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BowingTechniquesinProkofiev’sViolinConcertoNo.2:Exploringthe
RightHand’sEffectonLeft-HandTechnique
CarolineHopson
BachelorofMusic(QueenslandConservatoriumofMusic)
MasterofMusicStudies(QueenslandConservatoriumofMusic)
AthesissubmittedforthedegreeofMasterofPhilosophyat
TheUniversityofQueenslandin2016
SchoolofMusic
ii
Abstract
Thiscriticalcommentaryseekstoclarifywaysinwhichbowtechniquecanenhanceleft-hand
technique,leadingtotheco-dependenceofthetwohands.Theimportance(andrelative
neglect)ofbowingpractice,isdescribedintheLiteratureReview,withreferencetomany
influentialperformersandpedagogues,andtheseviewsprovideacontextthatjustifiesthe
needforfurtherresearchinthisarea.Thiscommentaryemploysapractice-ledapproachto
research,whichgivestheworkanaccessibilityandrelevancetocurrentteachersand
performers.ItfeaturestheresearchofPercivalHodgson,apioneerofphotographic
experimentsofbowingpatternsintheearlytomid1900s.Thebowingpatternsanalysedin
hisMotionStudyandViolinBowingof1934areidentifiedandinvestigatedthroughacase
studybasedonpreparationofProkofiev’sViolinConcertoNo.2,whichwasperformedaspart
oftheperformancecomponentofthisproject.Prokofiev’sSecondConcertoprovidesmaterial
forthenumerous,differenttypesofbowingdescribedbyHodgson,whilealsoprovidinga
myriadofpotentialleft-handdifficultiesfortheperformerthatcanbesolvedwiththehelpof
anorganizedbowtechnique.Byunderstandingthecircularmotionsofbowing,decidedforus
bynaturallaws,deficienciesinthelefthandcanbeaddressed.Myresearchsuggeststhe
potentialforphysicalandmentalfreedom,asaresultofanalyzingtheexactmotionsoftheco-
dependenthands.Thiscommentarywillnotonlyhelpthefutureperformerorteacherofthis
work,butanyviolinistseekingtofeelmorefreeintheirpracticeandperformance.
iii
Declarationbyauthor
Thisthesisiscomposedofmyoriginalwork,andcontainsnomaterialpreviouslypublishedor
writtenbyanotherpersonexceptwhereduereferencehasbeenmadeinthetext.Ihave
clearlystatedthecontributionbyotherstojointly-authoredworksthatIhaveincludedinmy
thesis.
Ihaveclearlystatedthecontributionofotherstomythesisasawhole,includingstatistical
assistance,surveydesign,dataanalysis,significanttechnicalprocedures,professional
editorialadvice,andanyotheroriginalresearchworkusedorreportedinmythesis.The
contentofmythesisistheresultofworkIhavecarriedoutsincethecommencementofmy
researchhigherdegreecandidatureanddoesnotincludeasubstantialpartofworkthathas
beensubmittedtoqualifyfortheawardofanyotherdegreeordiplomainanyuniversityor
othertertiaryinstitution.Ihaveclearlystatedwhichpartsofmythesis,ifany,havebeen
submittedtoqualifyforanotheraward.
IacknowledgethatanelectroniccopyofmythesismustbelodgedwiththeUniversityLibrary
and,subjecttothepolicyandproceduresofTheUniversityofQueensland,thethesisbemade
availableforresearchandstudyinaccordancewiththeCopyrightAct1968unlessaperiodof
embargohasbeenapprovedbytheDeanoftheGraduateSchool.
Iacknowledgethatcopyrightofallmaterialcontainedinmythesisresideswiththecopyright
holder(s)ofthatmaterial.WhereappropriateIhaveobtainedcopyrightpermissionfromthe
copyrightholdertoreproducematerialinthisthesis.
iv
Publicationsduringcandidature
Nopublications.
Publicationsincludedinthisthesis
Nopublicationsincluded.
Contributionsbyotherstothethesis
PercivalHodgson.
Statementofpartsofthethesissubmittedtoqualifyfortheawardofanotherdegree
None.
v
Acknowledgements
IwouldliketoacknowledgemyacademicsupervisorSimonPerry.Thankyouforyourtime
andpatience,andhelpingmeseethisthesisthroughtotheend.Iwouldalsoliketothankmy
wonderfulteacherAdamChalabiforhelpingmegettowhereIamnow.Iamforevergrateful.
Finally,thankyoutomyparentsforyourunfailingsupportthroughoutmyMastersdegreeand
previousstudy.
Keywords
bowing,co-dependence,practice,cyclegraph,motion,shifting,articulation
AustralianandNewZealandStandardResearchClassifications(ANZSRC)
ANZSRCcode:190407MusicPerformance,100%
FieldsofResearch(FoR)Classification
FoRcode:1904PerformingArtsandCreativeWriting,100%
vi
TableofContents
Introduction1
Chapter1:LiteratureReview3
Co-dependenceofthetwohands5
Hodgson’sCyclegraphExperiments6
Chapter2:ToneProduction9
Chapter3:StringCrossings 15
Chapter4:Shifting23
Chapter5:ArticulationandMixedBowings28
Conclusion32
References34
vii
ListofFigures
Fig.1.Hodgson,“Across”10
Fig.2.Hodgson,“Round”10
Fig.3.Hodgson,“CyclegraphofExtendedFigure8Pattern”13
Fig.4.Hodgson,“CyclegraphofAscendingForwardLoops”14
Fig.5.Hodgson,“MovementsAcrossandRoundTwoStrings”16
Fig.6.Hodgson,“Wavepatterns”18
Fig.7.Hodgson,“Forwardandbackwardpivotingloops”20
Fig.8.Hodgson,“BowMovementsinSpiccatoandSautillé”30
viii
ListofMusicalExamples
Ex.1.Prokofiev,ViolinConcertoNo.2,firstmovement,mm.1–9.11
Ex.2.Prokofiev,ViolinConcertoNo.2,firstmovement,R16.mm.138–144.13
Ex.3.Prokofiev,ViolinConcertoNo.2,firstmovement,R3.mm.28–30.15
Ex.4.Prokofiev,ViolinConcertoNo.2,firstmovement,R3.mm.32.17
Ex.5.Prokofiev,ViolinConcertoNo.2,firstmovement,R11.mm.101-103.18
Ex.6.Prokofiev,ViolinConcertoNo.2,firstmovement,R11.mm.101-103.18
Ex.7.Prokofiev,ViolinConcertoNo.2,firstmovement,R11.mm.103-106.19
Ex.8.Prokofiev,ViolinConcertoNo.2,firstmovement,R13.mm.113-119.21
Ex.9.Prokofiev,ViolinConcertoNo.2,firstmovement,R2.mm.18-28.23
Ex.10.Prokofiev,ViolinConcertoNo.2,firstmovement,R6.mm.52-61.25
Ex.11.Prokofiev,ViolinConcertoNo.2,firstmovement,R8,mm.69-73.26
Ex.12.Prokofiev,ViolinConcertoNo.2,firstmovement,R4.mm.37-40.29
Introduction
Muchhasbeenwrittenonthetopicofbowtechniquefortheviolin.Leadingperformersand
pedagoguesovermanydecadeshaveprovidedarangeoftreatises,exercisesandstudies,the
contentsofwhichgivethereaderasenseofjusthowcomplexbowtechniqueis.1Duetothese
levelsofcomplexity,bow-techniqueissuesareoftenisolatedforpracticepurposestosolidify
theseparatecomponentsindependentlyofthelefthand.Thiscommentary,however,will
focusonthecloserelationshipoftheleftandrighthandsandhowtheymightsupporteach
other.Specifically,itwillconsidertheeffectofusingbowtechniquetoimproveleft-hand
technique.Inordertogivetheseideasapracticalcontext,thiscommentarywillserveasa
guidetothepreparationandperformanceofProkofiev’sViolinConcertoNo.2,through
detaileddocumentationofpracticemethodsusedtocoordinatethetwohands,withparticular
referencetothefirstmovement.Theworkischosenbecauseitisastandardrepertoryitem
andcontainsanexhaustivesupplyofsuitable“problems”forthetopicconsideredhere.The
documentationwillincludeananalysisofbowmovements,asclassifiedundertheheadingsin
PercivalHodgson’sneglectedworkMotionStudyandViolinBowing(1934).Specificbowing
challengesidentifiedintheConcertowillalsobesupportedbyrecommendationsofrelevant
bowtechniqueexercisesbyOtakarŠevčík.Ševčík’sbowingexercisescanbeusefultoteachers
andperformersbecausehismethodprovidesasimpleleft-handnote-pattern,whichallows
theviolinisttofocusonacountlessarrayofbowingvariations.Thesestudiesareuniquein
theirrelevancetoviolinistsofallagesandstandards,andcansupplementanyrepertoire,
becausetheyexploreparticularbowingprinciplesinasettingwherethetimingofthebow
withthelefthandisimportant.
