Embed Size (px)
Citation preview
The Orchestral Violinist’s Companion
Martin WulfhorstOrchestral Excerpts
Bärenreiter Volume 1
This book is a guide to the art of playing the violin in a professional orchestra. It is a workbook, reference tool, and textbook for• conservatory and college students who are preparing for an orchestral career• audition candidates at the beginning or at later stages in their careers• string teachers, conductors and composers• classes at conservatories, universities, and summer programs.
The Orchestral Companion for Violinist’s provides a comprehensive survey of the vast range of skills and knowledge an orchestral player needs: strategies for practicing and sight-reading, bowing and left-hand technique, pizzicato and other special techniques, ensemble playing and command of complex rhythms, knowledge of notation and performance practice, familiarity with a core repertoire of orchestral works, audition preparation, and strategies for coping with career issues including the physical and mental stresses of long-term orchestral work. Excerpts from more than 340 works by 87 composers are provided with bowings, fingerings, metronome markings, stylistic suggestions, and tips for practicing.
Additional material can be found at the companion website for this book, http://www.orch.info. This material includes• a comprehensive list of published excerpt collections• a guide to other resources: websites, technical studies, books, articles,
recordings, and software• introductory videos.
Bärenreiter
Bär
enre
iter
W
ulf
ho
rst
• Th
e O
rch
estr
al V
iolin
ist’
s C
om
pan
ion
· V
ol.
1
U1+U4 The 0rchestral-1758-Vol.1.indd 1 06.11.2012 13:56:00 Uhr
Bärenreiter
a comprehensive
guidebook with hundreds of excerpts
473 Learning, Practicing, Sight-Reading • 3.9 Strategies for Physical Practice: Speed
&# # # # C Ó ‰ œ
≤1œ2
3
œ3
œ0
œ1 œ2 œ3 œ0 œ1
Strauss, DonJuan (Ex. 3.4b)
ll45
Allegro molto con brio h = 84
ƒJœ2
‰ Œ2̇
G
& b 43 ~~~~~.ϲ1 J
œb 4Sehr schnell und leidenschaftlich q = 176
ƒ
mm
StraussElektra (Ex. 3.4o)
vn. 1+2
œb œ œb 4≤œ œb œb œn 2 œn œn
ç
1a œb 1 œn2
œ œ
& b ~~ ~~œ1≤ œb 4
nn . .œb œb 4
. .œ œb
One-plus-one patterns:
. .œb œn 2 . .œn œn . .œb 1 œn 2 . .œ œ œ1≤ œb 4 œb . .œb 4
œ . .œb œb . .œn 2 œn . .œn œb1 . .œn 2 œ . .œ
& b ~~ ~~œ1≤ œb 4oo .œb œ œb 4
œ œbOne-plus-three patterns:
.œb œ œn 2 œn œn .œb1
œ œn 2 œ œ œ1≤ œb 4 œb . .œb 4≤ .œ œ œb œb . .œn 2 .œ œn œn œb 1 . .œn 2 .œ œ œ
& b ~~ ~~œ1≤ œb 4 œb œb 4≤
.œ . .œ œb œb œn 2 .œn . .œ œn œb 1 œn 2 .œ . .œ œ œ1≤ œb 4 œb œb 4≤
œ œb .œ œb œn 2 œn œ .œ œb 1 œn 2 œ œ .œ
&# # # # C ~~
3
œ3 œ œ0 œ1 œ‹ 1 œ œ≤ œ œ#1
œ2
œ œƒ
Allegro molto con brio h = 84pp6
Strauss, DonJuan (Ex. 3.4b)
Gjœ ‰
&# # # #
.œ3 œ œ0 .œ1 œ‹ 1 œ .œ≤ œ œ#1 .œ
2
œ œ jœ ‰6
One-plus-two patterns:qqœ3 .œ œ0 œ1 .œ‹ 1 œ œ≤ .œ œ#
1œ2
.œ œ jœ ‰œ3 œ .œ0 œ1 œ‹ 1 .œ œ≤ œ .œ#
1 œ2
œ .œ jœ ‰
&# # # #
œ3
6
œ œ œ0 œ1 œ‹ 1 œ œ≤ œ œ œ#1
œ2 œ œ jœ ‰
One-plus-five patterns (Only two of six possibilities are shown.)
