Violin For Dummies, 2nd Edition

™

g Easier! Making Everythin

n i l o i V Learn to: • Hold, tune, and play your violin • Understand musical notation, rhythm, and harmony • Play popular classical, jazz, gypsy, and fiddle tunes Audio and video samples and tutorials on the companion CD

Katharine Rapoport

2nd Edition

Contents at a Glance Introduction ................................................................ 1 Part I: So You Want to Play the Violin ........................... 7 Chapter 1: Introducing the Violin .................................................................................... 9 Chapter 2: Getting Started with the Violin ................................................................... 17 Chapter 3: Holding Up Well ............................................................................................ 39

Part II: Getting Started: The Basics ............................ 53 Chapter 4: Taking a Bow ................................................................................................. 55 Chapter 5: Getting the Left Hand Right ......................................................................... 73 Chapter 6: All Together Now .......................................................................................... 91

Part III: Reading Music for the Violin ........................ 107 Chapter 7: Translating Five Lines onto Four Strings ................................................. 109 Chapter 8: Making Rhythm Count ............................................................................... 127 Chapter 9: Measuring Up: A Guide to Meter............................................................... 141

Part IV: Musicianship and Harmony .......................... 163 Chapter 10: Weighing In on Scales............................................................................... 165 Chapter 11: Cracking Key Signatures .......................................................................... 189 Chapter 12: Making Sweet Music Together: Harmony .............................................. 197

Part V: Taking It Up a Notch: Techniques and Styles .....207 Chapter 13: Becoming Fluent in the Language of Bowing ........................................ 209 Chapter 14: Putting Your Finger on It ......................................................................... 241 Chapter 15: Playing with Style...................................................................................... 285

Part VI: Getting into Gear, Staying in Gear................ 309 Chapter 16: Finding the Right Violin and Bow for You ............................................. 311 Chapter 17: Protecting Your Assets: Violin Care and Maintenance ........................ 329

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Part VII: The Part of Tens ......................................... 355 Chapter 18: Ten Performers — and Their Recordings.............................................. 357 Chapter 19: Ten Ways to Go beyond This Book ........................................................ 363 Chapter 20: Ten (Or So) Tips on Finding a Teacher.................................................. 373

Appendix: How to Use the Audio and Video Tracks ..... 383 Index ...................................................................... 395

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Table of Contents Introduction ................................................................. 1 Why This Book Is for You ............................................................................... 1 Foolish Assumptions ....................................................................................... 2 How This Book Is Organized .......................................................................... 2 Part I: So You Want to Play the Violin ................................................. 3 Part II: Getting Started: The Basics ...................................................... 3 Part III: Reading Music for the Violin ................................................... 3 Part IV: Musicianship and Harmony .................................................... 3 Part V: Taking It Up a Notch: Techniques and Styles ........................ 3 Part VI: Getting into Gear, Staying in Gear.......................................... 4 Part VII: The Part of Tens ...................................................................... 4 The Audio and Video Tracks ................................................................ 4 Icons Used in This Book ................................................................................. 4 Where to Go from Here ................................................................................... 5

Part I: So You Want to Play the Violin ........................... 7 Chapter 1: Introducing the Violin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 Meeting the String Family ............................................................................... 9 Tuning up .............................................................................................. 10 Holding on............................................................................................. 10 Bowing Out Some Sounds............................................................................. 11 Looking closely at the bow ................................................................. 11 Using both your hands ........................................................................ 11 Reading between the Lines .......................................................................... 12 Knowing the notes ............................................................................... 12 Getting rhythm ..................................................................................... 13 Digging Deeper into Music ........................................................................... 13 Scales and key signatures ................................................................... 13 Harmony................................................................................................ 13 Getting Stylish ................................................................................................ 14 Dazzling technique .............................................................................. 14 Multicultural music.............................................................................. 14 Having Your Own Violin ............................................................................... 15

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Violin For Dummies, 2nd Edition Chapter 2: Getting Started with the Violin. . . . . . . . . . . . . . . . . . . . . . . .17 Examining the Violin ..................................................................................... 18 How Violins Work .......................................................................................... 21 String vibration and string length ...................................................... 21 Using both hands to make a sound ................................................... 21 How the bow helps .............................................................................. 22 Using the Violin Case .................................................................................... 23 Taking the violin out of its case ......................................................... 23 Putting the violin away........................................................................ 24 Protecting your violin.......................................................................... 25 Tuning the Violin ........................................................................................... 25 Working the pegs and fine tuners ...................................................... 26 Tuning with the piano ......................................................................... 29 Using an electronic tuner.................................................................... 30 Using a pitch pipe ................................................................................ 32 Using a tuning fork ............................................................................... 33 Troubleshooting Guide to Dealing with Pegs and Fine Tuners ............... 34 Peg problems ........................................................................................ 34 Fine tuner problems ............................................................................ 36

Chapter 3: Holding Up Well . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 Understanding the Importance of a Good Violin Hold ............................. 39 When standing...................................................................................... 40 When sitting.......................................................................................... 42 Reading from a Music Stand......................................................................... 43 Finding a Good Fit: Chinrests and Shoulder Rests .................................... 44 Chinrests ............................................................................................... 45 Shoulder rests ...................................................................................... 47 Fixing Common Problems with the Violin Hold......................................... 49 Keeping the scroll afloat ..................................................................... 49 Watching the horizontal angle ........................................................... 50 Keeping your elbow under ................................................................. 51 Gripping too much with the shoulder ............................................... 52

Part II: Getting Started: The Basics ............................. 53 Chapter 4: Taking a Bow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55 Saying Hello to the Bow ................................................................................ 56 Preparing the Bow ......................................................................................... 57 Tightening and loosening the horsehair ........................................... 58 Using rosin on the bow ....................................................................... 59

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Getting a Grip on Your Bow Hold ................................................................ 61 The famous diva method .................................................................... 61 The hidden treasures method............................................................ 62 Conquering common problems with the bow hold......................... 64 Setting the Bow on the Strings ..................................................................... 65 Bowing on different strings ................................................................ 66 Understanding bowing signs .............................................................. 67 Playing Your First Concert! .......................................................................... 67 Mr. Smooth and Mr. Clean: Two Bowing Styles ......................................... 70

Chapter 5: Getting the Left Hand Right . . . . . . . . . . . . . . . . . . . . . . . . . . .73 Shaping Up Your Arm and Fingers .............................................................. 73 Getting your arm in shape .................................................................. 74 Taking your fingers to tap dancing class .......................................... 75 Making a hand frame that works ....................................................... 75 Keeping your thumb loose on the violin’s neck .............................. 77 Putting Your Fingers on the Strings ............................................................ 78 Getting groovy fingertips .................................................................... 78 Counting your fingers .......................................................................... 79 Knowing which finger to use for what note ...................................... 80 Lifting and placing your fingers ......................................................... 80 Getting It Taped ............................................................................................. 81 Preparing Your Pizzicato .............................................................................. 84 Exploring the fingerboard guidesthrough pizzicato ....................... 85 Three’s Company: Putting Finger 2 to Work .............................................. 87

Chapter 6: All Together Now . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91 Using Your Hands Together ......................................................................... 91 Starting to use both hands ................................................................. 91 Developing fitness for hands together .............................................. 92 Crossing Over to a Different String ............................................................. 95 Crossing strings with the bow............................................................ 95 Crossing strings with the fingers ....................................................... 98 Playing Music with Both Hands ................................................................. 102 Warming up to the task ..................................................................... 102 Topping the charts: Three simple songs ........................................ 103 Expanding Your Bow Strokes ..................................................................... 105 Using more bow, gradually ............................................................... 105 Preparing to play Pachelbel ............................................................. 105

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Part III: Reading Music for the Violin ........................ 107 Chapter 7: Translating Five Lines onto Four Strings . . . . . . . . . . . . . .109 Lining Up the Music..................................................................................... 109 Keeping up with the clef ................................................................... 110 Every Good Boy Deserves Fudge (and so do girls!) ...................... 112 Climbing the ledger lines .................................................................. 112 Naming Your Notes, String by String ........................................................ 113 Knowing 17 notes ............................................................................... 114 A string ................................................................................................ 114 E string ................................................................................................ 115 D string ................................................................................................ 117 G string ................................................................................................ 118 Meeting the Sharps, Flats, and Naturals ................................................... 119 Looking at sharps, flats, and naturals ............................................. 119 Playing sharps and flats .................................................................... 120 Playing Music by Reading the Notes ......................................................... 120 Playing Loud and Soft — Dynamite Dynamics! ........................................ 121 Making loud sounds........................................................................... 123 Making soft sounds ............................................................................ 123 Adding crescendo and diminuendo ................................................ 124

Chapter 8: Making Rhythm Count . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127 Dissecting a Musical Note .......................................................................... 127 Adding Up the Value of Notes .................................................................... 128 Whole notes ........................................................................................ 129 Half notes ............................................................................................ 130 Quarter notes ..................................................................................... 131 Eighth notes ........................................................................................ 132 Sixteenth notes................................................................................... 133 Triplets ................................................................................................ 134 Adding Dots .................................................................................................. 135 Dotted half notes................................................................................ 135 Dotted quarter notes ......................................................................... 136 Taking a Rest ................................................................................................ 136 You’ve Got Rhythm: Pieces to Play! .......................................................... 137