Thiscommentaryemployspractice-ledresearchmethods.Thesemethodsemploytheidea
thatinsightscanbegainedthroughthecreativeprocessesthatevolveinpractice,whichcan
thenbewrittenupasresearch(DeanandSmith5).Thisparticularmethodusestheelement
ofpracticeastheprimarymethodofresearch(6).Thestudybeginswithanexplanationofthe
fundamentalprinciplesrelatingtoboththeleftandrighthands,articulatedbyleading
performersandpedagoguesintheliterature.Theseprincipleswillthenbeanalysedina
“reflection-in-action”processwhereIwillbeexperimentinginaction,or,becominga
1Forexample:IvanGalamian,PrinciplesofViolinPlayingandTeaching,3rded.(NewJersey:Prentice-Hall,1985),CarlFlesch,TheArtofViolinPlaying:Book1(NewYork:CarlFischer,1924),LucienCapet,Latechniquesupérieuredel’archet(Paris:MauriceSenart,1916),OtakarŠevčík,ViolinStudiesOpus3:40variations(London:Bosworth,2001),HaroldBerkley,TheModernTechniqueofViolinBowing(NewYork:Schirmer,1941),SimonFischer,Basics(London:Peters,1997).
2
researcherinthepracticecontext(Schön68).Thisperformanceresearchisdocumentedina
practicejournal,andinmyownpreparationandperformanceoftheConcerto.Ihavechosena
selectionofcontrastingsectionsthatdistinctivelyshowlinkswithHodgson’sresearchinto
motionstudy.Myresearchwillofferrecommendationstoperformersandteachersofthis
workaswellasextrapolatingthespecificoutcomesofthepreparationtowiderapplications
oftheleft-hand/right-handprinciple.TheperformanceoftheConcertoinmyfirstrecitalwas
fundamentaltoobservingtheeffectofbowingmotionsonleft-handtechnique.
Thebodyofthiscriticalcommentarywillcompriseofchaptersontoneproduction,string
crossings,shifting,andarticulationsandmixedbowings,whichwillbediscussedinthe
literaturereview.Theseheadingsrepresentfundamentalviolintechniques,whichwill
provideabasisfortheanalysisofspecificmusicalexamples.PercivalHodgson’sMotionStudy
willbethemainsourceofreferencethroughoutthechaptersinthisthesis.Itcontainsvisual
representationsofdifferentbowtechniquesintheformof“cyclegraphs”(58).Theseimages,
whilenotwidelyknown,showthemselvestobeanimportanttoolintheviolinplayer’s
understandingofhowtherightandlefthandsworktogetherseamlessly.Hodgson,himself,
stated:
Myfinalwordisaddressedtoanyadvancedstudentwhosuffersfromafeelingofinsecuritywhenperforminginpublic.Istronglyurgehimtosuspecthisrightarm,evenwhenfailureappearstobedirectlyattributabletothelefthand;unrecognizedbowingimperfectionsareresponsiblefornineoutoftencasesofscrambledandblurredpassages.Anaccuratelybalancedrightarmisabletoadaptitselftounequalleft-handfinger-workinanastonishingway,asitisasimplemattertoamplifyorcontractnaturalcurves,andeaseandsecurityresultwhensynchronizationofthetotallydissimilarfunctionsofthetwohandsbecomesacertainty.Iassureallnervousplayersthatcontroliscentredchieflyintherightarm(106).
3
Chapter1LiteratureReview
Thiscommentaryrevisitsthelesser-knownworkofPercivalHodgson,aviolinistand
pedagoguewhowasinspiredbytheGermanscientistDr.F.A.Steinhausen,2torecordthe
actualmovementsofthebowarm(Hodgsonx).Intheearly1900s,theideathatbowing
involvedaseriesofinevitablecurvesduetonaturallawswasarelativelynewconceptand
wasignoredbymany(x).SincethepublicationofHodgson’sworkin1934,performersand
pedagogueshaveagreedthatbowingisoftenneglected,butthereisstilllittlereferenceto
Hodgson’sMotionStudy.Thisliteraturereviewwillexplainsomeofthefundamental
principlesofthisstudy,whileplacingHodgson’sworkinthecontextofothertwentieth-
centurypedagogues.
HaroldBerkley,authorofTheModernTechniqueofViolinBowing(1941),statedthatmany
violinistswerewellawareofproblemswiththeirbowingbutdidnotknowhowtolocate
specificfaults,andthereforecouldnotremedythem(44).Hewentontosaythatfartoomany
studentsofhistimestilllookedupontechniqueassomethingproducedexclusivelybytheleft
hand(7).Helamentedthesmallnumberofstudentswhosebowtechniquematchedthelevel
oftheirlefthandandbelievedthatoneofthemainreasonsforthislackhadtodowith
teachersnotpursuingbowing-techniqueexercisesasrigorouslyastheydidwithexercisesfor
thelefthand(7).InTheModernTechniqueofViolinBowingheusedexcerptsfrommajor
worksoftheviolinrepertoiretoshowtheexactbowtechniqueinvolvedandthendiscussed
waystopracticethesesothatthebowwouldbecomethefocusofattention.
InRobertGerle’sTheArtofPractisingtheViolin,writtenin1983,theauthorclaimedthatbow
technique“willlargelydeterminetheartisticcategoryoftheplayer”(17).Hediscussedgiving
moreattentiontothebowarminpractice,claimingthatbecausethelefthandcontrolsthe
veryaudibleaspectsofpitchandmelody,itisprioritisedattheexpenseofbowing(17).Gerle
contendedthatasmuchasninetypercentofastudent’spracticetimewasspentonisolated
left-handissues(17).Gerle,inalaterworkdedicatedtothediscussionofbowing,statedhis
beliefthatamajordifficultywithpracticingbowingisthatits“goalsandproblemsaremore
subtle,itsprogressslowerandhardertomeasureandthesolutionstoitsproblemsmore
2AuthorofDiePhysiologiedesBogenfuhrüng,(1903).
4
elusive”(ArtofBowing10).CarlFlesch,involume1ofTheArtofViolinPlaying(1924),gave
anotherreasonforbowingdifficulties.Hestatedthat“thetechniqueof‘bowing’ismore
complexthanthemechanismoftheleftarm,becauseinthecaseofthelatterthefingerisin
directcontactwiththestring;whiletherightarmcomesintocontactwiththestringonly
throughthemediumofthebow-stickandbow-hair”(51).Thisstatementisareminderofthe
hugetaskdesignatedtothebow,andtheresultingimportanceofbowtechnique.Thefirst
steptounderstandingthefundamentalsofbowtechnique,istoanalysetheelementsthat
makeupgoodtoneproduction.
Fleschnamedtheimportantcomponentsoftoneproductionasbeingbowpressure,bow
speed,pointofcontactbetweenbowandstring,butalsocommentedonthecrucialelementof
smoothbowchanges(ArtofViolinPlaying1:81).Eventhoughthechangeofbowisa
fundamentalelementoftechnique,Fleschsaidthatitwasoftendescribedasonethatis
difficulttomaster,especiallyatthenut(59).Hewroteaboutthediscoveryovertimethat
flexibilityofthewristcombinedwithanelementofpartialfingerinvolvementwastheonly
waytocreatesmooth,inaudiblebowchanges(60).Hebelievedthatthistechniquecaused
problemsacrossalllevelsofviolinplaying.Duetothenatureofthebow(moreweightatthe
frog,lessweightatthetip)itisessentialthattheweightversuspressurebalanceisright(59).
Tomakebowchangessufficientlysmooth,theplayermustprepareforthebowchangeina
smallportionattheendofthefinishingbow(59).Inthisportionofbow,theperformer
createstimeinwhichtocontrolthecircularmotionthatinfluencesthebowchange(59).
Gerlewentontostatethat“therearefewhumanendeavoursmorecomplicated,sensitiveand
delicatethanthatofdrawingapleasingsoundfromastringedinstrument”(ArtofBowing15).
Hestatedthat,“theimportanceofbowtechniqueinstringplayingcannotbeoverestimated”
and,evenuptotheearly1990s,believeditstilltobeaneglectedelementinthetrainingof
stringplayersandonethatwastheleastdevelopedintheirperformance(9).Inhisopinion,
thethreemechanicalaspectsoftoneproductionincludebow-speed,bow-pressureand
distancefromthebridge(43).Hewrotetworulesheretoshowtheinterdependenceofthe
three:“1.Thegreaterthebow-speed,thelesserthebow-pressure,thegreaterthedistance
fromthebridge.2.Thelesserthebow-speed,thegreaterthebow-pressure,thelesserthe
distancefromthebridge”(43).Hetalkedoftheimportanceofdistinguishingnaturalpressure
(weight),fromappliedpressure(force)(44).Gerlealsodiscussedbowtechniqueasan
5
interpretativetoolandnamedbow-speed,pressure,locationandtimingasthebasicelements
ofbowtechniquefromwhicheveryothertechniquestems(56).
Co-DependenceofTheTwoHands
FrederickPolnauerwroteabouttheconceptofco-dependenceofthehandsinthe1970s,in
hisTotalBodyTechniqueofViolinPlaying(1).Hewasanadvocateforthetechniquereferred
toas“Motion-Gestalt”(1).Thiswasatechniquethatlookedatlinksinthebody,usingthe
philosophythat“optimalperformanceinviolinplayingdemandsatotalbodytechnique.”(1).
Polnauerwrote:“violinplayingcannolongerbemerelyviewedasthefunctionofasystemof
individualsegmentedcomponentswhichareunrelatedtoeachother”(1).
