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    Diccionario del violinista

    Posted by Jess Fernndez| Ene 9, 2013 | APRENDIENDO A TOCAR,EL

    INSTRUMENTO, EL VIOLIN,LA TECNICA,METODOS,NOVEDADES| 0 |

    A lo largo de toda una vida de estudio del violn a menudo nos encontramos con

    palabras o conceptos de los que no tenemos certea de !aber entendido bien su

    signi"icado, y seguimos adelante con esa inseguridad de no saber si estamos

    !aciendo lo correcto# Pero antes de seguir practicando qui$ de "orma err%nea

    conviene asegurarse del sentido e&acto de lo que estamos leyendo# Para eliminar

    esas dudas es 'til tener una gua que nos aclare los t(rminos m$s usuales que nos

    http://www.deviolines.com/author/chusman/http://www.deviolines.com/category/pedagogiayconsejos/http://www.deviolines.com/category/elviolin/elinstrumento/http://www.deviolines.com/category/elviolin/elinstrumento/http://www.deviolines.com/category/elviolin/elinstrumento/http://www.deviolines.com/category/elviolin/http://www.deviolines.com/category/pedagogiayconsejos/latecnica/http://www.deviolines.com/category/pedagogiayconsejos/latecnica/http://www.deviolines.com/category/pedagogiayconsejos/metodos/http://www.deviolines.com/category/pedagogiayconsejos/metodos/http://www.deviolines.com/category/novedades/http://www.deviolines.com/category/novedades/http://www.deviolines.com/diccionario-del-violinista/#commentshttp://www.deviolines.com/category/pedagogiayconsejos/http://www.deviolines.com/category/elviolin/elinstrumento/http://www.deviolines.com/category/elviolin/elinstrumento/http://www.deviolines.com/category/elviolin/http://www.deviolines.com/category/pedagogiayconsejos/latecnica/http://www.deviolines.com/category/pedagogiayconsejos/metodos/http://www.deviolines.com/category/novedades/http://www.deviolines.com/diccionario-del-violinista/#commentshttp://www.deviolines.com/author/chusman/
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    podemos encontrar a lo largo de nuestra vida de violinistas#

    Espero que este peque)o diccionario os pueda ser 'til#

    A

    A*+A#

    Piea peque)a y cilndrica, austada entre las tapas, cerca del puente, en el lado de

    la cuerda m$s "ina# +$s in"ormaci%n en Anatoma de !n "#o$n#

    A*+-.A/**A#

    Accesorio y soporte para el violn que se austa a su parte in"erior y se coloca sobre

    el !ombro# Pueden ser de diversos materiales y tipos, autoaustables, de diversa

    rigide, etc# o es indispensable, y !ay opiniones a "avor y en contra de utiliarlo,

    aunque una mayora de violinistas lo !acen#

    A**A#

    na parte de la nue del arco, por donde las cerdas se introducen#

    A-#

    *os lados de la caa del violn# +$s in"ormaci%n en Anatoma de !n "#o$n#

    A4-#

    El accesorio, de madera 5pernambuco, palo de rosa67 o "ibra de carbono que

    permite, mediante su "rotamiento contra las cuerdas, que estas vibren y el violn

    suene# *as cerdas que lo componen suelen ser de crin de caballo# El arco barroco

    era conve&o !asta que 8ranois :ourte, en el siglo ;;, innov% con la curva c%ncava

    y mayor tensi%n#

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    :onos producidos al tocar la cuerda al aire muy levemente en diversos puntos# El

    arm%nico m$s "$cil y claro se produce en el mismo centro de la cuerda, al roce y sin

    pisarla, produciendo un sonido una octava m$s alta que la misma cuerda al

    aire# *os arm%nicos se suelen anotar con un peque)o crculo sobre la nota o en"orma de diamante#

    A+-4-= A:84A*E=#

    Este tipo de arm%nico se crea presionando un dedo en la cuera y y poniendo

    despu(s otro m$s abao# *o m$s com'n es que se ponga el ndice "irmemente y se

    use el cuarto dedo para posarlo suavemente para producir el arm%nico# Pod(is

    escuc!ar a'! !nos es(e)ta)!$ares do*$es arm+n#)os art#,#)#a$esdel concierto n>1 de