Chapter 9: Measuring Up: A Guide to Meter . . . . . . . . . . . . . . . . . . . . .141 Measure for Measure .................................................................................. 141 Keeping Time: Time Signatures ................................................................. 143 Tapping into the beat ........................................................................ 143 Counting rests .................................................................................... 145 Emphasizing the right beat ............................................................... 145

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Using Metronomes ...................................................................................... 147 Mechanical metronomes................................................................... 147 Electronic metronomes ..................................................................... 148 Making friends with your metronome ............................................. 150 Making Music in 4⁄4 Meter ............................................................................ 151 Counting and Playing in Threes ................................................................. 153 Doing (Just About) Everything Else from Fours and Threes ................. 154 4 ⁄4 time .................................................................................................. 155 6 ⁄8 time .................................................................................................. 156 Getting Up to Speed: What Those Tempo Markings Mean..................... 157 Time for Some Songs ................................................................................... 158

Part IV: Musicianship and Harmony........................... 163 Chapter 10: Weighing In on Scales. . . . . . . . . . . . . . . . . . . . . . . . . . . . .165 Climbing Up and Down ............................................................................... 165 Marching through the Major Scales .......................................................... 166 Building major scales ........................................................................ 167 Major scales you need to know........................................................ 168 A major scale ...................................................................................... 168 G major scale, upper octave ............................................................. 171 G major scale, two octaves ............................................................... 173 E major scale ...................................................................................... 174 A major scale, two octaves ............................................................... 176 F major scale....................................................................................... 178 Casting Light on Those Minors .................................................................. 179 Building a minor scale ....................................................................... 179 Playing A melodic minor scale ......................................................... 179 Playing A harmonic minor scale ...................................................... 181 Meeting Other Scales in Brief ..................................................................... 182 Natural minor scales ......................................................................... 182 Pentatonic scales ............................................................................... 183 Chromatic scales................................................................................ 183 Harping On about Arpeggios...................................................................... 184 A major arpeggio ................................................................................ 185 A minor arpeggio ............................................................................... 186 Major (and Minor) Achievements ............................................................. 186

Chapter 11: Cracking Key Signatures . . . . . . . . . . . . . . . . . . . . . . . . . . .189 The Keys to Reading Music ........................................................................ 189 Getting keyed up about key signatures........................................... 189 Reading the key signatures for major keys .................................... 190 Keeping order ..................................................................................... 192

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Violin For Dummies, 2nd Edition Unlocking the Music with the Right Key................................................... 193 Figuring Out Minor Keys ............................................................................. 193 Forming the relative minor ............................................................... 194 Recognizing minor keys when reading music ................................ 194 Having the Last Dance ................................................................................ 195

Chapter 12: Making Sweet Music Together: Harmony . . . . . . . . . . . .197 Making Sense of Chords and Harmony ..................................................... 197 In the Big Leagues: Major Chords.............................................................. 198 Finding the primary triads ................................................................ 199 Breaking out in chords ...................................................................... 200 Digging for Minor Chords ........................................................................... 201 Making the Most of Major and Minor Chords .......................................... 202 Meet the Bossy Chords: Dominant 7ths ................................................... 203 Harmonizing in Thirds and Sixths ............................................................. 205

Part V: Taking It Up a Notch: Techniques and Styles... 207 Chapter 13: Becoming Fluent in the Language of Bowing . . . . . . . . .209 Two Notes (Or More) with One Stroke: Legato ....................................... 210 Changing bow direction smoothly................................................... 211 Starting to slur two notes ................................................................. 212 Slurring across strings ...................................................................... 216 Playing three notes in a bow stroke ................................................ 219 Fitting four notes in a bow stroke .................................................... 222 Getting Up to Speed and Figuring Out Bow Division .............................. 223 Deciding how much bow to use on a note or measure ................. 224 Doing the math: Dividing the bow by note values ......................... 225 Dividing the bow strokes in anticipation of the next note ........... 226 Adjusting the amounts of bow for dynamics ................................. 226 Mais Oui, Maestro: Taking On Ze Accents................................................ 227 Accenting the positive....................................................................... 228 Hammering it out: Martelé ................................................................ 230 Meeting the Fanciest Bowings ................................................................... 233 Slurred staccato ................................................................................. 233 Meet the off-the-string family ........................................................... 234

Chapter 14: Putting Your Finger on It . . . . . . . . . . . . . . . . . . . . . . . . . . .241 Two Notes Are Better Than One: Easy Double Stops ............................. 241 Preparing your bow for double stops ............................................. 242 Going from one string to two and back again ................................ 244 Ballet dancing with your fingers on the lower string .................... 246 Playing double stops where both notes use fingers ..................... 247 Playing double stops galore ............................................................. 249

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Pulling Out All the Stops: Three- and Four-Note Chords ........................ 250 Three-note chords ............................................................................. 250 Four-note chords ............................................................................... 252 A grand finale with chords................................................................ 253 Getting into the First Four Positions ......................................................... 254 Finding first position ......................................................................... 254 Smoothing out the second position ................................................ 255 Putting second position to work ...................................................... 256 Playing in third position.................................................................... 258 Venturing forth in fourth position ................................................... 260 Knowing what position you’re in ..................................................... 263 Changing Position ........................................................................................ 263 Easing into shifting positions ........................................................... 264 Getting to know the four kinds of shifts.......................................... 266 Changing position to go to a different string ................................. 272 Playing a shifty song .......................................................................... 273 All Aquiver: Vibrato ..................................................................................... 274 Getting started with vibrato ............................................................. 275 Good vibrations: Using your vibrato in a real song....................... 279 Tapping into Trills ....................................................................................... 279 Building speed of repetition ............................................................. 280 Speeding from finger to finger .......................................................... 280 Trilling techniques ............................................................................. 281

Chapter 15: Playing with Style. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .285 Fiddling Around with Country Music ........................................................ 285 Familiarizing yourself with fiddle music ......................................... 286 Fiddling in different styles ................................................................ 288 Sounding like a fiddler ....................................................................... 289 Fiddling your way to songs ............................................................... 291 Grooving to Jazz .......................................................................................... 293 Listening to some jazz violin ............................................................ 293 Getting the jazz sound ....................................................................... 294 Jazzing up your violin........................................................................ 297 Enchanting with Gypsy Violin .................................................................... 300 Listening to some great gypsy violin............................................... 300 Romancing the violin ......................................................................... 301 Playing in the gypsy style ................................................................. 305

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Part VI: Getting into Gear, Staying in Gear ................ 309 Chapter 16: Finding the Right Violin and Bow for You . . . . . . . . . . . .311 Picking a Violin That’s Right for You ........................................................ 312 The price is right................................................................................ 312 Tip-top condition ............................................................................... 313 Old news ............................................................................................. 315 Sound advice ...................................................................................... 315 All about appearance ........................................................................ 316 Sizing Up the Violin ..................................................................................... 317 Buying the Best Bow ................................................................................... 319 What bows are made of..................................................................... 319 How the bow feels.............................................................................. 320 Buying or Renting Your Violin ................................................................... 321 Buying.................................................................................................. 321 Renting ................................................................................................ 322 Renting to buy .................................................................................... 323 Finding Your Violin...................................................................................... 324 Getting Plugged into Electric Violins ........................................................ 326 Acoustic pickups................................................................................ 326 Electric violins .................................................................................... 327

Chapter 17: Protecting Your Assets: Violin Care and Maintenance . . . .329 Cleaning Up .................................................................................................. 329 Daily dusting ....................................................................................... 330 Cleaning the strings ........................................................................... 330 Polishing the wood ............................................................................ 332 Changing Strings .......................................................................................... 333 Taking off the old strings .................................................................. 333 Prepping the pegs and string ........................................................... 336 Putting on strings attached at the tailpiece ................................... 337 Putting on strings attached to fine tuners ...................................... 338 Tightening the strings ....................................................................... 339 Protecting Your Violin ................................................................................ 340 Practicing safety at rehearsals ......................................................... 340 Traveling with your violin................................................................. 340 Upgrading Your Case .................................................................................. 342 The makings of a good case ............................................................. 343 Testing a case ..................................................................................... 345 Looking at extra features .................................................................. 345 Changing Chinrests ..................................................................................... 346 Taking off the old chinrest................................................................ 347 Attaching the new chinrest .............................................................. 348 Rehairing the Bow ....................................................................................... 348 Finding Useful Accessories......................................................................... 349 Necessities .......................................................................................... 350 Extras................................................................................................... 350

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Part VII: The Part of Tens .......................................... 355 Chapter 18: Ten Performers — and Their Recordings. . . . . . . . . . . . .357 Niccolò Paganini (1782–1840) .................................................................... 357 Fritz Kreisler (1875–1962) ........................................................................... 358 Jascha Heifetz (1899–1987) ........................................................................ 358 Stéphane Grappelli (1908–1997) ................................................................ 359 Yehudi Menuhin (1916–1999)..................................................................... 359 Itzhak Perlman (1945) ................................................................................. 360 Nigel Kennedy (1956) .................................................................................. 361 Mark O’Connor (1961)................................................................................. 361 Natalie MacMaster (1973)........................................................................... 361 Rachel Barton Pine (1974) .......................................................................... 362