Adecadelater,thepsychologistYvesGuaird,describedstringplayingasan“asymmetric
bimanualactivity”(Guaird487).Thisparticularcategoryofmotionwaslessresearchedthan
itscounterparts:“asymmetricunimanualactivity”and“symmetricbimanualactivity”(488).
Guairdbelieveditwasmoredifficulttoresearchthiscategorybecauseneitherhandis
dominant,butbotharenecessary,difficult,andofequalimportance(488).Hementioned
“cooperation”betweenthetwohandsandbelieveditnecessarytoquestiontherelationship
betweenthesubtasksassignedtotheleftandrighthands,whichhereferredtoas“the
differentiatedlogicofdivisionoflabor”(489).Hewentontoexplainaconceptofcoordination
calledthe“right-to-leftspatialreferenceinmanualmotion”(493).Thismeansessentiallythat
thelefthandcreates“frames”whichtherighthandrecognizesandinserts“contents”(494).
Thisprocessrelatestothespatialreferencebetweenthemovinghands;itdoesnotmeanthat
thelefthandislifelessorimmobile(494).This“cooperation”ofthetwohands,asdirectedby
thebrainthroughdesignatedsubtasks,isapplicableinthestudyofeachtechniquediscussed
intheliteraturereview.
Inthesamedecade,theeminentpedagogueIvanGalamianwroteabouttheimportanceof
understandingtheinterdependenceofindividualelementsofviolintechniqueandthemutual,
organicrelationshipinwhichtheyareinvolved(2).Hementionedco-dependencewhenhe
discussedtheimportanceoftiminginPrinciplesofViolinPlayingandTeaching,published
aroundthesametime(22).Heusedtheterm“technicaltiming,”whichhedescribedas
“makingthenecessarymovementsofbothleftandrighthandsattheexactmomentand
6
precisespeedthatwillensurecorrectmusicaltiming”(23).Theconceptof“technicaltiming”
canbeappliedtoallofthefundamentalviolintechniquesthatinvolvethecoordinationof
bothhands.Oneofthosetechniquesisshifting.3
Shiftingreliesequallyonbothhands.Gerleacknowledgedthecollaborativeelementofleft-
handandarmmotionswiththeparticularbowspeedandtheamountofbowchosenfora
particularphrase(ArtofPractising17).Thiscollaborationwasagainmentionedinasection
dedicatedtoleft-handpractice,inwhichhespecificallyaddressedupwardanddownward
shifts(55).Tocoordinateupwardshiftsonanup-bowanddownwardshiftsonadown-bow,
hesuggestedworkingwithanaturalmirror-wisemovementasopposedtoparallel
movements(55).Hebelievedthatthis“natural”statewouldleadtoabetterbodybalanceand
thereforemoresuccessfulshifting(55).
GerlededicatedasectionofTheArtofPractisingtheViolintothedetailedanalysisofdifferent
typesofshifts,labelled“Acomprehensivetableofshifts”(96).Helistedtwotypesofshifts:
shiftsforpurelytechnicalreasonsandpurposes,andshiftsforexpressivepurposes(96).
Technicalshiftsaccentuatetheclearlyarticulatedinstrumentalcharacteristicsoftheviolin,
whiletheroleofexpressiveshiftsismoreemotive(96).Heexplainedtheprocessinvolved
with“expressiveshifts”andnotedthedependencyofthelefthandonthemotionsoftheright
hand(105).Againthetopicoftimingwasmentioned,nowinthecontextofaffectingbow
changesandviceversa(105).Hestated,“thistimingshouldnotbeleftuptochance”(105).
Gerle’sstatementsuggestedthatthecognitiveorganisationofthemechanicsofbothhands
wasthekeytosuccessfulcoordinationand,therefore,executionofeachphrase.
Hodgson’sCyclegraphExperiments
Hodgson’scyclegraphexperimentsareimportanttoolsinunderstandingthementaland
physicalchallengesofviolintechnique.Theywereconsidered“modernscience”inthe1930s,
becausetheycouldrecordthe“actualmovementsmadebythebowarm”(Hodgsonx).These
cyclegraphsprovidedproofthatthenatureofbowinginvolvedcurvedandcircularmotions,
asopposedtostraightlines.Hodgsonbelievedthatifthesecyclegraphswereobservedand
understood,aviolinistcouldsolvethemostcomplicatedright-handproblems(x).3Thetopicof“shifting”isdiscussedindetailinchapter4.
7
InHodgson’swork,theauthorcoveredanatomical,acoustic,mechanicalandgeometrical
aspectsofbowing.Hebelievedthat“bowingshouldbeginwiththevisualizationofthebodyas
amachine”andviewedthearmas“asystemoflevers”(3).Theupperarmcarriesthelower
levers,makingitthe“dominatinglever”thatmovestherestofthearm(6).Theupperarmisa
largemuscleandthereforehasthepotentialtomakelarger,freermovements,whilethe
smallerleversfromtheforearmdown,havetheabilitytocontrolsubtlemovements(6).
Hodgson’sapproachanalysedthephysicalmovementsofthemuscles,jointsandleversby
visuallyrepresentingtheminhiscyclegraphs.Chapter13definesacyclegraphas“a
photographicrecordofthetrackcoveredbyamovingobject”(58).Twopointsintheright
armareobservedhere,thesecondfingerandtheelbow(58).Throughobservationofthis
seriesofpictures,itbecomescleartothereaderthateverypicturerevealscircularmotionsof
somedegree.TheviolinistandteacherRobertGerleagreedwiththeimportanceofvisual
conceptionsofbowing,whichismentionedinTheArtofPractisingtheViolin(61).Hemakes
referenceto“figureof8”patterns,statingthat“beingabletovisualisepatternslikethis,like
fingerpatterns,helpsgreatlyinlearningcorrectbowmovementswhichthenfall
automaticallyintoplacewhenputtogetherwiththelefthand”(Gerle61).
Fromchapter8ofHodgson’sstudy,graphsofbowtechniqueswereexamined(35ff).This
involveddetailedstudyof“forward-curves”(35),“backward-curves”(39),“figureeight
patterns”(41),“wavepatterns”(45)and“loopseriespatterns”(49).Forward-curvesare
describedasclockwisemotions(35).Anexampleofaclockwisemotionwouldbeproduced
bybowinganopenDonadown-bowtoanopenAonanup-bow(36).Backward-curvesare
anti-clockwisemovements(35).Thebowingisswitched,so,intheaboveexample,theopenA
isnowonadown-bowandtheopenDonanup-bow(39).Whenthesetwostringsare
repeatedinanalternatingpattern,aseriesofellipticalcyclesareformed(36).Thebasic
conceptsbehindforward-curvesandbackward-curvesformthebasisofallotherbowstrokes
andbowingpatterns.Thesewillbediscussedinmoredetailfromchapter2onwards.
Chapter5ofthiscommentarywilllookatarticulationsandmixedbowings,whicharean
extensionofthebowtechniquespreviouslydiscussedinthisliteraturereview.Hodgson
discussedarticulationsandmixedbowingsinhischapter“Inherentqualitiesofthebow,and
theirapplication”(20),whichcontaineddetailedexplanationsofbowqualitiesattheheel,
8
point,andmiddle,balancedbowholds,bowmovementsinspiccatoandsautillé,andbow
movementsinsolidstaccato.Heuseddiagramsthroughouttoshowthebowworkingasan
“additionalleverattachedtothearm”(20).Inspiccatoandsautilléplaying,anextra
dimensionintheformofmovement“towards”and“awayfrom”thestringwasadded(22).
Thedifferentrolesoftheforearm,upperarmandwholearmwerediscussed,butHodgson’s
mainfocuswastopresentaconvincingargumentthatthemostnaturaluseofthebowisthe
mostefficient.Thismeansexploringthe“elasticity”ofthebowstickandbowhair,which
contributestothe“springing”qualitiesofbowstrokes(20).
LaurenDeutschhasworkedmorerecentlyin2011intheareaofmotionstudy.Herdoctoral
studyprovidedacomparisonofthemotorpatternsofprofessionalandstudentviolinists.She
continuedonfromHodgson,usingacombinationofvideocamerasandmotiontechnology
software(2).Shemakesthepointthatmuchpreviousresearchintobowingtechniquehas
beenconductedapartfromconsiderationsofrepertoireandwithadvancedequipment,
makingitlessthanidealforpracticalusebyviolinistsandpedagogues(2).WhileDeutsch’s
workfocusesonanalyzingbasicbowingmotionsinaparticularviolinpieceandcomparing
theviolinists’technicalapproaches,myworkwilldefinitivelyuseHodgson’sprinciplesasa
basisformyapproachtomychosenwork.
Thefactthatthisisarepertoire-basedcasestudymakesitunique,becausethetechnicaland
musicalaspectsofviolinplayingarecombinedtocreateamorecomprehensiveviewofthe
work.Hodgson’sworkisofparticularinteresttome,asheseekstohelpviolinists
“disentanglethemassofcontradictoryideasprevalentwithregardtoright-handmovements”
(Hodgsonix).Heuseshisownresearchtoexplorethe“inevitable”aspectsofbowing,orthe
aspectsthatoriginatefromnaturallaws,andthecommonelementsoftechniquefoundinthe
highestlevelofviolinists(ix).Forthesereasons,Hodgsonisaworthychoiceforconsideration
andcommentary.