    Paganini en las versiones de varios genios#

    APE?-#

    :ocar las notas de un acorde sucesivamente, no de "orma simult$nea#

    A:A/A#

    El lao que sueta el cordal al bot%n# +$s in"ormaci%n en Anatoma de !n "#o$n#

    B

    @A@A/A#

    Accesorio sueto al violn, a un lado del cordal o sobre (l, donde reposa la barbilla,

    de la cual protege al instrumento# +$s in"ormaci%n en Anatoma de !n "#o$n#

    @A#

    http://www.youtube.com/watch?v=yJtHpX_iJqUhttp://www.youtube.com/watch?v=yJtHpX_iJqUhttp://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/anatomia-de-un-violin/http://www.youtube.com/watch?v=yJtHpX_iJqUhttp://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/anatomia-de-un-violin/
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    ecubrimiento para la madera del violn# Es importante no s%lo para su protecci%n

    y apariencia, sino tambi(n para el sonido y para permitir la limpiea# +$s

    in"ormaci%n en L#m(#eza de$ "#o$n#

    @AA A+-4A#

    @arra de madera en el interior del violn, pegada a la tapa superior bao las cuerdas

    graves, que proporciona al instrumento solide y un sonido con mayor proyecci%n#

    +$s in"ormaci%n enAnatoma de !n "#o$n#

    @-:-#

    4omo su nombre indica, es como un peque)o bot%n al "inal del violn, entre los

    aros, al que se sueta el cordal# +$s in"ormaci%n en Anatoma de !n "#o$n#

    C4A@EA#

    *a parte del violn que est$ al "inal del mango, que incluye el claviero y la voluta#

    +$s in"ormaci%n enAnatoma de !n "#o$n#

    4A/EA#

    Es la versi%n en m'sica cl$sica de los tpicos solos que realian los solistas en los

    conciertos# Podra ser improvisado, ya que su origen proviene de ornamentaciones

    improvisadas al "inal de un movimiento y antes de comenar el siguiente, aunque

    !abitualmente son variaciones escritas previamente, ya que suelen tener un

    prop%sito de e&!ibici%n virtuosstica#

    4ABA#

    http://www.deviolines.com/limpieza-del-violin/http://www.deviolines.com/limpieza-del-violin/http://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/limpieza-del-violin/http://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/anatomia-de-un-violin/
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    *a parte mayor del violn, que ampli"ica el sonido producido por la vibraci%n de las

    cuerdas# +$s in"ormaci%n en Anatoma de !n "#o$n#

    4A:**-=#

    Peque)os tubos cilndricos que rodean la parte de las cuerdas que est$n en contacto

    con el puente, !abitualmente en la cuerda +i, protegi(ndolo de aquellas# +$s

    in"ormaci%n en Anatoma de !n "#o$n#

    4*A

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    4.-P#

    ?olpe de arco de reciente aparici%n 5los a)os C07 que b$sicamente consiste en

    realiar ritmos con la base del arco, el cual se Dagarra "uertemente y golpea y suelta

    las cuerdas, aunque la verdad es que lo meor es que es)!)-.#s a s! /#n"entor

    e1($#)ar$o# +$s in"ormaci%n en $os 2o$(es de ar)o#

    4-**E#

    ?olpe de arco que se eecuta pellicando las cuerdas de "orma breve y en(rgica con

    el arco# na evoluci%n de este golpe llevara al tan de moda Dc!op# +$s

    in"ormaci%n en $os 2o$(es de ar)o#

    4-* *E?- 5Avec le bois7#

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    *a piea donde se suetan las cuerdas, la cual a su ve va sueta al bot%n# +$s

    in"ormaci%n en Anatoma de !n "#o$n#

    4-E/EA#

    Piea ubicada al "inal de la nue del arco# +$s in"ormaci%n en Anatoma de !n "#o$n#

    4A:- 4A:-= 5FGF7#

    El tama)o de violn mayor y m$s com'n# *os otros seran 1G1C, 1G10, 1GH, 1GF, 1G2 y

    3GF

    4E**-#

    Adem$s de la parte de tu cuerpo que impide que tu cabea caiga rodando, es la

    parte del mango que conecta con la cabea del violn# +$s in"ormaci%n en Anatoma

    de !n "#o$n#

    4E/A#

    Poco !ay que decir, aunque lo m$s 'til es que leas e$ art)!$o so*re C!erdas de esta(2#na#

    4E-#

    *a vara del arco suele tener una piea de este material, en el lugar donde se sueta,

    como protecci%n y comodidad de suecci%n#

    D

    /E:A4.E#

    http://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/elegir-las-cuerdas-del-violin/http://www.deviolines.com/elegir-las-cuerdas-del-violin/http://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/elegir-las-cuerdas-del-violin/http://www.deviolines.com/elegir-las-cuerdas-del-violin/
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    ?olpe de arco que consiste en tocar cada nota en un movimiento de arco#