6
rr
6
œ3 œ œ0 œ1 œ‹ 1 œ œ œ≤ œ œ#1
œ2 œ œ œ jœ ‰
&# # # # ~~~~ ~~
3
œ2 œ œ0 œ‹ 1 œ œ# 1
ƒ slightly off
23ss
(f)
œ œ# 2 œ œ œn œn œ1( ) œ œ œ œ œ œ
&# # # #
3
.œ2 œ œ03
.œ‹ œ œ# 123
"Siciliano" patterns:
tt
3
œ2 .œ œ03
œ‹ .œ œ# 1
3
œ2 .œ œ03
œ‹ .œ œ# 1
(5) Inserting rests or fermatas between segments played at full speed—another type of combining slow and fast practice—is per-haps one of the most efficient methods for learning fast passages with difficult pitch patterns: “The added fermatas provide the time to judge the correctness of the previous passage, to think of the next passage in all its detail, and to formulate the next outgoing command in its entirety” ( Gerle 1983, 15). Choose segments of appropriate length.
uu • Divide any passage into consecutive segments of two, three, four, six, or eight notes and shift the pattern note by note or beat by beat. Grasp and then play each segment as a single unit: “It feels as if one single action plays all the notes of the group together” ( Fischer 2004, 24).
vv • Overlapping segments are very useful for covering the “seams” but are a little awkward because of the continuous bow retakes.
&# # # # ~~~~œ2 œ œ "0 œ‹
≤1 œ œ# "1 œ œ# 2 œ " œ≤ œn œn " œ# œ œ " œ≤
œ œ" jœ
23
Consecutive segments with added fermatas:uu
œ2 œ " œ œ‹ œ "23
RÔœ2 " œ
≤œ œ‹ "23
&# # # #
6
œ2 œ œ0 œ‹ 1 œ œ# "1
6
œ œ# 2 œ œ œn œn "
6
œ# œ œ œ œ œ " jœ23
3
œ2 œ œ "0
6
œ‹≤1 œ œ# 1 œ œ# 2 œ "
6
œ≤ œn œn œ# œ œ "3
ϲ
œ œ jœ23
&# # # # œ2 œ œ0 œ‹ " œ
≤1 œ œ# 1 œ " œ œ# 2 œ œ" œ≤ œn œn œ# " œ œ œ œ " œ≤
œ œ œ23
Overlapping segments with added fermatas:vv
&# # # # ≈
œn≤
œ œ œn 1
3
œ œn œn ˙4ww1
ƒ œn œ"
œ œ œ"
œ œ œ œn"
œ œ œ œ œ"
œ œ œ œ œ œn"1
Expanding segments, moving forward:xx
œ œ œ œ œ œ œn"
œ œ œ œ œœ œ œ4
&# # # # œn œ " œn
≤ œ œ "œ œ œ œ
"
œn
≤
œ œ œ œ"
œn œ œ œ œ œ"
œ
≤
œ œ œ œ œ œ"
œ œ œ œ œ œ œ œ1
Expanding segments, moving backward:
&# # # # ~~~~~~~ Œ
.œ# 2
≤
œ
≤>51
yy
Gf
3ϲ3
Jœ≤4. œ. œ. œn 2.
1
œ.
3
œ‹ .3
1
œ. œ#1
œ œ# 2
p F
˙ Jœn 2
‰ Œ
&# # # # .. .. .. .. ..
œ# 2œ œ
3 œ4 œ3 œ œ3 œ
1
51
Loops:zz
forward backward
œ1 œ3 œ4 œ3 œ œ œ œ3 œ3 œ4 œ3 œ œn 2 œ# 2 œ œ
52
&# # # # .. .. .. .. .. ..
œ4 œ œ œn 2 œ œ œ# 2 œ œ3 œ œn 2 œ œ‹ 3 œ1 œn œ# 2
Practice also as a trilling shift:
œ# 2 œn 2 œ œ‹ 3 œ œ‹ œ1 œn
&# # # # .. .. .. .. .. .. .. ..