9
Chapter2
ToneProduction
LeopoldAuerstatedthattoneproduction“mustalwaysbethemostimportanttaskofthose
whodevotethemselvestomasteringtheviolin”(18).Toneproductionatitshighestlevel
consistsofacombinationofrelevantcontactorsoundingpoints,bow-speed,bow-pressure,
bowdistribution,andconnectivitybetweenbowstrokesorchangesofbow(Galamian55).
Performersconstantlychangeandadapttheseelementsdependingondifferentmusical
contexts,andifsuccessfullyexecutedintherightcontext,theseelementswillformthebasis
ofahighlyfunctioningbowtechnique.TheperformanceresearchIhaveconductedonthe
firstmovementofProkofiev’sViolinConcertoNo.2,leadstoconclusionsthattoneproduction
isnotonlyabowingissuebutthatitalsodirectlyeffectstheleft-handtechnicalprocessand,
therefore,thecoordinationofbothhands.
Thecontactpointorsoundingpoint(thetermsaretreatedhereasinterchangeable)relieson
astraightbowstroke,paralleltothebridge,foroptimumsound(Galamian51).Drawinga
straightbow,however,iscomplexandrequiresaseriesofsubtlecircularmotions(51).The
mostnaturalpositionforastraightbowiswhentheforearmandupperarmareatright
angles,whichformostpeopleisaroundthemiddleofthebow(52).Itisatthe“tip”and“frog”
ofthebowwhereproblemsareoftenfaced(52).Fromthepositionofthesquareshapetothe
tipofthebow,thearmisfullyextendedbymovingtotherightandthenslightlyforwardto
createastraightbow(52).Galamianattributedthe“necessaryforwardmotion”involvedhere
tothe“circularcharacterofthenaturalmovementsofthearm”(53).Hodgsonacknowledged
these“naturalmovements”byrealisingthe“inevitablyofcurvingmovements”inviolin
bowing,andrepresentedthesemovementsgeometrically(26).Heclassifiedbowmovements
accordingtothreecategories.Thefirstismovement“across”thestrings(Fig.1).This
representsthehorizontalmovementofpullingthebowperpendiculartothestring(26).The
secondismovement“round”thestrings(Fig.2),whichisthe“across”movementwithadded
stringcrossings(27).Thethirdmovementis“towardsandawayfrom”thestringswhichis
usedtocreatevariousarticulations(26).Hodgson’sdescriptionsoftheverticalandhorizontal
elementsinvolvedinbowingallowustounderstandmoreclearlytheconnectionofthebow
tothestring.
10
Fig.1.Hodgson,“Across”(26).
Figure1showsasimpledown-bowstrokeononestring(26).Examples(b)and(c)inthe
abovefigureshowthecircular,“pivoting”motionofthestrokeattheheelofthebowinboth
clockwiseandanti-clockwisedirections(27).Theconnectionbetweenstringsoccurswhen
theclockwisepivotconnectsthechosenstringtotheupperstringsandtheanti-clockwise
movementsleadstothelowerstrings,thusportrayingthefundamentalconnectivityof
bowingandthebeginningsofthelegatostroke(27).
Fig.2.Hodgson,“Round”(27).
ThediagraminFig.2aboveshowsanexampleoffournotes(oneoneachstring)slurredina
down-bowstartingattheheelofthebow(27).ThedottedcurvemarkedcommencingatH1
showsthecurvedmotionofthepivotactionwhilethearcdelineatedbypositionsH1toH5
showsthecurvedmotionwhenthepivotisfollowedthroughwithamovingbow(27).The
11
crisscrossedpointsbetweentheG,D,AandEsymbolsshowthepointoftransitionbetween
thetwostrings,whichallowsessentialconnectivity(27).
Iexploredtheelementsofconnectivityinvolvedinthesediagramsintheopeningmelodyof
Prokofiev’sconcerto.Inadditiontothis,IimplementedoneofSimonFischer’ssuggested
soundpointexercises.Hisefficientmethodinvolvespracticingwithrelevantbow-speed,bow-
weight,andbowdistribution,allatonce,identifyingdifferentsoundpoints4intheparticular
phrase(Basics48).Fivesoundpointsarenominatedwithinthespacebetweenthebridgeand
thefingerboard:(1)Nearthebridge,(2)betweenthebridgeandthecentralpoint,(3)atthe
centralpoint,(4)betweenthecentralpointandthefingerboardand(5)atthefingerboard
(47).Fischerstatesthatthiswayofpractising“instantlyincreasesyoursensitivitytothefeel
ofthebowinthestringsothatyouimmediatelygainthefinestcontrol”(48).Headds,
“Practisingonallfivesoundpointsishelpfulwhateverthesoundpointyouwilleventuallyuse,
andwhateverthestroke”(48).
Prokofiev’sopeningthemeprovidesapassageforinvestigationintosoundpointtechniques
andlegatoplayinginaneasilyobservableway.
Ex.1.Prokofiev,ViolinConcertoNo.2,firstmovement,mm.1–9.
IfthefingeringinEx.1isfixed,theperformercanbegintheprocessofanalysisintogoodtone
productionbyobservingthestringsthatwillbeusedandhowthenotesondifferentstrings
correlatewithProkofiev’sslurredmarkings.Thefirst,secondandthirdslurscontainnotes
playedsolelyontheGstring.Thefourth,fifth,sixthandseventhslurscontainnotesontheD
string.TheeighthslurcontainsamixtureofnotesontheG,DandAstrings,andthe
remainderofthephrasetorehearsalfigure1(m.9)involvesonestring-crossing,fromtheA
toDthestring.Iusedaslowbow-speedcombinedwithweightclosetothebridgetoexecute
theopeningphraseontheG-string.ItisnotuntilthesegmentstartingonthefourthslurthatI
4Fischerusesthisterminplaceof“contactpoints”or“soundingpoints”.
12
usedafasterbowspeed,whichIfoundcontinuedaneffortlesslyrichsoundontheDstring.In
thesixthandseventhslurs,anequalbowdistributiononeachnotewasused.This
distributionalignswithleft-handfingerarticulationtoproduceclaritythroughtheexpressive
descendingline.Savingbowatthestartoftheeighthslurcreatesnecessaryspacefora
smoothupwardcurveleadingtothetwotenutonotes.Ichosetoplaythesenotesinthelower
halfofthebow,toeliminateanypotentialunevennessinthephrase.Thisbowdistributionnot
onlyproducesabetterlegatosound,italsoconvenientlyallowsthebowtobepositionedat
thefrogforthenexttwonotes,whichrequireaconsistent,slowbowspeed,withinonewhole
bow.
ThestringcrossingsinEx.1canbeidentifiedinHodgson’sMotionStudy.Ifthepassagebegins
onadown-bow,thefirststringcrossinginthemiddleofm.3willbeaforward-curve(a
down-bowfromthelowerstringtoanup-bowontheupperstring)(36).Thestringcrossing
attheendofm.6displaysabackward-curve(adown-bowfromtheupperstringtoanup-
bowonthelowerstring)(39).Thethirdstringcrossingisabackward-curve(lowertoupper
stringsareslurredonanup-bow)(40).Thefourthisalsocategorisedasabackward-curve
(uppertolowerstringsunderadown-bowslur)(40).LeopoldAuer’swritingoftheco-
dependenceofthetwohandsisrelevanthere.Hebelievesthattheimportanceof“timingof
lefthandfingerrelease”,withthecorrespondingactionsofthebow,mustberealisedin
observationsoflegatoplaying(32).Heprovidedthefollowingadvicetoperformerswanting
toimprovetheirtoneproduction:“Donotraisethefingerononestringbeforethetoneofthe
nextstringsounds”(33).Inmyownpractice,Ifoundthatincreasingtheawarenessofthe
simultaneousactionsofthebowmotionswithsmooth,connectingmovementsbetweeneach
placementoftheleft-handfingers,createdasuccessfullegatoeffect.Iftheperformerisableto
mastertheseconnectionsintheopeningphrase,theseconceptscanbeappliedtosimilar
sectionsinthismovement,forexample,rehearsalfigures6,7,10and25.
TheopeningpassageoftheConcertocoversexamplesofcurvedmotionsinthebow.The
materialcommencingatrehearsalfigure16(m.138)providesanexampleofextendedcurved
motionsusedinlegatoplaying,whichthendevelopintocircularmotionsor“ellipses”
(Hodgson36).Theextensionexistsbecauseofthefrequentbowchanges(everyquavernote)
andstringcrossingsthatoccur.Thefirstsixbarsofrehearsalfigure16areasfollows:
13
Ex.2.Prokofiev,ViolinConcertoNo.2,firstmovement,R16.mm.138–144.5
ThefirsttwoandahalfbarsofEx.2showbackward-curvestringcrossings,whichform
circularfigure-eightpatternswhenthebowmovesbetweenthetwostrings.Figure-eight
patternsaredescribedbyHodgsonas“compoundcurveswithtwoloops”(41),seeFig.3.
Fig.3.Hodgson,“CyclegraphofExtendedFigure8Pattern”(58).