Chapter 19: Ten Ways to Go beyond This Book . . . . . . . . . . . . . . . . . .363 Subscribing to a Magazine.......................................................................... 363 Attending Concerts ..................................................................................... 364 Joining a Community Orchestra ................................................................ 365 Going to Summer Camps ............................................................................ 365 Playing in Small Groups .............................................................................. 366 Participating in Festivals ............................................................................ 368 Local music festivals (competitive and noncompetitive) ............ 368 International music festivals ............................................................ 368 Building a Music Collection ........................................................................ 369 Watching and Collecting Videos and DVDs.............................................. 369 Visiting Competitions.................................................................................. 370 Performing at Hospitals and Seniors’ Homes .......................................... 371

Chapter 20: Ten (Or So) Tips on Finding a Teacher . . . . . . . . . . . . . . .373 Networking ................................................................................................... 373 Calling the Local Orchestra ........................................................................ 375 Inquiring at Music Schools ......................................................................... 375 Checking Out Community Colleges ........................................................... 376 Asking at the University.............................................................................. 377 Hearing Students Play ................................................................................. 377 Asking at the Music Store ........................................................................... 378 Mentioning Your Quest Everywhere ......................................................... 379 Checking Out Violin Lessons on the Internet .......................................... 379 Looking for a Good Gut Feeling before You Start .................................... 379 Meeting a Teacher for the First Time........................................................ 381 Auditioning ......................................................................................... 381 Planning lessons ................................................................................ 382 Making business arrangements ....................................................... 382

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Appendix: How to Use the Audio and Video Tracks ...... 383 Relating the Text to the Audio and Video Tracks ................................... 383 Hearing the audio tracks ................................................................... 383 Watching the video tracks ................................................................ 384 System Requirements ................................................................................. 384 Using Microsoft Windows........................................................................... 384 What You Find on the Audio and Video Tracks ...................................... 385 MP3 audio tracks ............................................................................... 385 Video tracks ........................................................................................ 390 Troubleshooting .......................................................................................... 393

Index ....................................................................... 395

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Chapter 1

Introducing the Violin In This Chapter ▶ Getting to know the instrument ▶ Making sounds with the violin ▶ Reading and playing music ▶ Putting music theory into practice ▶ Trying different playing styles ▶ Choosing and caring for your instrument

Y

ou don’t have to be a professional musician to enjoy playing the violin. Learning to play for your own enjoyment — for the joy of making music — can be really satisfying. If you’ve always wanted to play but have never had the chance, or if you’ve taken some lessons or played a bit at school, this book is for you: It starts right from the first time you open your case and takes you step-bystep to playing real music on your violin.

Meeting the String Family The violin is a member of the string family, which also claims the illustrious viola, the magnificent cello, and the imposing double bass as its own, actually totaling 16 strings among them –– or even 17, as some basses have five strings! People also often include such instruments as the guitar and the harp in the string family, but these relatives lack an essential accoutrement: Players don’t need a bow to make sounds. So the string family has become known by another name too: bowed strings. All of the bowed strings’ family members bear a distinct resemblance. The overall shape of the instruments is similar, and their sound is instantly recognizable. The smallest member of the string family, the violin, is an instrument that’s familiar to people all over the world. Just because the violin’s the smallest in size, however, doesn’t mean it’s the least important or least powerful — quite the contrary. The violin’s special soprano voice can express a whole gamut

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Part I: So You Want to Play the Violin of emotions, even those beyond the power of words. The violin can produce tone colors and intensities like the greatest of painters, and it has fascinated and moved players and audiences alike for generations. Making a violin requires great skill, honed through a long apprenticeship, to get more than 70 component parts put together into one beautiful instrument. But many violinists wouldn’t know their scroll (the beautifully carved whorl of wood at the end of the violin, farthest from the player) from their saddle (the small ebony ridge that supports the whole course of the strings). This unawareness isn’t surprising; although most people are familiar with cars, they can’t name auto parts either. Plenty of experienced violinists can’t name all the component parts of a violin, mainly because many parts are completely hidden inside the violin after it’s put together. They can name the key ones, though. I discuss the key parts of the violin in Chapter 2 as I take you on a tour of your violin. I also discuss in Chapter 2 some different violin-making processes, and I walk you through the steps for getting your violin safely out of its case when you begin your playing session, and for putting it away when you’re done.

Tuning up After being properly introduced to the violin, you need to tune your instrument before you begin to play. Each string has its own set note that you tune to, so that when you put down your fingers, you get the sound you expect. Tuning the violin can be intimidating: Those four strings need a checkup tuning every time you start your daily playing session, and they occasionally slip out of tune as you play. This frequent tuning seems a bit unfair. After all, pianists don’t have to tune for themselves; they just have to call in a professional piano tuner a couple of times a year. And flautists use a fairly simple process to adjust the tuning of their flutes. On the violin, some aspects of tuning can be pretty tricky, so I offer tips on how to tune — and how to deal with managing the tricky stuff too (see Chapter 2). Eventually, the tuning process becomes second nature, and violinists don’t mind tuning their instruments, because proper tuning makes them sound good. And think of those pianos with several notes slipping out of tune, and the tuner not due for months — pianists have to grit their teeth and wait! Violinists can fix out-of-tune strings right away.

Holding on In addition to your violin being undoubtedly the most elegant of instruments, another part of its appeal is how debonair violinists look when they’re actually

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playing. Great violinists often look like their instrument is an extension of themselves — but this seemingly effortless posture actually involves a lot of practice. Apart from looking great, taking time to get the instrument comfortably lodged and balanced prevents your playing from becoming a literal pain in the neck. Your arm and finger functions also work best when all their muscles are free to move as needed, with no excess tension or creaky joints. Chapter 3 shows you how to hold the violin really well, and provides a few tips on finding useful accessories to help you in your quest for balance and comfort.

Bowing Out Some Sounds The violin may get most of the glory, but its renown wouldn’t be possible without its slender companion, the bow. The bow’s job is to activate the vibrations of the strings so that your violin can sing out. When you look at the narrow bow stick — only 29 inches long with a ribbon of powdery-white horsehair — realizing how much sound a bow can draw out, and in how many different ways, is quite amazing.

Looking closely at the bow The bow may have fewer components than its more celebrated case-mate, but it has its own quirks and nuances. How can you not appreciate something with a part named “frog”? I introduce you to the frog and more prosaically named parts of the bow (no toads or princesses) in Chapter 4, which also tells you how to care for your bow so that it stays in tip-top condition. Although your bow doesn’t require tuning, it does need its own type of attention before and after every use. And just like the violin, you need to hold the bow a certain way. Chapter 4 introduces you to holding the bow properly and even shows you how to bow out a few tunes.

Using both your hands Think of trying to pat your head and rub your tummy at the same time (or is it the other way around?). Playing the violin is a good exercise for your brain and hand coordination because your two hands move very differently to make sounds. If you’re an adult taking up the violin for the first time, you can earn extra points for all that new brain activity. Your left hand has a lot of responsibilities on the violin, making notes both by landing and by lifting fingers on and off the four strings. Fingers also have to move horizontally and laterally to reach various notes on different

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Part I: So You Want to Play the Violin strings. Eventually, the left hand also moves to different locations farther up the strings to find those impressive high notes. Chapter 5 gets your left hand actions off on the right track, showing you the finger-numbering system for the violin and the way to successfully land your fingers on the strings without getting a pilot’s license. But all that left-hand work can’t make an impact if the bow doesn’t stroke the strings — and that’s your right hand’s important job: holding your bow just right. When you assemble all your bowing skills, the bow can make a whole range of sounds, from singing sweetly in lyrical music to hammering out sounds in passionate passages. Chapter 6 sets you on the right path by bringing your hands together to bow and finger the notes simultaneously. You make music by using some simple charts, and you finish up with songs that put all your skills into action.

Reading between the Lines The first songs you meet in this book don’t require the ability to read music, because they’re written out in handy charts. The charts allow you to play simple songs right away as you begin to play your violin. However, when you find out how to read actual musical notation, you can play more advanced music and enjoy a wealth of songs and pieces. Printed musical notation is a shorthand system that communicates a whole world of playing instructions to musicians. These instructions include information about which notes to play, and at what speed and rhythm; how loud or soft the music needs to be; and a rich resource of other visual information that helps you to make the sounds right. As an added advantage, the ability to read music allows you to understand music that’s been written for any instrument or singer, not just for the violin.

Knowing the notes Reading music is a bit like reading a language written with a different alphabet than the one you’re used to. Printed music has similarities to what you already know; you just need to get to know the new system. The notes belong on those famous five lines, which function much like a ladder: the higher the notes climb the ladder, the higher the sound you get. Notes have slightly different appearances according to their time values. Various symbols tell musicians about the volume, how to “attack” the notes (just with a bow, no arrow necessary), and so on. To crack the secret code, see Chapter “007” (or Chapter 7, if you’re not the espionage type), which takes you through the symbols and signs and shows you how to make them into musical sounds.