œn 2œ œ‹ 3 œ œ# œ œ‹ œ1 œ1 œ‹ 3 œ œ# œ œ œ œ‹ œ‹ 3 œ œ# œ œ# 2 œn 2 œ œ œ4 œ# œ œ# 2
œ œ# œn2
œ
2
&# # # # C Ó ‰ œ
≤1œ2
3
œ3
œ0
œ1 œ2 œ3 œ0 œ1
Strauss, DonJuan (Ex. 3.4b)
ll45
Allegro molto con brio h = 84
ƒJœ2
‰ Œ2̇
G
& b 43 ~~~~~.ϲ1 J
œb 4Sehr schnell und leidenschaftlich q = 176
ƒ
mm
StraussElektra (Ex. 3.4o)
vn. 1+2
œb œ œb 4≤œ œb œb œn 2 œn œn
ç
1a œb 1 œn2
œ œ
& b ~~ ~~œ1≤ œb 4
nn . .œb œb 4
. .œ œb
One-plus-one patterns:
. .œb œn 2 . .œn œn . .œb 1 œn 2 . .œ œ œ1≤ œb 4 œb . .œb 4
œ . .œb œb . .œn 2 œn . .œn œb1 . .œn 2 œ . .œ
& b ~~ ~~œ1≤ œb 4oo .œb œ œb 4
œ œbOne-plus-three patterns:
.œb œ œn 2 œn œn .œb1
œ œn 2 œ œ œ1≤ œb 4 œb . .œb 4≤ .œ œ œb œb . .œn 2 .œ œn œn œb 1 . .œn 2 .œ œ œ
& b ~~ ~~œ1≤ œb 4 œb œb 4≤
.œ . .œ œb œb œn 2 .œn . .œ œn œb 1 œn 2 .œ . .œ œ œ1≤ œb 4 œb œb 4≤
œ œb .œ œb œn 2 œn œ .œ œb 1 œn 2 œ œ .œ
&# # # # C ~~
3
œ3 œ œ0 œ1 œ‹ 1 œ œ≤ œ œ#1
œ2
œ œƒ
Allegro molto con brio h = 84pp6
Strauss, DonJuan (Ex. 3.4b)
Gjœ ‰
&# # # #
.œ3 œ œ0 .œ1 œ‹ 1 œ .œ≤ œ œ#1 .œ
2
œ œ jœ ‰6
One-plus-two patterns:qqœ3 .œ œ0 œ1 .œ‹ 1 œ œ≤ .œ œ#
1œ2
.œ œ jœ ‰œ3 œ .œ0 œ1 œ‹ 1 .œ œ≤ œ .œ#
1 œ2
œ .œ jœ ‰
&# # # #
œ3
6
œ œ œ0 œ1 œ‹ 1 œ œ≤ œ œ œ#1
œ2 œ œ jœ ‰
One-plus-five patterns (Only two of six possibilities are shown.)
6
rr
6
œ3 œ œ0 œ1 œ‹ 1 œ œ œ≤ œ œ#1
œ2 œ œ œ jœ ‰
&# # # # ~~~~ ~~
3
œ2 œ œ0 œ‹ 1 œ œ# 1
ƒ slightly off
23ss
(f)
œ œ# 2 œ œ œn œn œ1( ) œ œ œ œ œ œ
&# # # #
3
.œ2 œ œ03
.œ‹ œ œ# 123
"Siciliano" patterns:
tt
3
œ2 .œ œ03
œ‹ .œ œ# 1
3
œ2 .œ œ03
œ‹ .œ œ# 1
&# # # # C Ó ‰ œ
≤1œ2
3
œ3
œ0
œ1 œ2 œ3 œ0 œ1
Strauss, DonJuan (Ex. 3.4b)
ll45
Allegro molto con brio h = 84
ƒJœ2
‰ Œ2̇
G
& b 43 ~~~~~.ϲ1 J
œb 4Sehr schnell und leidenschaftlich q = 176
ƒ
mm
StraussElektra (Ex. 3.4o)
vn. 1+2
œb œ œb 4≤œ œb œb œn 2 œn œn
ç
1a œb 1 œn2
œ œ
& b ~~ ~~œ1≤ œb 4
nn . .œb œb 4
. .œ œb
One-plus-one patterns:
. .œb œn 2 . .œn œn . .œb 1 œn 2 . .œ œ œ1≤ œb 4 œb . .œb 4
œ . .œb œb . .œn 2 œn . .œn œb1 . .œn 2 œ . .œ
& b ~~ ~~œ1≤ œb 4oo .œb œ œb 4
œ œbOne-plus-three patterns:
.œb œ œn 2 œn œn .œb1
œ œn 2 œ œ œ1≤ œb 4 œb . .œb 4≤ .œ œ œb œb . .œn 2 .œ œn œn œb 1 . .œn 2 .œ œ œ
& b ~~ ~~œ1≤ œb 4 œb œb 4≤
.œ . .œ œb œb œn 2 .œn . .œ œn œb 1 œn 2 .œ . .œ œ œ1≤ œb 4 œb œb 4≤
œ œb .œ œb œn 2 œn œ .œ œb 1 œn 2 œ œ .œ
&# # # # C ~~
3
œ3 œ œ0 œ1 œ‹ 1 œ œ≤ œ œ#1
œ2
œ œƒ
Allegro molto con brio h = 84pp6
Strauss, DonJuan (Ex. 3.4b)
Gjœ ‰
&# # # #
.œ3 œ œ0 .œ1 œ‹ 1 œ .œ≤ œ œ#1 .œ
2
œ œ jœ ‰6
One-plus-two patterns:qqœ3 .œ œ0 œ1 .œ‹ 1 œ œ≤ .œ œ#
1œ2
.œ œ jœ ‰œ3 œ .œ0 œ1 œ‹ 1 .œ œ≤ œ .œ#
1 œ2
œ .œ jœ ‰
&# # # #
œ3
6
œ œ œ0 œ1 œ‹ 1 œ œ≤ œ œ œ#1
œ2 œ œ jœ ‰
One-plus-five patterns (Only two of six possibilities are shown.)