Halfwaythroughm.140,achangeinmotioncreatesaforwardcurve.Thispatternthen
repeatsitselfinm.141.Thewholeofm.142ascendsinaseriesofforwardcircularmotions,
whilethewholeofm.143descendsinaseriesofbackwardcircularmotions(excludingthe
forwardmotionbetweenthe6thand7thnotes).Hodgson’smotionstudyprovidesacyclegraph
ofascendingforwardloopsinanalmostidenticalpassage:
5‘R’standsfor‘Rehearsalfigure’asusedintheBooseyandHawkesEditionofProkofiev’sViolinConcertoNo.2.
14
Fig.4.Hodgson,“CyclegraphofAscendingForwardLoops”(58).
InmyownpreparationofthisConcerto,Ševčík’sOpus2Part3exerciseshelpedtosolidifythe
curvedandcircularmotionsofHodgson’sgraphs.ItishelpfultoworkthroughŠevčík’s
“whole-bow”,“half-bow”,“middleofbow”,“legato”and“variouslegatostyles”exercises,as
theycorrespondwiththemelodicpassagesinProkofiev’sConcerto,andgivetheperformera
head-startinpractisingthebasicsoftoneproductionwiththeprecisetimingofcoordination
ofthechanginglefthandnotes(Auer33).Ševčík’sOpus2Part1exerciseswereanimportant
partofmystudyintotoneproduction,inparticularthe“Cresc./Dim.”variations.TheNo.6
exercisesareastudyinquavers,whichcorrespondswithRehearsalfigure16.Numbers10,11
and12arevariantsofthisexerciseandalsorelevantassupportingtechnicalwork.Itis
importanttobegintheexercisesonbothupanddownbows,astheoppositebowingwill
changetheremainderofthepatternssothateachandeveryforward-curve,backward-curve,
figureeightandloopingpatterniscovered.
15
Chapter3
StringCrossings
ManypassagesinthefirstmovementofProkofiev’sViolinConcertoNo.2presentthe
performerwithdifferentcombinationsofproblematicstringcrossings.Hodgson’sanalyses
canbeappliedtoallrepertoire,andwillhelphelpingperformerssolvethemanyobstacles
theyfaceinProkofiev’sConcerto.ThreesectionsoftheConcertohavebeenchosenascase
studiesinthischapter,andtheseareanalysedandcategorizedunderHodgson’ssystemof
classifications.ThroughthecombinationofHodgson’sstring-crossingclassificationmethod
andmyownperformanceresearch,thetechnicalprocessesinvolvedindifferent
combinationsofstringcrossings,willbeoutlined.Thefirstsectionforanalysisisencountered
atRehearsalfigure3(m.28)intheConcerto.
Ex.3.Prokofiev,ViolinConcertoNo.2,firstmovement,R3.mm.28–30.
Thebowingpatterninthefirsttwobarsofrehearsalfigure3(Ex.3)involvesaseriesof
ellipsemotions.
16
Fig.5.Hodgson,“MovementsAcrossandRoundTwoStrings”(28).
Fig.5showstheellipticalpaththatoccurswhensingle-notesemiquaversareplayedinrapid
successionontheDandAstrings(29).Inthiscasestudy,thestring-crossingsareunderstood
toworkonanytwoseparatelybowednotesonneighbouringstrings.Forexample,thefirst
patternatrehearsalfigure3consistsofanellipticalbowingmotionbetweentheGandD
strings.ThesecondvarianttothisbowingpatternisthatthepatterninProkofiev’swriting
doesnotconsistofalternatingstringsoneverysemiquaver.ThoughHodgsonadvisedusto
assumethatthealternationsofDandAstringsareinperpetualmotion,hethenexplained
thatitisthemotionbetweenpairsofnotesthatisimportant(29).Prokofiev’smusicprovides
uswithanexampleofthispatternattheendofeachgroupoffoursemiquaversinEx.3.The
ellipticalshapeisformedherebecausethenotefollowingthepairofstringcrossingnotes
(thefirstnoteofthefollowinggroupoffoursemiquavers)returnstotheoriginalstring.There
aretwomomentsinthisstringcrossingwherethebowwilltouchbothstringssimultaneously
(29).InFig.5,thesepointsareshownasnumbers1and3(29).Number1iswherethebow
starts(29).Hodgsonexplainsthepracticalityoftheellipticalshape,andhowtheshape
influencesmovementattheheelofthebow,aidingintheexecutionofcleanstringcrossings
(29).Ofthebowactionhestated:
Bymerelymakingadown-strokeactionacrossthestrings,itwouldobviouslyplayDandAtogetherindoublestopping.ToplayDaloneitmustsimultaneouslymoveawayfromAandthereforeroundD,therebyreachingsomesuchpositionasthatmarked2;moreover,inthecourseofthesamestrokeitiscompelledtocurvebackagain,orwillnotreturntothedoublestringpositioninreadinesstobeginplayingAwiththeupbow.Thiscurvecannotformpartofacircle,asthedistanceoftheheelofthebowfromtheDstring,andthereforetheradius,hasbeenlengthenedduringthepivotingroundthestring.(29)
17
Whenthebowarrivesatposition“3”onthediagram,thebowwillmoveroundtheAstring,
andonit’sreturntoposition“1”itwillhavecoveredtwopivotsinthecycle,resultinginthe
ellipsemotion(29).
Tofullyunderstandthecomplexnatureofthestring-crossingprocessinvolvedhere,Ichose
topractisethispassagewithoutthewrittenstaccatomarkings.Ifoundthatthesearticulations
werenotessentialintheearlystagesoflearningthepassage.Throughtheprocessof
practisingthepassagelowerinthebow(aroundthebalancepoint),andinaslowandlegato
manner,Ifoundthatwithincreasedspeed,theboworganisationIhadpractisedledtothe
successfulexecutionofanaturallybouncingbow.(Thespiccatostrokewillbeelaboratedonin
Chapter5.)
Analysisofthestringcrossingsinm.32andm.36willconcludethiscasestudy.Thesetwo
barscontainonlyforward-curves:
Ex.4.Prokofiev,ViolinConcertoNo.2,firstmovement,R3.mm.32.
IfEx.4iscommencedonanupbow(thebowingasgiveninthescore)andstartsonthe2nd
fingerontheEstring,thestringcrossingsoccurbetweenthe2ndand3rdsemiquavers,3rd
and4thsemiquavers,8thand9thsemiquavers,andthe9thand10thsemiquavers.Apartfrom
theabsenceofthesecondslurmarkingandthefactthatitisontwolowerstrings,m.36has
identicalstring-crossingpatternstom.32.
Thecomplexpassagestartingatrehearsalfigure11(m.101)providesuswithanexampleof
manystringcrossingsunderoneslur.Thefirststepfortheperformeristodecidewhethera
simple,lowpositionfingeringwithmorestringcrossingswillbeusedinthefirsttwobars,or
whetheramorecomplexfingeringinvolvingshiftsbutfewerstringcrossingswillbeused.In
eitherscenario,thispassageasawholedoesnotbelongtoasingleclassificationofbow
movementunderHodgson’ssystem;however,hismotionstudystillprovidesuswithcluesas
18
toacombinationofbowingpatternsthatmaybeinvolvedhere.Iftheperformerbeginsthis
passageinfirstpositionandcontinuesinlowpositions(Ex.5),theformof“wavepatterns”
willoccurduetothenatureoftherapidstringcrossingsunderslurs(45).
Fig.6.Hodgson,“Wavepatterns”(45).
Ex.5.Prokofiev,ViolinConcertoNo.2,firstmovement,R11.mm.101-103.
Mychosenfingering,however,involvesnumerousshiftstominimisethenumberofstring-
crossingsneeded.
Ex.6.Prokofiev,ViolinConcertoNo.2,firstmovement,R11.mm.101-103.
Thisfingering,showninEx.6,createspatternsthatresembleasymmetricalversionsofthe
typicalwavepattern,asmanyofthenotesareplayedinhigherpositionsonthestring.The
actioninvolvedinmakingthewavepatternsoccur,happensattheendoftheslurredwhole
bowsinthisexample.Wavepatternsintheirsymmetricalform(seeEx.5)areeasyfor
19
performerstovisualise(Hodgson45).Eventhoughthewavepatterniselongatedand
fragmentedinEx.6,thevisualelementofthestring-crossingsisstillimportant.Insectionsof
technicaldifficulty,inthiscaseinbothhands,itmaybeusefulfortheperformertoobserve
thesectioninabroadersense,tobeabletosuccessfullyexecutethesmallerdetailsofthe
passageinperformance.Theleft-handdifficultiesinexamples5,6and7,revolvearound
problematicintonation,asaresultofconstantlyevolvinghandpositions.Chromaticintervals,
inconsistentsequences,shifting,andextensionsformtheleft-handchallenges.Thedifficulty
fortherighthand,istosimultaneouslyexecutestringcrossingsandchangesofbowunder
differingslurlengths.Therefore,theco-ordinationofbothhandspresentschallengestothe
performer.
Anewtwo-noteslurredpatternisestablishedfromthemiddleofm.103(Ex.7).
Ex.7.Prokofiev,ViolinConcertoNo.2,firstmovement,R11.mm.103-106.
