch is the action of the forearm, and the coordinated action of the wrist is easy to make, which will develop normally and will not cause any artificial phenomenon. Starting from the middle bow and then gradually extending to both ends will enable students to play a wider sound. These three advantages are difficult to have when practicing the upper bow, lower bow or full bow. Starting from the full bow is a very complicated movement with all-round cooperation of wrist, arm and forearm, which is very difficult for students who have just started to learn piano. It seems easy to start with the upper bow, but it will be unnatural at first because the wrist protrudes and collapses when the bow tip is pulled. The main action of pulling down the half bow is in the big arm, which is of course very difficult, and it is also difficult for the little finger to hold the bow. So it is ideal to transport the bow from the middle bow.
Seven planes carrying bows.
This violin has four strings. When carrying a bow, its contact surface has four tones and three tones, and seven planes. The most important basic skill in learning violin is to master the performance of these seven planes first. When playing a single tone, don't touch the adjacent strings or have any other noise; When playing two tones, the bow hair rubs on two tone planes at the same time, so that two strings can be pronounced at the same time. It is not possible to play one tone at a time and two tones at a time. In the process of practice, we should carefully adjust the height of the right arm in each plane position to make the sound smooth, even, smooth, clean and pleasant.
Coordination of the movements of all parts of the right hand bow
1. Horizontal movement of the upper arm from the shoulder joint. (This bow-pulling action is done with a bow in the next three minutes; If you bounce the bow quickly with the root of the bow, you should use your wrist instead of the horizontal action of your big arm. )
2. Horizontal movement of forearm from elbow joint. (This kind of bow-lifting action is mostly played by opening the bow with a half bow; If you play the bow quickly, you only need to use the wrist movement to partially or completely replace the horizontal movement of the forearm. )
3. Lift the arm up from the shoulder joint. (This kind of bow pulling action is mainly used to change strings in the upper part of the bow; If you need to change strings quickly at the tip of the bow, you can use wrist movements instead of shoulder movements. )
4. Forearm rotation from elbow joint. (The action of this bow is mainly to change strings at the root of the bow; Especially when the bow root changes strings quickly, this tiny string-turning action can play a very good musical effect. )
5. Finger arch movement. (This bow-changing action is mainly a combination of finger movements and wrist vertical movements, which will achieve an uninterrupted, coherent and extremely smooth bow-changing effect. )
6. Wrist arch movement. (This bow pulling action can only be used in the following situations: a. When it is used to replace the vertical action of the big arm, the bow is quickly pulled apart at the bow root. B it is used to quickly split, break or jump the bow in the upper half instead of the horizontal movement of the forearm. C it is used to quickly change strings in the upper half of the bow when replacing the swing arm. D. when the bow root changes strings quickly. )
It can be seen that the basic principle of bow transport is the natural movements adopted by the hands and fingers of the right arm, which makes the whole skill of the right arm based on a "spring system". If the natural spring does not work smoothly (refers to the joints of thumb, fingers, hands and arms) and is inelastic; Using a bow with very good elasticity will make the sound stiff, ugly, clumsy and out of control. Therefore, the whole right arm should have superelasticity and extremely high agility like a "mechanical spring" from the shoulder to the fingertip. When applied to various bows, each spring system can work freely and cooperate with each other, so as to obtain full, round and beautiful sound.
Bow position distribution
Generally, the bow is divided into five parts: upper half bow, lower half bow, bow tip, bow center and bow root, but there are actually eight parts, namely, bow tip 1/3, bow center 1/3 and bow root 1/3.
Upper bow: from the middle of the bow to the tip of the bow, open the right elbow joint during practice, and then send the elbow joint forward slightly; Start the forearm to drive the arm to lift the bow to the tip of the bow, the wrist begins to droop, the arm is straight, the thumb of the right hand points obliquely downward, and the little finger bends slightly and unfolds naturally. At the end of the lower bow, before the upper bow begins, you should immediately feel that the upper bow, shoulders and scapula are sinking backwards, the back is relaxed, the wrist is slightly raised, and the forearm drives the arm to push the bow.
Lower bow: the part from the root of the bow to the middle of the bow. When practicing, start from the bow root posture, open the right shoulder joint, and drive the passive forearm to transport the bow to the middle of the bow through the backward sinking of the big arm and scapula. At this time, the back of hand, wrist and forearm are almost in a line. Before lifting the bow from the middle of the bow to the root of the bow, I immediately felt that the action of lifting the bow was to rely on the big arm to provide thrust; When reaching the root of the bow, the thumb of the right hand points obliquely upwards, and the little finger bends naturally, so that it can move freely and hold the bow rod to balance the weight of the bow at the other end and make the bow and chord go straight in operation.