6
rr
6
œ3 œ œ0 œ1 œ‹ 1 œ œ œ≤ œ œ#1
œ2 œ œ œ jœ ‰
&# # # # ~~~~ ~~
3
œ2 œ œ0 œ‹ 1 œ œ# 1
ƒ slightly off
23ss
(f)
œ œ# 2 œ œ œn œn œ1( ) œ œ œ œ œ œ
&# # # #
3
.œ2 œ œ03
.œ‹ œ œ# 123
"Siciliano" patterns:
tt
3
œ2 .œ œ03
œ‹ .œ œ# 1
3
œ2 .œ œ03
œ‹ .œ œ# 1Wulfhorst_OrchestralViolonistCompanion.indb 47 25.11.2012 20:55:34
The Orchestral Violinist’s CompanionThis book is a guide to the art of playing the violin in a professional orchestra. It is a workbook, reference tool, and textbook for:
• conservatory and college students who are preparing for an orchestral career• audition candidates at the beginning or at later stages in their careers• string teachers, conductors, and composers• classes at conservatories, universities, and summer programs.
The Orchestral Violinist’s Companion provides a comprehensive survey of the vast range of skills and knowledge an orchestral player needs: strategies for practicing and sight-reading, bowing and left-hand technique, pizzicato and other special techniques, ensemble playing and command of complex rhythms, knowledge of notation and performance practice, familiarity with a core repertoire of orchestral works, audition preparation, and strategies for coping with career issues including the physical and mental stresses of long-term orchestral work.
5 Bowing Technique, Sound Production, Coordination• Blending within the violin section• Adapting to the conductor’s interpretation• Great variety of strokes from legato to ricochet, fast repetitions and tremolo, numerous bowing patterns, articulations, dynamics (including
extremely soft dynamics, a typical challenge of many orchestral parts), colors, and special techniques such as ponticello and col legno• Musical examples for each bow stroke or pattern � sample page 140• “Good” and “bad” bowings – a short guide for bowing orchestral parts
1 Training as an Orchestral Violinist – History, Challenges, ConceptsA brief historical sketch of orchestral training, a critical analysis of the current state of orchestral training, and a proposal for an original system for comprehensive orchestral training.
2 The Orchestral ModeWhat is the essence of orchestral playing? And what are the musician’s priorities when playing in an orchestra? There is a particular mindset that is specifi c and essential to orchestral playing.
3 Learning, Practicing, and Sight-Reading• A comprehensive learning system covering: goal setting, self-assessment, planning, mental and physical practice, self-monitoring, and strategies for coping with performance anxiety• Practice strategies for learning orchestral repertoire � sample page 47• Strategies for sight-reading, learning “impossible” pieces, and learning repertoire under time pressure
4 Basic Orchestral Technique – Principles, Routines, and Maintenance• Daily practice routines for orchestral violinists: bowing, shifting, scales, arpeggios, double stops, and chords• Strategies for improving ease and endurance
Excerpts from more than 340 works by 87 composers are provided with bowings, fi ngerings, metronome markings, stylistic suggestions, and tips for practicing.
These excerpts represent a variety of genres: symphonic repertoire, operas, operettas, ballets, and oratorios.
140 5 Bowing Technique, Sound Production, Coordination • 5.17 Repetitions of Pitches
& cϲ@
( ) œ@ œ@ œ@
q = 120 : h =112+
Coordinationand speed
aon/off
Ex. 4.10a
ϲ!