Tounderstandtheinterdependenceofthehandshere,afingeringmustfirstbechosen.The
fingeringshowninEx.7abovewasusedinmyperformance.Itwaschosenbecauseitinvolves
smallshifts,whichhelptheefficiencyofthelefthandinthisfastpassage.Continuingthe
bowingfromthebeginningofthepassage,thebowdirectionatthemiddleofm.103willbe
anup-bow.Thebow’spointofcontactwillbeintheupperhalfofthebow,resultingfromthe
previouswholebowdrawnonadown-bow.Thebowcaneitherstayintheupperhalfor
traveltowardsthemiddlepointorlowerasthepassageprogresses.Thebowinginm.105
providestheperformerwithameansoftravellingdownthebow.Thefirstbowedgroupof
fourandthelastgroupofthree,areplaceswheretheup-bowcanhelptheperformermoveto
thefrogwherethenextfigurewillbegin.Organisedbowdistributioninthispassagewill
facilitateeven-soundingandrhythmicstringcrossingpatterns.Measure103isplayedonthe
Estringuntilthelastsemi-quaver,whichresultsinabackward-curve.Thefollowingtwo-note
20
groupswillresultinforwardandbackwardellipsemotions.Ifthispassagewastobe
representedinacyclegraphformat,itwouldlooklikeaseriesofpivotingloopsjoinedquite
closelytogether,withtheloopsmovinginbothclockwiseandanti-clockwisedirectionsto
representtheforwardandbackward-curves(53),or,likeacondensedversionofthe
followingillustration.
Fig.7.Hodgson,“Forwardandbackwardpivotingloops”(53).
Thevisualelementofthesecurvesisimportant.InHodgson’sdiagrams,theperformercansee
theexactpointthatcurveshappeninaparticularstroke,andcanthenbegintoreplicatewhat
theysee,inrealmotion.Hodgsonasks;“Whynotteachthemovementswhichareactually
made,asprovedbymotionpictures,insteadofdescribingimaginaryoneswhichare
fallacious?”(xi).Inpractice,thenaturalmovementsofcurves,ellipsesandloopsbecome
consciousthroughvisualization,whichallowsthemtobesynchronisedmoreaccuratelywith
correspondingleft-handmechanisms.
Rehearsalfigure13(m.113)featuresanumberofthebowingmotionspreviouslymentioned
inthischapter.Theseincludeforwardandbackwardcurves,ellipticalloopsandwave
patterns.InEx.8theyareallcombinedinasinglesection,withtheaddedcomplexityof
doublestopping.
21
Ex.8.Prokofiev,ViolinConcertoNo.2,firstmovement,R13.mm.113-119.
Ibowedthissectionstartingonanup-bowandthencontinuedthebowingasdictatedby
Prokofiev’sphrasingmarks.Measure113containsthreegroupsoftwo-noteslurs.These
showabackward-curve,forward-curveandbackward-curverespectively.Thefirstand
secondslurredgroupingsareconnectedbyaforward-curve,andthesecondandthird
groupingsareconnectedbyabackward-curve.Thecircularactivityinvolvedhereiscontained
underanoverridingwavepattern,whichoccursduetotheoscillatingnatureofthestring
crossings.Thefinaltwoquaversofm.113leadmelodicallytothefirsttwoquaversofm.114,
whichareshapedasaforward-curve.Thepatternofm.113isthenrepeated.Ifthedotted
rhythminm.115ishooked(separatednotesinthesamebow)withtwodown-bows,aseries
offorward-curvesfollow.Thiscontinuesuntilthepatternisbrokenwithabackwardcurveat
theendofm.117.Fromm.118,thebowingaboveallowstheforward-curvestocontinueto
theendofthesectioninapatternofellipticalloopsthatworkquitecomfortablyinthebow
arm(withoneexceptionattheendofm.121).Hodgson’smotionstudyshowsthatapassage
likethis,withdifficultiesincludingdoublestops,shifting,mixedbowingsandsingletodouble
noteslurredstringcrossings,canbemadesomewhateasierwithananalysisandvisualisation
oftheright-handtechniqueinvolved.
Asasupplementarystudy,Ševčík’sOpus2Part3variationsworkwellnotonlyfordetailed
workontoneproduction,butalsoforconcentratedpracticeofstringcrossings.Ifoundit
usefultofirstpracticethelegatovariationsfortheconnectionsbetweenbowstrokeson
differentstrings.Numerousoptionsforpractisingthesevariationsfollow,asproposedin
SimonFischer’sintroductiontotheexercises.Thesestudiesprovideabaseforexplorationof
Hodgson’sloopingmovements,whichbegininPartThreeofhisstudy.Inparticular,
“compoundcurveswithtwoloops”or“figureeight”patternsareaddressed,coveringthemain
forwardandbackwardcurvedmotions.Number30providesheightenedchallengesinthe
formofstringcrossings,which“jump”astring.Becausetheseexercisesreachbeyond
22
neighbouringstringcrossings,itiscrucialtomasterthemwiththegoalthatsmallercrossings
willthenseemmoreefficient.Thevariationsalsomovesystematicallythroughdifferentbow-
distributions.Thisboworganisationisanessentialelementofallofthestringcrossing
passagesinProkofiev’sConcerto.
23
Chapter4
Shifting
IvanGalamianclearlyanddirectlydefinedthethreefundamentaltypesofshifts:“1.Thesame
fingerplaysthenoteprecedingandthenotefollowingtheshift,2.Theshift(slidingmotion)is
performedbythefingerthatisonthestringwhentheshiftstarts,butanewfingerplaysthe
arrivalnote,3.Theshiftisperformedbythefingerthatwillplaythearrivalnote”(25).Inthe
contextofthisthesis,theseshiftswillbeconsideredinrelationtotheirtimingand
coordinationwithcorrespondingbowtechniques.Throughoutthischapter,thefundamental
shiftswillbereferredtoinaccordancewithGalamian’snumbersabove(types1,2and3).As
discussedearlier,Galamianbelievedtimingtobeanessentialfactorinthedevelopmentofthe
lefthand(22).Left-handpreparationhastobefastsothattheactionisnotdelayedin
comparisontothebow(23).Thebowalsohasitspreparationinrelationtoplacementonthe
stringbeforethenextbowstroke(23).Goodtechnicaltimingoccurswhentheleftandright
handsarepreciselycoordinated(23).Tobeabletomastertechnicaltiming,Galamianwrote
ofthesignificanceofthe“immediateandaccurateresponseofthemusclestothedirectivesof
themind”(23).Ibelievethisconcepttobedirectlyrelatedtotheinterdependentorganisation
ofbothhands.
Themusiccommencingatrehearsalfigure2ofthefirstmovementofProkofiev’sConcertoNo.
2(m.18)willserveasthefirstcasestudyinthischapter.Thephrasingandtoneproduction
elementsofthissectionaresimilartothoseoftheopeningphrase,butthispassagecontains
distinctexamplesofthecoordinationofshiftsandrighthandtechnique,inthecontextofa
legatoline.ItprovidesexamplesofeachofthefundamentalshiftsdescribedbyGalamian.
Ex.9.Prokofiev,ViolinConcertoNo.2,firstmovement,R2.mm.18-28.
24
ThefingeringgiveninEx.9abovewasusedinmyperformanceoftheConcerto.Itwaschosen
withattentiontothevariedtonalqualitiesofdifferentstrings,andtheexpressivepossibilities
ofshiftsinthephrase.Whenpossible,extensionswereusedtoenableefficient,smooth
movementsinthelefthand,leadingtoasmootherconnectionbetweennotesinthelegato
phrases.Measure20showsanextensionfingeringbetweenBbandD,whilem.21involvesa
combinationofashiftandanextension.Theextensionelementoftheshifthappenstowards
theendoftheshiftingaction.Thiscreatesasmoothconnection,whilekeepinganelementof
releaseinthehand’sshiftingmotion,leadingtopossibilitiesofafreer,moreresonantvibrato.
Ifoundthistoresultinthemostphysicallyefficientoption.Thefirstnoteofm.22isalsothe
resultofanextension.Measure23containstwolargeshiftsunderseparateslurredmarkings.
Thefirstshiftisanexampleofa“type2”shift,whereitisexecutedbythesecondfinger,but
thefourthfingerplacesthenewnote.Thisshiftishelpedwiththecoordinationoftheright
handreleaseintheprevioussemiquaverrest.Inthisrest,therighthandalsogivestheleft
handtimetoprepareforthenextnote.Thesecondshiftinthebarisa“type3”shift,where
theshiftisperformedwiththethirdfinger.Thereleaseofpressureoftheleft-handfingerson
thestringisparticularlyimportanthereasthefinalnoteisaharmonic.Thebowhowever,
sustainsthesound,sothattheharmonicisclearandas“full”soundingaspossible.The
harmonic’ssoundwilllingerforamomentafterthelefthandfingerisreleased,givingtimeto
preparethelefthandforthestartofthenextphrasein3rdposition.Here,a“type1”shiftis
immediatelyimplementedbetweenC#andE.Thesustainednatureofthebowinthestronger
mezzofortedynamicmarking,movesthefocusfromtheshiftandintothelegatobow,creating
asmoothleft-handmechanism.Thechangeofbowattheendofthisphrasemarkingcanbe
usedtotheperformer’sadvantagetocreateaninaudible“type2”shifttotheC#.Extensions
areusedwherepossiblefortheremainderofthissection.
Rehearsalfigure6(m.52)alsocontainsshiftsunderlegatophrasingmarks.Duetothelyrical
natureofthemelodicmaterial,thissectioncontainsmanyopportunitiesforexpressiveshifts.