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Getting rhythm All the melodies in the world would be a lot less listenable without rhythm. Dancers would trip over one another, soldiers would fall over like dominoes, and toe-tappers would be toe-tally frustrated. Rhythm gives life and energy to music and lets you dance along to many different drummers (or violinists). Chapter 8 introduces you to the most important elements of rhythm and shows you how to count your way through the different values. In Chapter 9, you put those rhythms together into different measures so you know when to waltz and when to polka.

Digging Deeper into Music Reading notes on the page and knowing the time values of the notes is just the start of playing music. After you know those basics, doors open to the big leagues.

Scales and key signatures I know that scales often inspire dread because they used to be drilled and repeated endlessly in the bad ol’ days. But scales are really the building blocks to music, enabling musicians to find their way around just about any piece. Knowing your scales well gives you fluency and confidence — nothing wrong with that! Chapter 10 covers some of the most essential scales for a violinist. After you know some scales, you have the picks to unlock key signatures. These little signs, containing up to seven sharps or flats, occur at the very start of each piece of music and are repeated as reminders at the start of every line throughout the piece. A key signature is a way of telling musicians exactly which notes to play in a particular piece. Chapter 11 shows you how to read and recognize the different key signatures.

Harmony Although violins usually play the melody one note at a time, one of the advantages of a string instrument is that its four strings enable players to play up to four notes at once, when needed. But just as pickles and ice cream don’t mix, not all notes work well together. Chapter 12 combines some of these notes into sweet harmonies, so you don’t marry dill and vanilla.

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14

Part I: So You Want to Play the Violin

Getting Stylish The violin is well loved for its versatility and for the panoply of sounds it can make, from the gentle singing of a slow, peaceful lullaby to the dazzling cascade of brilliance in a virtuoso showpiece. You’re probably already itching to tackle some fancy tricks and to coax all kinds of exotic sounds out of your violin. The good news is that you can begin to do some really neat things as you look into the chapters about fancier techniques and styles.

Dazzling technique After you master some different ways of playing with the bow, you can add new dash and panache to your sounds. Even the names of the different bowings sound fancy. When you bump into your friends, you can casually let drop that you’re playing spiccato, and then after a suitable pause for effect, you can let them know that this is a bow stroke where the bow bounces off the violin strings. Seeing the words brush stroke may make you wonder what a violinist is doing with a brush, but you don’t have to transform into Chagall to play your violin — you just add an artistic brushing movement to your bow strokes, bringing a whole new palette of sounds to your fingertips. Chapter 13 introduces you to a choice menu of bowings, some in the meat-and-potato department, and some in the sinful dessert category! In Chapter 14, you go through a similar journey of discovery with your left hand, getting your fingers to dance across the strings (almost doing a violin version of the Highland fling) and do other neat moves. Not only do your fingertips lift and land on one string, but they also slide and hop to different spots on that same string, ready to leap across to another string at any time. Sometimes two different fingers play on two different strings at once. Just when you have those fingers in line, you find out how to move your left hand to high positions (and back again) so that you can play high notes or make slinky-sounding slides.

Multicultural music The violin is like a chameleon — it’s at home just about anywhere. In addition to the more classical styles of playing, cultures all over the world have their own unique styles featuring the violin and its relatives — from the Chinese two-string erhu, which has a ravishing and magical vocal sound, to the Indian sarangi, an expressive and exotic instrument with three gut strings to play on and a whole array of metal strings that vibrate sympathetically.

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Chapter 1: Introducing the Violin

15

But you don’t need to get hold of an erhu or a sarangi to play in different styles. Chapter 15 takes you on a visit to some different musical styles that you can play with your very own violin. You can fit right in, whether you’re at a joyful ceilidh, at a smoky jazz club, or in a sultry gypsy caravan.

Having Your Own Violin As you embark on your important and exciting violin project, you may be so in love with the instrument that you want to buy one right away. However, you may feel cautious about jumping in, so you may rent an instrument for a while. Either option is a good way to get started. Finding the right instrument with the right price tag for you, whether it’s through buying or renting a violin, is a personal decision that affects your enjoyment and progress. You want to feel satisfied with the instrument you play, so your violin needs to sound good enough. Chapter 16 discusses some of the issues to consider before you make a decision about what’s best. After you’re equipped with all the gear, you can find out how to take good care of it and do the necessary maintenance. Keeping your violin and bow in tip-top condition takes only a few simple steps. Chapter 17 covers these in detail (even talking about what to do if an accident occurs to your violin), discussing daily care, changing strings, and traveling safely with your violin in hand (or should I say, in case?).

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16

Part I: So You Want to Play the Violin

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Index • Numerics • eighth notes, 132–133 eighth rest, 137 fifth position and higher, 262 first position, 254–255 4/4 time, 143–145, 151–153 four-note chords, 252–253 four-note slurs, 222–223 fourth position, 260–263 second position, 255–258 17 notes, 114 6/8 time, 156–157 sixteenth notes, 133–134 sixteenth rest, 137 sixth interval below note, 205–206 third position, 258–260 three notes in a bow stroke, playing, 219–222 3/4 time, 153–154 three-note chords, 250–251 three-note slurs arpeggios, adding three-note slurs to, 221 overview, 219–221 songs, adding three-note slurs to, 221–222 2/4 time, 155–156 two-note slurs fingers, slurring between, 213–214 half a bow, using, 215–216 overview, 212–213 scales, adding two-note slurs to, 214–215 song, adding two-note slurs to, 215

•A• A harmonic minor scale, 181–182 A major arpeggio, 185 A major key signature, 191 A major scale ascending, 169–170 descending, 170–171 overview, 168–169

32_9781118273593-bindex.indd 395

A major scale (two octaves), 176–177 A melodic minor scale, 179–180 A minor arpeggio, 186 A string, 114–115 accelerando (accel.), 158 accents, 227–232 accessories, adding, 349–353 accidentals, 119, 194 accidents to your violin, coping with, 342 acoustic pickups, 326–327 adagio, 157 adjustable music stands, 44 Alberti, Domenico (composer), 201 Alberti bass, 201 allegretto, 157 allegro, 157 alto clef (C-clef), 110–111 Amazon (web site), 369 American Federation of Violin and Bow Makers, 314 American String Teachers Association (ASTA), 376 andante, 157 anticipation of next note, dividing bow strokes in, 226 Appalachian Fiddle (Krassen), 286 appearance of violin, assessing before buying, 316–317 arm, left hand work exercise for, 74–75 arm steering, 98–101 arpeggios A major arpeggio, 185 A minor arpeggio, 186 overview, 184–185 three-note slurs, adding, 221 articulations, 209 The Art of Henryk Szeryng (video), 370 The Art of Violin (video), 370 “Asian Mood,” 86, 219 associations, professional teaching, 376 auctions, buying a violin from, 325–326

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396

Violin For Dummies, 2nd Edition audio tracks (MP3) list of, 385–390 listening to, 383 with Microsoft Windows, 384–385 system requirements, 384 troubleshooting, 393 auditioning teachers, 381 augmented second, 181 “Aunt Rhody,” 187

•B• “Bach’s G Minor Gavotte,” 195 back of violin, 18 bagatelle, 86 Baillot, Pierre (violinist-composer), 45 ball-end strings, 338 bar. See measure bar lines, 119, 141–142 basic major scales, 168 bass bar, 18 bass clef (F-clef), 110–111 Battle Ends And Down Goes Charles’ Father (mnemonic device for remembering order of flats in key signature), 192 B flat major key signature, 192 BBC Music Magazine, 364 beam, 128 beat described, 129 emphasizing correct, 145–146 Beethoven, Ludwig van (composer and pianist), 146, 227 Bill Monroe: The Essential Collection (Monroe), 287 Blue Lake (music camp), 366 bluegrass, 286–287, 288 blues scales, 296–297 Bob Wills and His Texas Playboys, 287 body of violin, 18 “Boil the Cabbage Down,” 121, 139 bow brazilwood, 319 buying a, 319–320 case, 23, 352 composite, 319

32_9781118273593-bindex.indd 396

condition of, checklist for, 320 cost of, 319 crossing strings with, 95–98 double stops, preparation for, 242–244 eye, 56 famous diva method for holding, 61–62 feel of, assessing, 320 ferrule, 56 frog, 56 grip, 56 hidden treasures method for holding, 61, 62–64 holding, 12, 61–64 horsehair, 56–57, 58–59 lapping, 57 left hand, using, 74 material used in making a, 319 more bow, gradually using, 105 overview, 11–12, 22, 56–57 parts of, 56–57 pernambuco, 319 point, 57 preparation, 57–61 rehairing, 56, 348–349 rosin, 59–61 screw, 57 spare, 351 stick, 57 strings, setting bow on, 65–67 winding, 57 bow circles. See circular retake bow division anticipation of next note, dividing bow strokes in, 226 dynamics, adjusting amounts of bow for, 226–227 measure, deciding how much bow to use on a, 224–225 note, deciding how much bow to use on a, 224–225 note values, dividing bow by, 225 overview, 223–225 bowed strings, 9 bowing. See also bow division accents, 227–232 the beat, 144–145 brush stroke, 235