( ) œ! œ! œ! œ! œ! œ! œ!q = 120 : h =112+b
& b c .œb@3( ) œ>
œ .œ@œ>
œDonizettiL'Elisir II/12
Allegro [h = 92+]76
pá
start poco ponticelloc
2nd x: cresc.á
.œb@œb>
œ œ!>
1 œ!>
œ!>
œ!>á
«2 1 1 2 1 .œ@
3 œ>
œ .œ@œ>
œá á
& b ...œ@
œ>
œ œn!>
œ!>
œ!>
œ!>á
œn!
2 œb!
œ!
œ! œ
!œb
!œ
!œ
! œn!2 œ
!œb
!œ
! œn! œb!œ
! œ! 3x
& bbb 42 œ1 œ œ œ œ œ œ œ œ@ œ@Beethoven
Symphony 3/iv
Presto q = - 116433
ƒ
vn. 1+2d
œ!
œ!
œ!
œ!
œ! œ! œ! œ! œ! œ! œn ! œ! œb ! œ! œ! œ! œ! œ! œ! œ! œ!
3
œ! œ! œ!
& bbb œ! œ! œ! œ! œ! œ! œ
!œ!vn. 1
G L
437
œ! œ! œ! œ! œ! œ! œ! œ
!sim.
œ!3)(
œ!1
œ! œ! œ! œ! œ!
œ!
œ@
1( )œ! œ! œ
!œ
!œ
! œ!
4
œ( )1
@œ
!œ
!œ
!œ
!œ
! œ!4
& bbb .. .. .. ..œ@
œ!
œ!
œ!
4( ) œ!
œ! œ!
4442
œœ œ œ œ@ œ@ œ@
4
relax
4 4 Ͼ
Ͼ
8 83x œ
æœ
æS
8
S
8
&# # c ..
√œ!1 œ!
œ!
1
2
œ!
œ!> œ
!œ
!œ
!Grieg, Peer/8(= Suite I/iv)
Più vivo [h = 100+]
B 66/70
ƒ
eœ#
!3
3
> œ!œ
!œ
!œn
!3> œn!
œ!
œ! œ!
1 œ#!œ
!1 œ
!œ
!œ
!œ
!1 œ
!œ
!> œ
!œ
!3 œ
!˙
@>
II
œ!1 œ#!
œ#!1
3
œ!
2
œ!> œ!
œ!
œ!
74
&# #
(√)œn
!3( )> œ#!
œ!
œ!
œ!
3> œ!
œ!
œ!
75 œ!1 œ#!
œ#!1
3
œ!
2
œ!> œ!
œ!
œ!
œ!
3( )> œ#!
œ!
œ!
˙@
3>
œ!1 œ#!
œ#!3
1 œ!
2
œ!> œ
!œ
!œ
!œ#
!> œ#!
œ!
œ!
œ!> œ!
œ!
œ!
&# #
(√)œ!1 œ#!
œ#!1
3
œ!2
œ!> œ!
œ!
œ!
80 œ#!> œ#!
œ!
œ!
˙@> stringendo al fine
CRepeatmm. 66-72
œ!
1œ
!œ
!œ
! @̇>
II
& cœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
fDisplacedrepetitions
q = 100 : 160Ex. 4.10a g
rœ
Practice:
œ! œ! œ! œ! œ! œ! œ! œ!
5.N17 c – e • OM6 Ease and endurance are challenges in many pas-sages with extremely fast repetitions. To play all notes with the same intensity is difficult or impossible (and often not even desirable!). Play with the “curves” or “waves” described in Chapter 4.14/(11). Follow the contour and metrical stresses of the phrases with the dynamics and, at an extreme pace, even with the speed of your motion. Intensify the dynamics and
speed on the moving notes, toward the melodic high points, and on the accented notes. Relax on the longer notes or pedals with repetitions: play more softly and, as necessary, even use a stroke that is slower than the notated values.
f , h • Practice displaced repetitions.g , i • Practice the repetitions by starting on the beat.
Wulfhorst_OrchestralViolonistCompanion.indb 140 25.11.2012 20:59:20
..œœ œœ
!!!!!œœ
!!!!!œœ
!!!!! !!!!!œœ
!!!!!œœ
!!!!!œœ
!!!!!3 œœ
!!!!!˙̇̇̇̇
@@@@@@II
œœ!!!!!!!1 œ# œ# œ#!!!!œ#!œ# œ#!œ# œ#!œ# œ#!œ#!
œ# œ# œ#!!!!!1œ# 1œ# 1œ# 1œ# 1œ# 1œ#3
œœ!!!!!
2
œœ!!!!!> œœ!!!!!
œœ!!!!!