Prokofievmarkedanewtempointhissection—menomosso(crotchet=80)—andItookthe
pianomarkingtoimplyasignificant“colour-change”forthesoloviolinline.
25
Ex.10.Prokofiev,ViolinConcertoNo.2,firstmovement,R6.mm.52-61.
Fromthefirstnoteofm.52,thechosenfingeringofthispassageallowsforexpressiveplaying
inthewaythattheshiftsandvibratoareexecuted.Ichosetostartthepassageonthe3rd
finger,whichinmycase,enabledafreersoundingvibratothanusinga4thfinger.The3-3
fingeringonthefirsttwonotesofthephrasecanbeplayedwithportamentobetweenthe
chromaticnotes.Ichosetouse“type2”shiftsfrommm.53to55.Theseshiftscoordinated
withthewrittenphrasemarks/changesofbow,allowforinaudibleshifts,andthereforea
cleanerexecution.ThetimingoftheshifttotheC#inm.53,andthecorrespondingplaceinm.
57,isdictatedbythetimingofthebowmovementinthephrase.Althoughthephraseis
legato,thesetwo-noteslurscanbeslightlyphrased-off,creatingaminisculespacefortheleft
handtoreleaseitspressureonthestringbetweenshiftingmechanisms.Here,thetwohands
canworktogethertocreateagracefulmusicalline.Theremainingshiftsinthisphrasewere
chosenformusicalpurposes.Ipreferredanaudibledifferencebetweentheextensionofthe
firstnoteofm.55,andtheexpressiveshifttotheclimacticfirstnoteofm.56.Thephrase
continuestotheendinasustainedmanner,withaconcluding“type2”shiftuptotheEinm.
58.
Thefollowingcasestudieswillprovideshortexamplesor“snapshots”ofshiftingprinciples
thatcanbeappliedtoothersectionsthroughoutthework.Rehearsalfigure8(m.69)shows
shiftsinmixedbowingpatterns.Iinterpretedthepianomarkingtosuggestamorewhimsical
sound,whichisachievedifthelightnessinthebowcorrespondswiththelightnessoftheleft
handshifts.
26
Ex.11.Prokofiev,ViolinConcertoNo.2,firstmovement,R8,mm.69-73.
TheshifttofourthpositionontheEinm.69waschosenbecauseitmetricallyalignswiththe
quaverpulseofthisscalicpassage.Becausetheshiftfallsonthefirstnoteofatripletfigure,
thenaturalarticulationoftheshiftunderaslurhelpstheclarityoftheleft-handnotes.The
fingeringinm.70workstogetherwiththeright-handmotionstocreatecleaner,easiershifts.
TheshiftuptothehighD,onbeatoneofbar70,isthelargestshiftinthispassage,and
dictatesthe“reset”ofthehandinahighposition.Iftheperformerconcentratesonthemotion
ofthebowmovingfromalighterup-bowtoaslightlymoreweighteddown-bow,theshift
movestowardsthebodyandintoplacewithafeelingofgravitas.Theresettingofthehandin
6thpositionalsoinvolvesanimmediate“opening”actionfromthebaseknucklejointsatthe
momenttheDisplaced,topreparefortheextensiontothehighA.Thehandthencontracts
into6thpositionuntilitshiftsbacktofirstpositiononthelowA.Thecleanlinessofthese
mechanismsishelpedbythearticulationmarkingsinthebow.Frequentbowchangesand
tenutomarkingsallowcrucialtimeinwhichtofinishpreviousleft-handactionsandprepare
newones.Similarly,lefthandarticulationcanaidtherhythmicallytimedshiftsinm.71.The
shiftdowntosecondpositionontheBisagainhelpedbythebow’stenutomarkings.
Theimportanceofthetimingofmotionsinbothhandsiseasilyobservableinthefirsttwo
barsofrehearsalfigure13(seeEx.8).Astheplayerexecutesthestringcrossingsdiscussedin
Chapter3,themotionsinthelefthandplayanintegralroleinthecoordinationofthe
techniqueasawhole.Thedouble-stoppingfiguresonthesecondquaverofeachgroupposea
challengetotheperformer.Thedifficultiesarisefromthestringcrossingfromasinglestring
toadouble-stopontwohigherstringsinthesamebow,whilehavingtoimmediatelyprepare
forthenextsequence.Thestaccatoarticulation,however,worksinfavouroftheperformeras
itoffersaslightbowreleasethatallowsthelefthandtopreparethenextnotequicklyin
27
advance.Theaccentsnecessitatethebowtopreparethestrokefromthestring,andalso
supporttheshiftingimpulse,helpingtheshiftingfingertofeelanchoredaccurately(ideally
withouttension),enablingthefollowingdouble-stoptositcomfortablyinposition.The
performermustmarkedlyarticulatetheaccentedup-bowgesturessothattheydonotsound
weakincomparisontothedown-bows.Anevenarticulationenhancesthemechanicalquality
thatmaybemusicallyappropriatetothepassage.Thisisanexcellentexampleofleftandright
handsworkingtogethertocreateasuccessfultechnicalresult,whichinturnwillproducethe
desiredmusicaloutcome.
Ševčík’sOp.8studiesforchangesofpositionprovideaseriesofusefulshiftingexercises.The
exercisespresentacombinationofshiftsbetweenhandpositions,rangingfromvariedshifts
between1stand2ndposition,throughtoshiftsfrom1stto8thposition.Eachexercise
includesshiftsoneachstring.Inmypractice,theseexerciseswerenotonlyusedforthe
analysisofshiftingmechanisms,butalsotoconcentrateonachievingpureintonationon
everynote.Thefirstexercisesinthisvolumecontainvariousshifts(upanddown)between
firstandsecondposition,includingfinger-replacementexercises.Theseareanexcellent
foundationforexplorationintolightnessoftheleft-handfingerconnectiontothestring,while
keepinganeven,consistentbowspeed.Fromexercise4,“type2”shiftsareintroduced.Tobe
abletohearthedetailineachshiftclearly,Ipracticedtheseinaslowtempoandchanged
bowsonlyaftershifts.Witha“type2”shift,thereleaseofthe“oldfinger”onthestringmust
beperfectlytimedsothattheplacementofthe“newfinger”isprecise.Thismechanismcanbe
practicedrepeatedly,keepinganevenbowspeed,sothatthehandsandarmsbeginrecognize
thefeelingofthismovement.Itisonlythroughrepeatingthecorrectmechanisminpractice
thattheshiftcanbereplicatedaccuratelyatwill.Whileworkingthrougheachvariationof
theseexercisestheperformerwillexplorethedifferentmechanismsusedinshiftsofallsizes,
usingtheseexercisesasatemplate.Thesmallershiftswillrequireaheightenedsenseoftouch
and,asthemovementgetsbigger,moreofthehandandarmbecomeinvolved.
28
Chapter5
ArticulationandMixedBowings
Inhisbook,PrinciplesofViolinPlayingandTeaching,Galamiandiscussedarticulationinthe
chaptertitled“TechniqueandInterpretation”(9).Heconsideredarticulationtobean
extensionoftoneproduction,describingtheimportanceofbalancing“consonants”with
“vowel”sounds(10).HemakesparticularreferencetoProkofiev’sSecondViolinConcerto,
illustratingavariationofdetachéintheformofdetachéportewhichisfoundatfigure16(m.
138)inthefirstmovement(68).AccordingtoGalamian,thenotesinthispassagewithtenuto
stylemarkingsaretobeplayedwithaslightswellingatthebeginningofthenotewitha
gradualreleasetowardstheend(68).Thistypeofdetachéisspecificallyusedtogive
expressionandshouldhaveaportato-likequality(68).
Themartelé,spiccatoandsautillébowingsinthismovementrequiremanydifferenttypesof
attack(84).Galamiandescribedthreedifferenttypesofbowattack(84).Theseinclude:(1)
theverysmooth,vowel-likebeginning,(2)theclearlydefinedconsonant-likeattackand(3)
theaccentedattack(85).Bowattacksandarticulationsincorporateelementsofbowspeed,
bowpressure,pointofcontactandchangeofbow.Variationstotheseelementscreate
dynamics,contrastandphrasingthroughadiverserangeofverticalandhorizontal
movements(85).Galamianbelievedthatthelefthandplaysanimportantroleinthequalityof
differentarticulations(85).
ThearticulationsymbolsinProkofiev’sViolinConcertoNo.2aremadediversebytheir
placementinpassagescontainingcomplexmixedbowingpatterns.Rehearsalfigure4(m.37)
isanexampleofstaccatoarticulationswithinmixedbowingpatterns.Whereasanormal
staccatoactionisabouncy,off-the-stringtypebowstroke,Galamiandescribedthebow
techniqueusedhereas“theclearlydefinedconsonant-likeattack”(85).Thistypeofattackis
appropriateinthissectionbecausethestaccatomarkingsneedcleardefinition,eventhough
theyarenotaccented(85).Galamiansuggestedthatthisattackisachievedbyplacingthebow
onthestringwiththesamepressurethatwillbeusedforthesuccessivebowstroke(85).
Hodgsonadvisedtheslowpracticeofmartellato(martelé)inapassagerequiringthistypeof
staccato(fromthestring)(81).