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Index détaché style, 70–71 on different strings, 66–67 down-bow, 67 expanding strokes, 105–106 legato contact point, 211–212 direction, changing bow, 211–212 four-note slurs, 222–223 marking for, 210–211 overview, 210–211 slurring across strings, 216–219 slurring two notes, 212–216 speed, 211 three notes in a bow stroke, playing, 219–222 weight, 211 martelé strokes, 230–232 pizzicato, 238–239 separate bows, going from one string to two strings and back again with, 244–245 seven bow levels, 97 signs, 67 slurred staccato, 233–234 spiccato, 236–237 staccato style, 71 styles, 70–71 troubleshooting, 66 up-bow, 67 “Brahm’s Lullaby,” 204–205 brazilwood bow, 319 bridge assessing before buying a violin, 314 described, 19 broken chords, 200 broken strings, taking off, 334–336 brush stroke, 14, 235 business arrangements with teacher, discussing, 382 buying a violin acoustic pickups, 326–327 appearance, assessing, 316–317 from auctions, 325–326 bow, buying a, 319–320 bridge, assessing, 314 carbon fiber violins, 317

32_9781118273593-bindex.indd 397

397

for children, 317–318 condition of violin, assessing, 313–315 cost of, 312–313 cracks, checking for, 314 electric violins, 326–327 ethical issues, 321 factory outfits, 313 finding your violin, 324–326 fingerboard, assessing, 314 fractional size violins, 317–318 handmade violins, 313, 314 from individual private sellers, 325 joints, assessing, 315 from music stores, 324–325 neck, assessing, 314 older violins, 315 outfits, 313 overview, 15, 311–312 price bracket, choosing a, 312–313 from private dealers, 325 reasons for, 321–322 renting instead of, 322–324 renting to buy, 323–324 size of violin, 317–318 sound, assessing, 315–316 from specialist violin stores, 325 wood, assessing, 315 workshop violins, 313, 316 from your teacher, 321

•C• C (common time), 143–144 C major key signature, 190 Cajun and Zydeco music, 288, 289 CAMMAC (Canadian Amateur Musicians/ Musiciens amateurs du Canada) (music camp), 366 “Cancan,” 200–201 carbon fiber violins, 317 care and maintenance accessories, adding, 349–353 accidents, coping with, 342 bow, rehairing, 348–349 case, upgrading your, 342–346 chinrests, changing, 346–348

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398

Violin For Dummies, 2nd Edition care and maintenance (continued) cleaning your violin, 329–333 protecting your violin, 340–342 repairing your violin, 342 strings, changing, 333–340 carrying strap, 345 cars, protecting your violin in, 341 case carrying strap, 345 compartments for accessories, 346 cover, 344 fasteners, 346 features of, 345–346 humidifier, 346 hygrometer, 346 instrument blanket, 346 protecting your violin, tips for, 25 putting violin away, 24 shape of, 343–344 string tube, 346 subway grip handle, 346 taking violin out of, 23–24 testing, 345 upgrading, 342–346 weight of, 343–344 case bags, 351 case strap, 351 C-clef (alto clef), 110–111 Celtic music, 286, 288 changing position finger-substitution shifts, 270–272 intermediate-note shifts, 268–270 open-string shifts, 266–267 overview, 263–266 same-finger shifts, 267–268 “Chicken Reel,” 293 children, buying violins for, 317–318 chinrests attaching new, 347 changing, 346–348 choosing, 46–47 Flesch, 46 Guarneri, 47 history of, 45 holding your violin, 44–47 overview, 19, 45–46

32_9781118273593-bindex.indd 398

taking off old, 347 Tekka, 46 Vermeer, 46 chords breaking up, 200–201 dominant 7ths, 203–205 forming, 198 major overview, 198–199 primary triads, 198–200 minor, 201–202 overview, 197–198 recognizing, 198 chromatic scales, 183–184 chromatic tuners, 31 circular retake, 138, 253 cleaner, polish, and cloth, 352 cleaning your violin dusting, daily, 330 overview, 329 polishing the wood, 332–333 strings, cleaning, 330–332 Clements, Vassar (Livin’ with the Blues), 294 common time (C), 143–144 community colleges as place to find teachers, 376 compartments for accessories in case, 346 competitions International Tchaikovsky Competition (Moscow), 371 Queen Elizabeth Competition (Brussels), 370 visiting, 370–371 Wieniawski Competition (Warsaw), 371 composite bow, 319 concerts, attending, 364–365 condition of violin, assessing, 313–315 conducting to the beat, 144 contact point, 122, 211–212 coordinating fingers and bow in string crossing, 101 corner blocks, 20 cost of buying a violin, 312–313 country and western music, 287, 288 “Country Club,” 298

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Index cover for case, 344 cracks in violin, checking for, 314 crescendo (cresc.) adding, 124–125 described, 122 “Cripple Creek,” 292

•D• D major key signature, 191 D string, 117 decrescendo, 122 degrees of a scale, 167–168 détaché style of bowing, 70–71 different string, changing position to go to a, 272 diminuendo (dim.) adding, 124–125 described, 122 direction, changing bow, 211–212 dominant, 167 dominant 7th chords, 203–205 dominant triad in major keys, 199 in minor keys, 202 dots, 135–136 dotted half notes, 135 dotted quarter notes, 136 double bar, 142 double stops both notes using fingers, 247–248 bow preparation for, 242–244 emotional intensity with, 242 fuller sound with, 242 lower string, with fingers on, 246–247 overview, 241–242, 290–291 separate bows, going from one string to two strings and back again with, 244–245 shading with, 242 single string to two strings and back again, 244–246 slurred bows, going from one string to two strings and back again with, 245–246 using, 249–250

32_9781118273593-bindex.indd 399

399

downbeat, 145 down-bow, 67 “Drink to Me Only,” 234 dropped stroke, 236 duration of notes described, 127 dotted half notes, 135 dotted quarter notes, 136 eighth notes, 132–133 half notes, 130–131 quarter notes, 131–132 sixteenth notes, 133–134 triplets, 134–135 whole notes, 129–130 dusting your violin, 330 DVDs/videos, watching, 369–370 “Dvorak’s New World Symphony, theme from,” 68 dynamics bow for, adjusting amounts of, 226–227 contact point, 122 crescendo (cresc.), 122, 124–125 diminuendo (dim.), 122, 124–125 forte (f), 122 fortissimo (ff), 122 loud sounds, making, 123 mezzoforte (mf), 122 mezzopiano (mp), 122 overview, 121–122 pianissimo (pp), 122 piano (p), 122 soft sounds, making, 123 speed, 122 weight, 122

•E• E major scale, 174–176 E string, 115–117 eighth notes, 132–133 eighth rest, 137 elbow, positioning, 51–52 elbow steering, 98–101 electric violins, 326–327 electronic humidity and temperature sensor, 353

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400

Violin For Dummies, 2nd Edition electronic metronomes, 148–150 electronic tuner, 30–31 emotional intensity with double stops, 242 end button, 19 erhu, 14 ethical issues and buying a violin, 321 European String Teachers Association (ESTA), 376 “Every Good Boy Deserves Fudge” (mnemonic device for remembering order of notes on lines of staff), 112 exercises for left hand work, 75, 102–103 for string crossing, 97–98, 99–101 for using both hands, 92–95 vibrato, 276–278 expanding bow strokes, 105–106 eye, 56

•F• f (forte), 122 F major key signature, 191–192 F major scale, 178 “face in the space” (mnemonic device for remembering order of spaces between lines of staff), 112 factory outfits, 313 famous diva method for holding bow, 61–62 fasteners, 346 Father Charles Goes Down And Ends Battle (mnemonic device for remembering order of sharps in key signature), 192 F-clef (bass clef), 110–111 ferrule, 56 festivals international music, 368–369 local music, 368 participating in, 368–369 Festive Strings (Martin), 367 Feuermann, Emanuel (musician), 359 ff (fortissimo), 122 f-holes, 19

32_9781118273593-bindex.indd 400

fiddle music bluegrass, 286–287, 288 Cajun and Zydeco, 288, 289 Celtic, 286, 288 country and western, 287, 288 double stops, 290–291 origins of, 287 overview, 285–286 shuffles, 289–290 slides, 291 tags, 291–292 fifth position and higher, 262 finding your violin, 324–326 fine tuners, 19, 26–27, 36–37, 338–339 finger patterns, 87–88 finger techniques changing position finger-substitution shifts, 270–272 intermediate-note shifts, 268–270 open-string shifts, 266–267 overview, 263–266 same-finger shifts, 267–268 double stops, 241–250 fifth position and higher, 262 first position, 254–255 four-note chords, 252–253 fourth position, 260–263 knowing what position you’re in, 263 second position, 255–258 third position, 258–260 three-note chords, 250–251 trills finger to finger, speeding from, 280–281 with flats, 282–283 with naturals, 282–283 overview, 279 repetition, building speed of, 280 with sharps, 282–283 timing for, 281–282 vibrato exercise with violin and bow, 278 exercise with violin and without bow, 277 exercise without violin and bow, 276–277