œœ!!!!!
74
œœ!!!!!!!1 œ# œ# œ#!!!!œ#!œ# œ#!œ# œ#!œ# œ#!œ#!
œ# œ# œ#!!!!!3
1œ# 1œ# 1œ# 1œ# 1œ# 1œ# œœ!!!!!
2
œœ!!!!!> œœ
!!!!!œœ
!!!!!œœ
!!!!!œ# œ# œ#
!!!!!>œ#>œ# œ# œ# œ#!!!!!
œœ!!!!!
œœ!!!!!
œœ!!!!!> œœ!!!!!
œœ!!!!!
œœ!!!!!
stringendo al fine œœ!!!!!
1œœ
!!!!!œœ
!!!!!œœ
!!!!! ˙̇̇@@@@@@@>
II
œœg
rrrrrœ
rœ
rœœ
Practice:
œœ!!!!! œœ!!!!! œœ!!!!! œœ!!!!! œœœ!!!!! œœ!!!!! œœœœ!!!!! œœ!!!!!
301
8 Rhythm and Ensemble Playing • 8.6 Irregular Off-Beats and Syncopations, Off-Beat Accents
8.6 Irregular Off-Beats and Syncopations, Off-Beat AccentsThe following challenges are related to the rhythmic patterns in-cluded in the previous Chapter. a – b • Irregular off-beats and irregular syncopations • Prac-
tice with a partner or a click track. Where appropriate practice the off-beat patterns with sustained notes instead of rests.
&
&
##
##
89
8986
86
..
..
89
89
œœœœn ‰ œœœœ
‰ ‰jœœœœ
‰jœœœœ
‰
œ3
. œ. œ>
œ œ. œ. œ. œ. œ.
All.o vivace [q. = 84 Ð1 00]
RachmaninoffDances/iii
69 -2pizz.
vn. If
a
arcovn. II
IV
f marcato
1
œœœœn ‰ œœœœ
‰ ‰jœœœœ
‰jœœœœ
‰
œ>
jœ>
œ œ. œ. œ. œ. œ>
œœœœn ‰ œœœ
œœœ œœœ ‰
œ œ. œ.jœ. œ>
dim. 2
œœœœn ‰ œœœœ
‰ œ≤. œ. œ. œ. œ.
œ.>jœ>
œ œ. œ. œ. œ. œ.
arco
F
File 8.N6 a rachm irregular off beats 110%
& b bb C 23C .. 23 C ..
Óœœ.2 œœ
. œœ.
9 +5Allegretto h = 116
ShostakovichCello Concerto 1/i
10b
div. FŒ
œœn .
≤Œ
œœb.≤ œœ
. œœ.q = q
«2
∑1
Óœœn#.3 œœ
. œœ.
Œœœn.
≤ ‘1
∑1
& b bb 23 C23
C
2
Œœœn#. œœ
. œœ.
Œœœn.3 œœ œœb
Œœœn. œœ
.Œ
œœb .≤11 +4
Óœœb. œœ
. œœ.
Œœœ.≤
‘ Œœœb. œœ
. œœ.
Œœœ
. œœ
. œœ
.Œ
œœ
. œœ
. œœ
. œœ
.
& cœ œ>
œ œ>
œ œ>
œ œ>
cOff-beataccents
Ex. 4.10a (Practice also on the same pitch.)
on/off
q = 80 : 100+
œ œ>
œ œ œ œ>
œ œd
œ œ œ>
œ œ œ œ>
œe
œ œ œ œ>
œ œ œ œ>
f
~~~
~~~~~~
~~~
&# c ..
œ# .≤1 jœ#3
œ≤. œ> œn œ œ
Allegro q = 132
VerdiTrovatore II/4
1 +10
F
g
œ#≤
≤
1. œ≤4˘ œ. œ˘ œ. œ̆ œ.
1 œ̆
cresc.
œ# .3 œ̆ œn . œ̆œ. œ̆
œn . œ̆œ
jœ# œ
≤
>
œ
jœ œ>
rit.
& b bb b C
~~~~
.œ2
Jœn
3≤
œn .≤ œ.≤ œ.
1
œ.4
ƒ S
BrahmsSymphony 3/iv
Allegro [h = 100+]
91 Fh II
Sœ.2
1
œ. œ. œ.œn .
1
2 œ. œ. œb .
S Sœ. œ. œ. œn . œ œ œ
1
2 œ4
ben marc. S
œ2
1
œ œ œœn
1
2 œ œ œb
S Sœ.