29
Ex.12.Prokofiev,ViolinConcertoNo.2,firstmovement,R4.mm.37-40.
Bowdistributionandbowspeedcontributelargelytothesuccessoftoneproductionin
passagescontainingmixedbowingpatterns.Forexample,inthesectionmarkedppabove,
alternatingfastandslowbowsoccur,whichtheperformermustachievewithoutlosinga
good,eventone(Galamian86).Thebowspeedonthestaccatonotehastobequitefast,yet
light,andthecontactpointshouldbeslightlyfurtherfromthebridge(86).Itisimportantto
“catch”thestringonthefirstnote,sothatthenecessarybowspeedisestablishedatthestart
ofthenote(87).This“catch”canbedescribedasaslightpressureandreleaseinthebow-
handfingerswhenthebowtouchesthestring,allowingaclearstarttothenote.Iplayedthis
sectionintheupper-halfofthebow,whichresultednaturallyfrombowingouttheprevious
sectionaswritten.Iusedafullquarterofthebowlengthtoenablethefollowingthreenotes
tohaveenoughbowto“speak”.Theupper-halfofthebowispreferableinthissectionbecause
naturallythereislessweightatthetip,whichfacilitatesthepianissimodynamic.Thismeans
however,thatthecontactpointshouldbeclosertothebridge,andthe“catch”actionwillneed
slightlymorebowpressuretoproducethesameclarityasinlowerpartsofthebow.
Incontrast,rehearsalfigure3(seeEx.3)demonstratesaspiccatomovement,whichisanoff-
the-stringstaccatobowstroke(seeHodgson79).Thebowmovementsrequiredforthis
strokeincludemovementstowardsandawayfromthestring,andacrossthestring(22).
Hodgsonanalysedthesemovementsinthemiddleofthebow(appropriatetorehearsalfigure
3)(22).Hebelievedthat“forearmrotation”isthekeytooff-the-stringbowstrokes(22).
Throughhisownmotionstudies,heshowedthatforearmrotationgenerates“greaterrapidity
thanispossibleinanyotheractiveway”(22).Whenan“upperarmswing“isaddedtothis
action,theresultisspiccato(22).Hegoesontoshowthecircularmotionthatstilloccursina
spiccatostroke(23).
30
Fig.8.Hodgson,“BowMovementsinSpiccatoandSautillé”(23).
Figure8showsthefigure-eightpathofthehandasitplaystwospiccatonotes(down-bowto
up-bow)(23).Hodgsonexplainedthemeaningofthethreenumbersonthisgraphasfollows:
1indicatesthebowpositionbeforeimpact,2isthepositionatimpactandnumber3isthe
reboundafterimpact(23).Thesethreemotionshappenwithinthefirstdown-bowstrokeand
ineachsuccessivestroke(23).Thefigure-eightpatternoccursineverypartofthebowwhile
itisairborne(23).Tograsptheconceptthatthiscircularmotionexistsinoff-the-stringbow
strokes,istorealizetherelationshipbetweeneachofthebowstrokes.Thelefthand
preparationtimeisextendedbythetimeittakestoexecutethiscircularmovement.Thistime
allowsforpotentialconnectivitybetweenthebowstrokesandcorrespondingleft-handnotes.
Rehearsalfigure13(seeEx.8)isanexampleofacombinationofdifferentarticulations(in
thiscase,staccatoandaccentmarkings)andmixedbowingpatterns.Thesebowingpatterns
occurinaseriesofdetachedandslurredsinglenotesanddoublestops.InChapter3ofthis
commentary,theforwardandbackwardcurvesinvolvedherewereanalysed,leadingtosome
solutionsonconnectivitybetweenthebowstrokesinthissection.Hodgsondevelopedthis
furtherinhiswritingon“modifyingcurves”(76).Hewrote,“thebowingofdoublestringswill
proveefficaciousinkeepingcurveswithinbounds”(76).Bypracticingexercisescontaining
singletodoublenotetransitions,theperformercancalculatethepreciseamountofbow
lengthandpivotactionneededforoptimalefficiency(76).Theseprinciplescanalsobe
appliedtomm.128-130.
31
ŠevčíkOpus1,Part1containsimportantandrelevantstudiesthathighlightmixedbowings
andarticulations.Exercise29istitled“Exercisesinvariousstylesofbowing”(40).Ifound
theseexercisesparticularlyhelpfultopracticeaspartofmypreparationforthisparticular
concerto.Thisexerciseisusefulbecauseitexploresbowdistributionindifferentpartsofthe
bowwithdifferentnotelengths,variationsonslurredandseparatedottedrhythms,and
thoroughlycoversmanyofthearticulationsusedinProkofiev’sconcerto.Theextensivearray
ofmixedbowingpatternsprovidedinthisexercisearecompletelybow-orientated.Any
difficultywithleft-handtechniqueismoretodowithpreparingstringcrossingsandbeing
whollyorganisedinthebow.With170bowingvariations,thestudentislikelytofinda
challengingprojectinthisexercisealone.Exercises14,15and16inthisbookarealso
relevant.Theyincludeexercisesinsixths,octaves,ninthsandtenths.Thispreparatory
exerciseisanexerciseinstringcrossingsthatcorrespondswithrehearsalfigures13and14.
Ševčíkwritesdouble-stoppingoptionstopromotethepracticeofabsoluteconnectivityinthe
bowandbetweentheleftandrighthands.Ševčík’sOpus2,Part3exercisesarealsovery
usefultopracticeinthiscontext.Intheareaofmixedbowingsandarticulations,Ifoundthe
“variouslegatostyle”exercisesparticularlyhelpful.Ipersonallylikethemethodicalapproach
ofworkingthroughthevariousbowstylesinSevcik’sorder.Astherhythmsandtechniques
changeanddiversify,theperformerisconstantlyadaptingtothenewvariations.Thebowing
styleisoriginallylegatobutmovesthroughaseriesof“offthestring”strokes.Thesepatterns
aredirectlyrelatabletotheconcerto,makingthemusefulcomplementarystudiesofthis
work.
32
Conclusion
InHodgson’sownconclusionofhismotionstudywork,hespecificallydiscusseditslevelof
significance.Throughgatheringmotionstudydataandcollectingnumerouscyclegraphs,he
feltthathehadprovedaconnectionbetweenbowingmovementsandthenaturalmovements
ofthehumanbodyandthatinitself,thiswasenoughtovalidateanewwayofthinking(103).
LaurenDeutschmentionssomelimitationsofHodgson’sworkinherdoctoralthesis.She
statesthat“Hodgsondoesnotexplainhisdatacollectionmethodsclearly,anditisunknown
whetherhestudiedmanyviolinistsorjustoneviolinisttocomeupwithhisconclusions”(10).
Shealsopointsoutourlackofknowledgeregardingthetechnicalleveloftheviolinistsin
question,andbelievesthatwecanonlydrawlimitedconclusionsfromhiswork(10).Dueto
thefactthatHodgsonstudiedthenumerousviolinschools,analysedthetechniquesofthe
greatestviolinistsintheworld,andtookliterallythousandsofcyclegraphsofeverypossible
bowing,Ibelievethathisstudy(evenifnotdiligentlyrecorded)isaninvaluableeducational
source(xi).Itleadstotheconclusionthatallbowingmovementsarearguablygovernedby
naturallawsofcircularmotion.BybecomingmorefamiliarwithHodgson’swriting,Ihave
foundtheimportanceandrelevanceofhisworktobeclear.
InthepreparationandperformanceofthisConcerto,oneparticularperformancestoodoutin
mymind.Itwasapractice-performanceinwhichIexperimentedwithchanneling100%ofmy
focusonmybowarm.AsopposedtomyexpectationthatIwouldmissmanyshiftsandthat
muchofthepassageworkwouldbeoutoftune,manyoftheusualleft-handtechnical
problemsactuallyfellintoplace,andthefreedomIfeltinthisperformancewasunmatchedby
anypreviousexperience.Itwasmoredifficulttoperformwiththislevelofeaseinthehigh-
pressuresituationofmyMaster’srecital,butonreflection,IseethatstudyingtheConcertoin
thiswayhassolidifiedmytechnique,specificallythecoordinationofmytwohands,and
changedmyviolinplayingforthebetter.Fundamentally,myownpersonalexperienceofthe
physicalandpsychologicalaspectsofthisapproachwillinformmypractice,performanceand
teachingmethodshenceforth.Hodgsonmaintainedthathisanalysesweretobeusedasa
guidelineforfutureteachersintheirquesttorealizeandsolvestudents’problemsasthey
arise(103).Theidealoutcomeforanystudentorperformeristobeabletoexecutethefluid,
circularbowingmovementswithcompleteeaseandcommittingthesebasic,natural
movementstothesubconscious(103).
33
Ibelievethatthiscasestudyshedslightontheco-dependenceofthetwohands,andpresents
acaseforthethoroughpreparationandorganizationoftherighthand.Onlythroughsuch
organizationcanalinkbeattainedwiththelefthand,andthetwohandsthenworktogether
toproduceahighlyfunctioningcollaborativeresult.Ibelievethatthiscollaborationisoneof
thekeystoexceptionalviolinplayingandisasignificantmovetowardstechnicaland,
therefore,musicalfreedom.
34
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