Bow root: when the bow is at the bow root, the musical instrument and the arm form a "triangle" shape, and the wrist forms a slightly curved fulcrum.
Bow: When the bow is placed in the middle of the bow, the arm naturally hangs down from the shoulder, the back of the hand, wrist and forearm are in a straight line, and the middle of the bow forms a square shape with the position of the musical instrument and body.
Bow tip: When the bow is at the bow tip, the whole right arm is almost straight, and the elbow is slightly turned inward, and the angle formed with the elbow is almost "right angle". This bow pulling action is completed by straightening the forearm and driving the arm to push the bow.
Basic bow method
Bowing is an indispensable aspect of expressing music content. There are two basic effects produced by various bow methods: the first is "linking", that is, the sounds are smoothly connected with each other; The second is "sta-ccato", that is, the sounds are not connected with each other. Therefore, although there are many kinds of bow techniques, its utility is nothing more than a different degree of penetration and pause playing method. Now several commonly used basic bow methods are described as follows:
1. Longbow: refers to continuously playing the selected part of the bow length. As long as there is no "interruption" in the performance of the upper and lower bows, it is called a longbow. Longbows can be divided into three types:
(1) "rotation" sound (also known as slow longbow)
It means to bow a tone for a long time, lasting between one second and fifteen seconds. When playing, the right upper limb is used together from the shoulder joint. When changing the bow at the tip and root of the bow, fingers and wrists must cooperate to make the bow change smooth, the bow transport uniform and stable, and the pronunciation smooth and coherent without noise. We must go all out.
2 Legato.
The slingshot method is the same as the "Lian" sound, and it takes a long time to pull the bow each time. The difference is that the "continuous" tone is a bow, while the continuous bow is a bow that plays two, four, eight and a series of uninterrupted tones continuously. When transitioning from one string to another, you can pull it with the help of the wrist supported by the action of the big arm. This string-crossing action is extremely subtle, completely imperceptible, and there is no thrust or hard action.
③ Arch division (separation)
Opening the bow is the most important basic bow method. Every bow, when played with the upper half of the bow, starts from the wrist and bends the forearm to stretch and carry the bow. Open the bow (equivalent to a long fast and slow bow) and lift the bow with the whole right arm. Short bow splitting, playing with the middle part of the bow, short bow splitting is fast, playing with a small part of the bow, which is the basis of bow jumping, playing with wrist and finger movements.
2. Telegraph (Telegraph)
When playing, carefully increase the pressure and speed at the beginning of each note, so that the note expands a little (don't play as an accent), and then the sound gradually decreases, and the sound seems to be broken.
3. Bow (Portato or louré)
Each note forms a bow by itself. One by one, the sound began to expand, then gradually weakened, but the sound continued. Its playing method is very similar to bow. It can be understood that bow is a bow that plays many bows with one bow, and they should make the same sound.
4. Bow (martel style, hammer style)
When playing, the bow must "bite" the string before transporting it, and the pressure used to "bite" the string is greater than the pressure required to transport the bow itself. Each tone has a sharp stress, there should be a pause between the two tones, and the pronunciation should be made with the strength of the wrist close to the strings. If you feel that you can't master it by your wrist alone, you can use slight pressure on your forearm, but never use your big arms or shoulders.
5. staccato (staccato)
When playing, always keep the bow hair in contact with the strings, each tone has a little initial sound, each bow should be pulled tightly, and then immediately relax the pressure. It is required to play short and separate notes with flexibility, speed and strength.
6. Control the jump bow (speke,)
Drop the bow from the air, so that the contact between the bow and the string forms an arc, and then leave the string after pronunciation. The right hand should flexibly control the bow, and the wrist should cooperate with the movements of the forearm and fingers to complete this horizontal and vertical movement. When changing strings, it mainly depends on the whole arm, plus the rotation of the forearm, and the hands and fingers participate in a little action.
7. Natural bow jump (Sotel)
First, choose the most elastic part of the bow (generally near the middle of the bow), try to divide the bow as short as possible, only use the wrist, not force. The jumping action mainly depends on the elasticity of the bow itself and the resilience of the strings. When jumping, the bow should be as close to the string as possible.