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Index overview, 274–276 preparation for, 276 using, 279 fingerboard assessing, 314 described, 19 fingerboard guides, 81–84, 85–87 fingering, 80 fingernails, importance of keeping short, 169 fingers. See also finger techniques finger 2, 87–90 grooves on your fingertips, placement of, 78–79 lifting and placing, 80 on lower string, double stops with, 246–247 marking spots for placement of, 81–84 numbering, 79–80 placement of, 78–79 slurring across strings and between fingers, 217–218 slurring between, 213–214 string crossing with, 98–101 strings, putting your fingers on the, 78–80 finger-substitution shifts, 270–272 first position, 113, 254–255 five-line system. See staff flats order of flats in key signatures, 192 overview, 119–120 playing, 120 trills with, 282–283 Flesch chinrests, 46 Folk Strings (Martin), 367 forming chords, 198 forte (f), 122 fortissimo (ff), 122 4/4 time, 143–145, 151–153 four-note chords, 252–253 four-note slurs, 222–223 fourth position, 260–263 fractional size violins, 317–318 “Frère Jacques,” 104 frog, 23, 56 fuller sound with double stops, 242

32_9781118273593-bindex.indd 401

401

•G• gavitte, 194 G major key signature, 191 G major scale (two octaves) with four-note slurs, 223 overview, 173–174 G major scale (upper octave) ascending, 172 descending, 172–173 overview, 171–172 G major scale with slurs, 218 G string, 118 Gil Shaham Mozart Violin Sonatas (video), 370 glissando, 301–302 Gramophone (web site), 369 The Gramophone (magazine), 364 “Grand Finale,” 254 “Grand Old Duke of York,” 232 Grappelli, Stéphane Satin Doll, 294 violinist, 359 Grigorian (web site), 369 grip, 56 grooves on your fingertips, placement of, 78–79 Guarneri chinrests, 47 Gypsy (St. John), 300 gypsy music glissando, 301–302 gypsy scale, 301 harmonics, 302–305 origins of, 300 overview, 300–301 tremolo, 302 trills, 305 gypsy scale, 301 The Gypsy Violin (Laszlo Berki Gypsy Ensemble), 300

•H• half a bow, using, 215–216 half notes, 130–131

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402

Violin For Dummies, 2nd Edition half rest, 137 half step, 120 hand exercises, 177 hand frame, 75–77 handmade violins, 313, 314 hands. See also left hand work both hands, playing music with, 102–104 bow, crossing strings with, 95–98 checklist for using both hands together properly, 94 exercises for using both hands, 92–95 hopping your fingers around exercise, 94–95 marching your fingers exercise, 93–94 preparation workouts for using both hands, 92–95 starting to use both hands, 91–92 string, crossing over to a different, 95–101 using together, 21–22, 91–95 harmonic minor scales, 179 harmonics octave, 303–304 overview, 302–303 third-finger, 304–305 harmony. See also chords described, 13, 198 sixth interval below note, 205–206 third interval above note, 205–206 Heifetz, Jascha (violinist), 358–359 Heroes (O’Connor), 286 hidden treasures method for holding bow, 61, 62–64 holding bow, 12, 61–64 holding your violin chinrests, 44–47 elbow, positioning, 51–52 at horizontal angle, 50–51 importance of a good hold, 39–43 music stand, reading from, 43–44 overview, 10–11, 39 problems with, 49–52 scroll, positioning, 49–50 shoulder, positioning, 52 shoulder rests, 44–45, 47–49 troubleshooting, 49–52 while sitting, 42–43 while standing, 40–42

32_9781118273593-bindex.indd 402

“Homage to Kreutzer,” 228, 231, 233, 235, 237 hopping your fingers around exercise, 94–95 horizontal angle, holding your violin at a, 50–51 horsehair overview, 56–57 tightening and loosening, 58–59 hospitals, performing at, 371 “Hot Cross Buns,” 103–104 humidifiers, 346, 352 “Hungarian Dance No. 1,” 306–307 “Hunting Horn Song,” 250 hygrometer, 346

•I• individual private sellers, buying a violin from, 325 The Inner Mounting Flame (Mahavishnu Orchestra), 294 instrument blanket, 346 intermediate-note shifts, 268–270 international music festivals, 368–369 international pitch, 26 International Suzuki Association, 376 Internet, checking out violin lesson on, 379 intervals, 120 “Irish Washerwoman,” 157 iTunes (web site), 369 “I’ve Been Workin’ on the Railroad,” 69–70

•J• jazz blues scales, 296–297 overview, 293–294 sul ponticello, 295–296 swing rhythms, 296 syncopated rhythms, 295 “Jingle Bells,” 68–69, 89 joints, assessing, 315 “Joshua Fit the Battle of Jericho,” 202–203 “Joy to the World,” 258

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Index

•K• “Kalinka,” 306 Kennedy, Nigel (violinist), 361 key note, 167, 189 key signatures A major, 191 B flat major, 192 C major, 190 D major, 191 F major, 191–192 G major, 191 major keys, 190–192, 193 minor keys, 193–194 order of sharps and flats in, remembering, 192 overview, 13, 189–190 reading, 190–192 The King of Western Swing: 25 Hits (1935–1945) [Bob Wills and His Texas Playboys], 287 Krassen, Miles (Appalachian Fiddle), 286 Kreisler, Fritz (violinist), 358 Kreutzer, Rodolphe (violinist), 227 “Kreutzer Sonata Op. 47” (Beethoven), 227

•L• Lang, Eddie (Wild Cats), 294 lapping, 57 largo, 157 Laszlo Berki Gypsy Ensemble (The Gypsy Violin), 300 leading note, 167 Leahy Family: Live (Koch Entertainment), 286 learning styles, 380 ledger lines, 112–113 left hand, using, 11–12 left hand work arm exercise, 74–75 exercises for, 74–75, 102–103 finger exercise, 75 hand frame, 75–77 overview, 73 thumb grip, 77–78

32_9781118273593-bindex.indd 403

403

left-handed violins, 74 legato contact point, 211–212 direction, changing bow, 211–212 four-note slurs, 222–223 marking for, 210–211 overview, 210–211 slurring across strings from an open string to a finger, 216–217 and between fingers, 217–218 overview, 216 speed, 211 three-note slurs arpeggios, adding three-note slurs to, 221 overview, 219–221 songs, adding three-note slurs to, 221–222 two-note slurs fingers, slurring between, 213–214 half a bow, using, 215–216 overview, 212–213 scales, adding two-note slurs to, 214–215 song, adding two-note slurs to, 215 weight, 211 Leguia, Luis (inventor of carbon fiber violins), 317 length of strings, 21–22 lento, 157 lifting and placing fingers, 80 “Little Brown Jug,” 138 Livin’ with the Blues (Clements), 294 local music festivals, 368 local orchestra as means of finding teachers, 375 long notes, playing, 160 loop-end strings, 338 loud sounds, making, 123 luthier, 19

•M• MacMaster, Buddy (Traditional Music from Cape Breton Island), 286 MacMaster, Natalie (violinist), 361

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404

Violin For Dummies, 2nd Edition Maelzel, Johannes (manufacturer of metronome), 146 Maelzel Metronome (M.M.), 150 maestoso, 253 Maestronet (magazine), 364 magazines, subscribing to, 363–364 “Magic Flute Overture” (Mozart), 237 Mahavishnu Orchestra (The Inner Mounting Flame), 294 maintenance and care accessories, adding, 349–353 accidents, coping with, 342 bow, rehairing, 348–349 case, upgrading your, 342–346 chinrests, changing, 346–348 cleaning your violin, 329–333 protecting your violin, 340–342 repairing your violin, 342 strings, changing, 333–340 major chords overview, 198–199 primary triads finding, 199–200 overview, 198–199 major keys dominant triad, 199 identifying major keys in key signatures, 193 in key signatures, 190–192 subdominant triad, 199 tonic triad, 199 major scales A major scale, 168–171 A major scale (two octaves), 176–177 basic, 168 building, 167–168 E major scale, 174–176 F major scale, 178 G major scale (two octaves), 173–174 G major scale (upper octave), 171–173 key note, scale named after, 167 overview, 166 pattern, 167 practicing, 169 whole step in, 167 maker’s label, 20

32_9781118273593-bindex.indd 404

marching your fingers exercise, 93–94 Mark O’Connor Fiddle Camp, 366 marking spots for placement of fingers, 81–84 martelé strokes, 230–232 Martin, Joanne (author of books for Suzuki students), 367 “Mary Had a Little Lamb,” 216 Master of the Russian Gypsy Violin (Ponomarev), 300 measure described, 141 how much bow to use on a, 224–225 mechanical metronomes, 147–148 mediant, 167 meeting teacher for first time, 381–382 Meissner, Eric (world’s smallest violin), 318 melodic minor scales, 179 melody, 198 Menuhin, Yehudi (violinist), 359–360 meter. See also time signatures beat, emphasizing the correct, 145–146 described, 142 downbeat, 145 long notes, playing, 160 measure, 141 metronomes, 146–151 repeat sign, 142 rests, counting, 145 tempo markings, 157–158 upbeat, 146 metronome marking, 150 metronomes electronic, 148–150 history of, 146 mechanical, 147–148 steps for using, 150–151 using, 147–151 mezzoforte (mf), 122 mezzopiano (mp), 122 middle C, 111 minor chords, 201–202 minor keys dominant triad, 202 key signatures, 193–194