1
œ̆œ. œb˘œ. œ˘œ# .
1
3
œn˘ œ#-
Œ Œ
& 42 œ4
œ# œ> œ œ œ# œ> œ
Allegro q = 140
pm. 258: one octave higher
onKodályGalánta
vn. 1-2
242
œ œ# œ> œ œ œ œ> œ œ œ œ> œ œ œ œ> œ œ
4
œ# œ> œ œn œ# œ
> œ œn œ œ> œ œ œ
0
œ> œ œ œ œ œ œ œ œ.
jœ‰ Œ
S& ..
..~~~
√œ1 œ# œ> œ œ œ œ> œ# 1
F
534Allegro vivace q = 152
vn. 1/I poco a poco cresc.
œ1 œ# œ> œ œ œ œ>3( )
œ œ2 œ œb> œ œ œ œ> œ# 2
œ œ#
Practice:j242
œ> œ œ# œ# œ
> œ
& c ..∑‰
œ ‰œ ‰
œ ‰œ
metronome
kq = 80 : 160Playing againstoff-beats œ ‰ œ
≤‰ œ ‰ œ
≤‰‰
œ ‰œ ‰
œ ‰œ
Ex. 8.06b 110%
c – i • SP8 For practicing purposes, exaggerate off-beat accents in order to achieve complete independence between bow accent and pulse. j • Practice ostinato patterns in displaced form at full speed.
& b bb C 23C .. 23 C ..
Óœœ.2 œœ
. œœ.
9 +5Allegretto h = 116
ShostakovichCello Concerto 1/i
10b
div. FŒ
œœn .
≤Œ
œœb.≤ œœ
. œœ.q = q
«2
∑1
Óœœn#.3 œœ
. œœ.
Œœœn.
≤ ‘1
∑1
& b bb 23 C23
C
2
Œœœn#. œœ
. œœ.
Œœœn.3 œœ œœb
Œœœn. œœ
.Œ
œœb .≤11 +4
Óœœb. œœ
. œœ.
Œœœ.≤
‘ Œœœb. œœ
. œœ.
Œœœ
. œœ
. œœ
.Œ
œœ
. œœ
. œœ
. œœ
.
& cœ œ>
œ œ>
œ œ>
œ œ>
cOff-beataccents
Ex. 4.10a (Practice also on the same pitch.)
on/off
q = 80 : 100+
œ œ>
œ œ œ œ>
œ œd
œ œ œ>
œ œ œ œ>
œe
œ œ œ œ>
œ œ œ œ>
f
~~~
~~~~~~
~~~
&# c ..
œ# .≤1 jœ#3
œ≤. œ> œn œ œ
Allegro q = 132
VerdiTrovatore II/4
1 +10
F
g
œ#≤
≤
1. œ≤4˘ œ. œ˘ œ. œ̆ œ.
1 œ̆
cresc.
œ# .3 œ̆ œn . œ̆œ. œ̆
œn . œ̆œ
jœ# œ
≤
>
œ
jœ œ>
rit.
& b bb b C
~~~~
.œ2
Jœn
3≤
œn .≤ œ.≤ œ.
1
œ.4
ƒ S
BrahmsSymphony 3/iv
Allegro [h = 100+]
91 Fh II
Sœ.2
1
œ. œ. œ.œn .
1
2 œ. œ. œb .
S Sœ. œ. œ. œn . œ œ œ
1
2 œ4
ben marc. S
œ2
1
œ œ œœn
1
2 œ œ œb
S Sœ.
1
œ̆œ. œb˘œ. œ˘œ# .
1
3
œn˘ œ#-
Œ Œ
& 42 œ4
œ# œ> œ œ œ# œ> œ
Allegro q = 140
pm. 258: one octave higher
onKodályGalánta
vn. 1-2
242
œ œ# œ> œ œ œ œ> œ œ œ œ> œ œ œ œ> œ œ
4
œ# œ> œ œn œ# œ
> œ œn œ œ> œ œ œ
0
œ> œ œ œ œ œ œ œ œ.
jœ‰ Œ
S& ..
..~~~
√œ1 œ# œ> œ œ œ œ> œ# 1
F
534Allegro vivace q = 152
vn. 1/I poco a poco cresc.