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Index subdominant triad, 202 tonic triad, 202 minor scales A harmonic minor scale, 181–182 A melodic minor scale, 179–180 building, 179 harmonic, 179 melodic, 179 overview, 179 M.M. (Maelzel Metronome), 150 moderato, 157 Monroe, Bill (Bill Monroe: The Essential Collection), 287 More Festive Strings (Martin), 367 More Folk Strings (Martin), 367 Mozart, Wolfgang Amadeus (composer), 167 “Mozart Clarinet Quintet,” 186 MP3 files with this book audio tracks list of, 385–390 listening to, 383 with Microsoft Windows, 384–385 system requirements, 384 technical support, 393 video tracks list of, 390–392 watching, 384 multicultural music, 14–15 music “Asian Mood,” 86, 219 “Aunt Rhody,” 187 “Bach’s G Minor Gavotte,” 195 “Boil the Cabbage Down,” 121, 139 “Brahm’s Lullaby,” 204–205 “Cancan,” 200–201 “Chicken Reel,” 293 “Country Club,” 298 “Cripple Creek,” 292 “Drink to Me Only,” 234 “Dvorak’s New World Symphony, theme from,” 68 “Frère Jacques,” 104 “Grand Finale,” 254 “Grand Old Duke of York,” 232

32_9781118273593-bindex.indd 405

405

“Homage to Kreutzer,” 228, 231, 233, 235, 237 “Hot Cross Buns,” 103–104 “Hungarian Dance No. 1,” 306–307 “Hunting Horn Song,” 250 “Irish Washerwoman,” 157 “I’ve Been Workin’ on the Railroad,” 69–70 “Jingle Bells,” 68–69, 89 “Joshua Fit the Battle of Jericho,” 202–203 “Joy to the World,” 258 “Kalinka,” 306 “Little Brown Jug,” 138 “Magic Flute Overture,” 237 “Mary Had a Little Lamb,” 216 “Mozart Clarinet Quintet,” 186 “My Dame Hath a Lame Tame Crane,” 270 “Nutcracker Sweet,” 139–140 “O Come, All Ye Faithful,” 146 “Octave Ping-Pong,” 86–87 “Ode to Joy,” 125 “Old French Folk Song,” 159, 221–222 “Old MacDonald,” 151–152 “Oranges and Lemons,” 160–161 “Pachelbel Canon,” 105–106, 129, 130–131, 152–153, 279 “Pussycat Pussycat, Where Have You Been?”, 154 “Shortenin’ Bread,” 90 “Simple Gifts,” 159–160 “Speed, Bonnie Boat,” 273–274 “Surprise Symphony,” 229 “Sweet Georgia Brown,” 299 “Symphony No. 1 by Brahms theme,” 158 “Trio from Haffner Symphony,” 271–272 “Twinkle, Twinkle, Little Star,” 155–156 music collection, building a, 369 music festivals international, 368–369 local, 368 participating in, 368–369 Music of the Heart (video), 370 music schools, inquiring for teachers at, 375 music stand, 43–44, 350 music stand extenders, 352

2/27/12 3:17 PM

406

Violin For Dummies, 2nd Edition music store buying a violin from, 324–325 finding teachers through, 378 musical key, 189 musical notes. See notes musical styles fiddle music bluegrass, 286–287, 288 Cajun and Zydeco, 288, 289 Celtic, 286, 288 country and western, 287, 288 double stops, 290–291 origins of, 287 overview, 285–286 shuffles, 289–290 slides, 291 tags, 291–292 gypsy music glissando, 301–302 gypsy scale, 301 harmonics, 302–305 origins of, 300 overview, 300–301 tremolo, 302 trills, 305 jazz blues scales, 296–297 overview, 293–294 sul ponticello, 295–296 swing rhythms, 296 syncopated rhythms, 295 overview, 285 rock music, 297 musician, help from an experienced, 28 mute, 350 “My Dame Hath a Lame Tame Crane,” 270

•N• naming notes, 113–118 natural minor, 182–183, 194 naturals described, 119 trills with, 282–283 neck block, 20 neck of violin, 19, 314

32_9781118273593-bindex.indd 406

neighboring strings, 96 networking as means of finding teachers, 373–374 nodes, 302 non-neighboring strings, crossing, 96–97 note head, 128 note names, 112, 113–118 note values, dividing bow by, 225 notes. See also scales A string, 114–115 accidentals, 119 beam, 128 D string, 117 deciding how much bow to use on a, 224–225 dotted half notes, 135 dotted quarter notes, 136 duration of described, 127 dotted half notes, 135 dotted quarter notes, 136 eighth notes, 132–133 half notes, 130–131 quarter notes, 131–132 sixteenth notes, 133–134 triplets, 134–135 whole notes, 129–130 E string, 115–117 eighth notes, 132–133 flats, 119–120 G string, 118 half notes, 130–131 intervals, 120 long notes, playing, 160 naming, 113–118 naturals, 119 note head, 128 overview, 12, 114 parts of, 128 quarter notes, 131–132 reading, 120–121 17 notes, 114 sharps, 119–120 sixteenth notes, 133–134 stem, 128 tail, 128

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Index triplets, 134–135 value, 128–135 whole notes, 129–130 numbering fingers, 79–80 nut, 19 “Nutcracker Sweet,” 139–140

•O• “O Come, All Ye Faithful,” 146 O’Connor, Mark Heroes, 286 violinist, 361 octave, 116, 166 octave harmonics, 303–304 “Octave Ping-Pong,” 86–87 “Ode to Joy,” 125 “Old French Folk Song,” 159, 221–222 “Old MacDonald,” 151–152 old strings, taking off, 333–336 older violins, 315 open string to a finger, slurring across strings from, 216–217 open-string shifts, 266–267 “Orange Blossom Special” (Rouse and Wise), 289 “Oranges and Lemons,” 160–161 orchestra, joining a community, 365 outfits, 313

•P• “Pachelbel Canon,” 105–106, 129, 130–131, 152–153, 279 Paganini, Niccolò (violinist), 45, 118, 357–358 peg dope, 34, 36 pegbox, 19 pegs, 19, 26, 28–29, 36–37 pencil shelf, 352 pentatonic scales, 183 Perlman, Itzhak (violinist), 360 pernambuco bow, 319 Persinger, Louis (violinist), 359–360

32_9781118273593-bindex.indd 407

407

Peterson, Oscar (musician), 360 phrases, 129 pianissimo (pp), 122 piano (p), 122 piano, tuning with, 29–30 Pine, Rachel Barton (violinist), 362 pitch, 25–26 pitch pipe, 32 pizzicato, 84–87, 238–239 placement of fingers, 78–79 planes, protecting your violin on, 341 plastic rib protector, 353 point, 57 polishing violin wood, 332–333 Ponomarev, Oleg (Master of the Russian Gypsy Violin), 300 Ponty, Jean-Luc (rock violinist), 297 position, changing. See changing position practice mute, 351 practicing major scales, 169 preparation, bow, 57–61 preparation workouts for using both hands, 92–95 prestissimo, 157 presto, 157 price bracket for buying a violin, choosing a, 312–313 primary triads finding, 199–200 overview, 198–199 Primrose, William (musician), 359 private dealers, buying a violin from, 325 professional teaching associations, 376 protecting your violin accidents, coping with, 342 in cars, 341 on planes, 341 at rehearsals, 340 tips for, 25 on trains or buses, 341 traveling with your violin, 340–342 purfling, 19 “Pussycat Pussycat, Where Have You Been?”, 154

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408

Violin For Dummies, 2nd Edition

•Q•

•S•

quarter notes, 131–132 quarter rest, 137

SAA (Suzuki Association of the Americas), 375, 376 saddle, 10, 20 same-finger shifts, 267–268 sarangi, 14 Satin Doll (Grappelli), 294 scales chromatic, 183–184 degrees of a scale, 167–168 major A major scale, 168–171 A major scale (two octaves), 176–177 basic, 168 building, 167–168 E major scale, 174–176 F major scale, 178 G major scale (two octaves), 173–174 G major scale (upper octave), 171–173 key note, scale named after, 167 overview, 166 pattern, 167 practicing, 169 whole step in, 167 minor A harmonic minor scale, 181–182 A melodic minor scale, 179–180 building, 179 harmonic, 179 melodic, 179 overview, 179 natural minor, 182–183 overview, 13, 165–166 pentatonic, 183 songs utilizing, 186–187 two-note slurs, adding, 214–215 screw, 57 scroll described, 10, 20 positioning, 49–50 second position, 255–258 semitone, 120 seniors’ homes, performing at, 371 17 notes, 114

•R• rallentando (rall.), 158 reading key signatures, 190–192 music, 12–13 notes, 120–121 The Red Violin (video), 370 rehairing bow, 56, 348–349 rehearsals, protecting your violin at, 340 relative minor key, 193–194 removing bow from bow case, 23 renting a violin, 15, 322–324 renting to buy a violin, 323–324 repairing your violin, 342 repeat sign, 142 repetition, building speed of, 280 rests counting, 145 eighth rest, 137 half rest, 137 overview, 136–137 quarter rest, 137 sixteenth rest, 137 whole rest, 137 rhythm duration of notes, 128–136 musical examples, 137–140 overview, 13 rests, 136–137 ribs, 19 right hand, holding violin in your, 74 ritardando (rit.), 158 rock music, 297 rosin, 59–61, 350 The Rough Guide to Cajun and Zydeco (World Music Network), 288 Rouse, Ervin (“Orange Blossom Special”), 289 Rubinstein, Arthur (musician), 359