œ1 œ# œ> œ œ œ œ>3( )
œ œ2 œ œb> œ œ œ œ> œ# 2
œ œ#
Practice:j242
œ> œ œ# œ# œ
> œ
& c ..∑‰
œ ‰œ ‰
œ ‰œ
metronome
kq = 80 : 160Playing againstoff-beats œ ‰ œ
≤‰ œ ‰ œ
≤‰‰
œ ‰œ ‰
œ ‰œ
Ex. 8.06b 110%
Wulfhorst_OrchestralViolonistCompanion.indb 301
20.11.2012 22:26:15
9 Decoding and Marking Orchestral Parts – A Manual of Orchestral Notation and Performance Practice• Specifi c suggestions for marking your part• Detailed discussion of all aspects of notation and performance practice
10 Repertoire and Style• A suggested core repertoire of orchestral works• A guide to building this core repertoire and creating a style grid• Diff erent styles and their unique challenges
11 Profession and Career• Career planning• Setting goals (profi les of various orchestra types and various orchestral positions such as concertmaster and section player)• Auditioning• Orchestral life• Long-term work in an orchestra
12 Resources available at http://www.orch.info• A list of published excerpt collections• A guide to additional resources: websites, technical studies, articles, books, recordings, and software• Introductory videos
6 Left-Hand Technique• Orchestral intonation and fi ngering• Particularly tricky pitch patterns: diatonic and chromatic scale patterns, arpeggios, leaps and silent shifts, extremely high passages, remote keys, whole-tone motion, free tonality and atonality, trills and other ornaments, portamento and glissando, harmonics
7 Pizzicato and Other Special Technical Issues• Basic and advanced pizzicato techniques required for repertoire of the 19th and 20th centuries• Switching between pizzicato and arco• Techniques specifi c to the playing of contemporary music
8 Rhythm and Ensemble Playing• Two-part exercises and excerpts for partner practice or for string classes � sample page 301• Basic conducting technique• Counting• Syncopation, tuplets, cross-rhythms• Irregular meters • Rubato and accompanying• Ensemble playing
Bärenreiter-Verlag · Karl Vötterle GmbH & Co. KG · 34111 Kassel · Germanywww.baerenreiter.com · [email protected] · Printed in Germany 1/1301/10 · SPA 50_48
Martin Wulfh orstThe Orchestral Violinist’s CompanionVol. 1: Training · Practicing and Sight-Reading · Basic Orchestral Technique · Bowing Technique and Sound ProductionVol. 2: Left-Hand Technique · Pizzicato and Other Special Techniques · Rhythm and Ensemble Playing · Notation and Performance Practice · Repertoire and Style · Profession and Career · Resources
(2013) xxxi, 483 pages. English text, paperback, format 23 x 30 cm Approx. 1,000 excerpts from 340 works by 87 composers; approx. 30 illustrations, diagrams, and tables.
ISBN 978-3-7618-1758-2The volumes cannot be purchased separately.
The AuthorPrior to joining the Hamburg Symphony as Associate Concertmaster, Martin Wulfh orst was a member of the Berlin Deutsche Oper Orchestra and served on the faculty of Colgate University (NY), teaching violin and chamber music. His CDs include world premiere recordings of chamber music from the circle of Brahms and by contemporary American composers, issued by Jambus and Spectrum/Innova. He studied with Ernö Sebestyén in Berlin and with Masao Kawasaki and Itzhak Perlman at Brooklyn College, and received a Ph. D. in musicology from the City University of New York. In addition to publishing numerous journal and encyclopedia articles, he has contributed to performing editions of Bach’s orchestral violin solos, Mozart’s concertos and sonatas, Mendelssohn’s Concerto in E minor, and cadenzas for Beethoven’s Concerto, all published by Bärenreiter. www.martin-wulfh orst.com Resources available at http://www.orch.info
Irvine Arditti, Robert HP Platz
The Techniques of Violin PlayingIn English and German (2013) 128 pages, with a DVD; paperback ISBN 978-3-7618-2267-8
Irvine Arditti who is an extraordinary violinist and a specialist for contemporary music, worked together with the composer and conductor Robert HP Platz to produce this book on contemporary violin technique. It presents detailed explanations of the technical possibilities of the violin for performers and composers.
This publication takes into account the virtuosity of a new generation of soloists. These are soloists who with their exceptional ability, have succeeded in paving the way for a greater understanding of classical and contemporary music.
The chapters on bowing techniques, vibrato, pizzicato, glissando, harmonics, tablatures, rhythm, and electronic sound production are illustrated with numerous musical examples and diagrams.
Particularly helpful is the accompanying DVD, on which Irvine Arditti demonstrates and explains the described techniques. Chapters on
Your Music Dealer
the basics of violin technique and onArditti’s personal experience with notable composers make the book equally interesting for non-violinists.