32_9781118273593-bindex.indd 408

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Index shading with double stops, 242 sharps order of sharps in key signatures, 192 overview, 119–120 playing, 120 trills with, 282–283 shifting position. See changing position Shore, John (inventor of tuning fork), 33 “Shortenin’ Bread,” 90 shoulder, positioning, 52 shoulder rests, 44–45, 47–49, 350 shuffles, 289–290 silk covering cloth or bag, 350 “Simple Gifts,” 159–160 sitting, holding your violin while, 42–43 6/8 time, 156–157 sixteenth notes, 133–134 sixteenth rest, 137 sixth interval below note, 205–206 size of violin, 317–318 slides, 291 sliding position. See changing position slurred bows, going from one string to two strings and back again with, 245–246 slurred legato, 210 slurred staccato, 233–234 slurring across strings from an open string to a finger, 216–217 and between fingers, 217–218 overview, 216 slurring three notes arpeggios, adding three-note slurs to, 221 overview, 219–221 songs, adding three-note slurs to, 221–222 slurring two notes fingers, slurring between, 213–214 half a bow, using, 215–216 overview, 212–213 scales, adding two-note slurs to, 214–215 song, adding two-note slurs to, 215 small groups, playing in, 366–368 soft sounds, making, 123 sound, assessing, 315–316 sound post, 20 specialist violin stores, buying a violin from, 325

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409

speed, 122, 211 “Speed, Bonnie Boat,” 273–274 spiccato, 14, 236–237 Spohr, Louis (musician), 45 St. John, Lara (Gypsy), 300 staccato style of bowing, 71 Stadler, Anton (clarinetist), 186 staff alto clef (C-clef), 110–111 bar lines, 119, 141–142 bass clef (F-clef), 110–111 double bar, 142 “Every Good Boy Deserves Fudge,” 112 “face in the space,” 112 ledger lines, 112–113 note names, 112, 113–118 overview, 109–110 repeat sign, 142 treble clef (G-clef), 110–111 Stamitz, Anton (violinist), 227 stand light, 352 standing, holding your violin while, 40–42 stem, 128 stick, 57 Stradivari (video), 370 Stradivarius, Antonio (violin maker), 324 Stradivarius violin, 324 The Strad (magazine), 363 string crossing with bow, 95–98 coordinating fingers and bow in, 101 exercises, 97–98, 99–101 with fingers, 98–101 neighboring strings, 96 non-neighboring strings, 96–97 overview, 95–96 seven bow levels, 97 string family, 9, 22 string tube, 346 string vibration, 21–22 strings ball-end, 338 broken strings, taking off, 334–336 changing, 333–340 cleaning, 330–332 described, 20

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Violin For Dummies, 2nd Edition strings (continued) different strings, bowing on, 66–67 fine tuners, putting on strings attached to, 338–339 length, 21–22 loop-end, 338 old strings, taking off, 333–336 prepping pegs and strings for replacing, 336–337 putting your fingers on, 78–80 setting bow on, 65–67 tailpiece, putting on strings attached at, 337 tightening, 339–340 undoing a string to change it, 334 Strings (magazine), 364 student recitals, attending, 377–378 Stuff Smith: Masters of Jazz Vol. 6 (Storyville), 294 subdominant, 167 subdominant triad in major keys, 199 in minor keys, 202 submediant, 167 subway grip handle for case, 346 sul ponticello, 295–296 summer camps, going to, 365–366 supertonic, 167 “Surprise Symphony” (Haydn), 229 Suzuki, Shinichi (violin teacher/inventor of Suzuki method), 367 Suzuki Association of the Americas (SAA), 375, 376 Suzuki Violin School (Suzuki), 368 “Sweet Georgia Brown,” 299 swing rhythms, 296 “Symphony No. 1 by Brahms theme,” 158 syncopated rhythms, 295

•T• tags, 291–292 tail, 128 tailpiece, 20, 337 teachers auditioning, 381 business arrangements with, discussing, 382

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buying a violin from your teacher, 321 community colleges as place to find, 376 finding, 373–381 Internet, checking out violin lesson on, 379 lessons, planning, 382 local orchestra as means of finding, calling, 375 meeting for first time, 381–382 music schools, inquiring for teachers at, 375 music stores, asking about teachers at, 378 networking as means of finding, 373–374 professional associations for, 376 qualities to look for in, 374 student recitals as place to find, 377–378 universities as place to find, 377 your connection to, 379–381 Tekka chinrests, 46 tempo accelerando (accel.), 158 adagio, 157 allegretto, 157 allegro, 157 andante, 157 described, 150 largo, 157 lento, 157 moderato, 157 overview, 157–158 prestissimo, 157 presto, 157 ritardando (rit.), 158 tempo markings, 157–158 testing your case, 345 third interval above note, 205–206 third position, 258–260 third-finger harmonics, 304–305 three notes in a bow stroke, playing, 219–222 3/4 time, 153–154 three-note chords, 250–251 three-note slurs arpeggios, adding three-note slurs to, 221 overview, 219–221 songs, adding three-note slurs to, 221–222 thumb grip, 77–78

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Index tightening and loosening horsehair, 58–59 tightening strings, 339–340 timbre, 255 time signatures bowing out the beat, 144–145 C (common time), 143–144 conducting to the beat, 144 4/4 time, 143–145 overview, 143, 143–146 6/8 time, 156–157 3/4 time, 153–154 2/4 time, 155–156 timing for trills, 281–282 tonic, 167, 189, 193 tonic triad in major keys, 199 in minor keys, 202 top (or table), 20 Tourte, Francois (bow maker), 328 Traditional Music from Cape Breton Island (MacMaster), 286 trains or buses, protecting your violin on, 341 transducer, 326–327 traveling with your violin, 340–342 treble clef (G-clef), 110–111 tremolo, 302 trills finger to finger, speeding from, 280–281 with flats, 282–283 gypsy music, 305 with naturals, 282–283 overview, 279 repetition, building speed of, 280 with sharps, 282–283 timing for, 281–282 “Trio from Haffner Symphony” (Mozart), 271–272 triplets, 134–135 troubleshooting audio tracks (MP3), 393 bow hold, 64 bowing, 66 fine tuners, 36–37 holding your violin, 49–52 tuning, 34–37 video tracks (MP3), 393

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411

tuning with electronic tuner, 30–31 with fine tuners, 26–27, 36–37 musician, help from an experienced, 28 overview, 10, 17, 25–26 with pegs, 26, 28–29, 34–36 with piano, 29–30 pitch, 25–26 with pitch pipe, 32 troubleshooting, 34–37 with tuning fork, 33 tuning fork, 33 “Twinkle, Twinkle, Little Star,” 155–156 2/4 time, 155–156 two-note slurs fingers, slurring between, 213–214 half a bow, using, 215–216 overview, 212–213 scales, adding two-note slurs to, 214–215 song, adding two-note slurs to, 215

•U• undoing a string to change it, 334 universities as place to find teachers, 377 upbeat, 146 up-bow, 67 upgrading case, 342–346

•V• value, 128–135 Venuti, Joe jazz violinist, 299 Wild Cats, 294 Vermeer chinrests, 46 vibrating length of a string, 21–22, 81–83 vibrato exercise with violin and bow, 278 exercise with violin and without bow, 277 exercise without violin and bow, 276–277 history of, 275 overview, 274–276 preparation for, 276 using, 279

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412

Violin For Dummies, 2nd Edition video tracks (MP3) list of, 390–392 with Microsoft Windows, 384–385 system requirements, 384 troubleshooting, 393 watching, 384 videos/DVDs, watching, 369–370 violin. See also buying a violin; holding your violin how it works, 21–22 overview, 9–10 protecting your violin, 25, 340–342 renting, 15, 322–324 violin case. See case violin parts back, 18 bass bar, 18 body, 18 bridge, 19 chinrest, 19 corner blocks, 20 end button, 19 f-holes, 19 fine tuners, 19 fingerboard, 19 neck, 19 neck block, 20 nut, 19 pegbox, 19 pegs, 19 purfling, 19 ribs, 19 saddle, 20 scroll, 20

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sound post, 20 strings, 20 tailpiece, 20 top (or table), 20 Violin Series (Royal Conservatory of Music), 367 Violin Society of America, 314 violin/viola amplifier, 353 Viotti (violinist-composer), 45

•W• weight of case, 343–344 whole notes, 129–130 whole rest, 137 whole step, 120 whole step in major scales, 167 whole tone, 120, 167 Wild Cats (Venuti and Lang), 294 winding, 57 Winkel, Dietrich Johannes (metronome inventor), 146 Wise, Chubby (“Orange Blossom Special”), 289 wolf note, 316 wood, assessing, 315 workshop violins, 313 workshops, buying from violin, 316

•Z• Zydeco and Cajun music, 288, 289

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