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    *a escala con intervalos de semitono entre la 3J y FJ notas y entre la KJ y la HJ# *a

    m$s usada en m'sica occidental#

    E=4A*A +E-#

    na escala con un semitono entre las 2J y 3J# +uc!os coinciden en que suena

    Dtriste en comparaci%n con un tono mayor# Adem$s del grado rebaado en la

    terceraL una escala menor naturaltiene rebaados los tonos se&to y s(ptimoM una

    escala menor armnicatiene rebaado el se&to y el s(ptimo grado elevadoM, y

    una escala menor meldicatiene un grado elevado el se&to y s(ptimo

    ascendente y rebaado el se&to y s(ptimo grado descendente#

    E:NE:A#

    El papel pegado en la parte interior del violn, que se puede leer 5a duras penas7 a

    trav(s de la e"e iquierda# n"orma del "abricante y a)o de construcci%n, aunque a

    veces "alsamente# o dees de leer /Ten2o !n "#o$n )on !na et#'!eta '!e (one

    Strad#"ar#!s

    F

    8//*E#

    As le llaman al violn en el entorno "olO tradicional en la cultura anglosaona# En

    rigor es el mismo instrumento# Pero si tocas el "iddle, tocas de otra manera#

    8*E:E#

    /ecoraci%n estrec!a de las tapas, que las protege# +$s in"ormaci%n en Anatoma de

    !n "#o$n#

    http://www.deviolines.com/tengo-un-violin-con-una-etiqueta-que-pone-stradivarius/http://www.deviolines.com/tengo-un-violin-con-una-etiqueta-que-pone-stradivarius/http://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/tengo-un-violin-con-una-etiqueta-que-pone-stradivarius/http://www.deviolines.com/tengo-un-violin-con-una-etiqueta-que-pone-stradivarius/http://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/anatomia-de-un-violin/
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    8*A+EA/-#

    o se trata del 8lameado de +oe# +uc!os violines tienen el "ondo y el aro como si

    !ubieran sido Dlamidos por las llamas# *a madera "lameada es normalmente m$s

    cara# El dibuo que !ace la madera se llama tambi(n rizoo aguas# +$s in"ormaci%n

    en /Es)o2er !n "#o$n#

    8*A:A/-#

    Producir un sonido como el de la "lauta, lo cual se consigue produciendo muc!os

    arm%nicos, tocando sobre el diapas%n por eemplo#

    8-/-#

    *a tapa trasera de la caa del violn# +$s in"ormaci%n en Anatoma de !n "#o$n#

    ?*=A/-#

    /esliar la mano iquierda a lo largo de la cuerda mientras se toca, produciendo un

    tono cambiante continuo#

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    I:E

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    ?olpe de arco, parecido al =tacatto, pero m$s suave y redondeado, como un (n"asis

    en cada nota#

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    Aparato que marca el tempo con pulsaciones rtmicas austables#

    +-/-=#

    *as distintas maneras o reglas compositivas en que se ordena una escala# .ay K

    principales que toman su nombre de los sistemas modales griegosL %nico, d%rico,

    "rigio, lidio, mi&olidio, e%lico y locrio#

    N-:A PE/A*#

    *a nota que, en un pasae de variolae, no cambia#

    E#

    *as cerdas del arco se suetan con la nue, que puedes mover !acia delante y !acia

    atr$s con el tornillo# Al "inal de la nue est$ la corredera# 4asi todas las nueces

    llevan una placa met$lica# +$s in"ormaci%n en Anatoma de !n "#o$n#

    O

    -B-, -B- PA=#

    http://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/anatomia-de-un-violin/http://www.deviolines.com/anatomia-de-un-violin/
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    Es un elemento puramente decorativo# 4onsiste en un crculo de madreperla con un

    peque)o anillo met$lico alrededor, que se suelen poner en clavias, cordales, nueces

    y tornillos# +$s in"ormaci%n enAnatoma de !n "#o$n#

    P

    PA=:**A# 5P4 P7#

    Accesorio sensible a la vibraci%n que convierte la vibraci%n de las cuerdas en

    se)ales el(ctricas, para conectar el violn ac'stico a un ampli"icador# =e suelen

    colocar en el puente#

    PEA+@4-#

    *a madera m$s !abitual y adecuada para construir arcos para instrumentos de

    cuerda# +$s in"ormaci%n en Anatoma de !n "#o$n#

    P4A:-#

    Este nombre tan gracioso indica que !a de tocarse no con el arco, sino pellicando o

    punteando con los dedos, ya sea de la mano iquierda, o de la derec!a#

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    *as di"erentes alturas en relaci%n al m$stil en las que la mano iquierda se coloca

    para tocar las notas# .ay 10 posiciones, desde la primera al "inal del diapas%n y

    progresivamente contando !acia el puente# :ambi(n est$ la llamada Dmedia

    posici%n, que es un medio tono m$s bao que la primera#

    PE:E#

    mportante piea sobre la que pasan las cuerdas, que se sueta sobre la tapa con dos

    patas# El puente es el encargado de transmitir la vibraci%n de las cuerdas a la caa

    de resonancia# +$s in"ormaci%n en Anatoma de !n "#o$n#

    R

    E=A#

    *o que necesitan las cerdas del arco para sonar#

    @A:-#

    :ocar con rubato consiste en D!acer la goma, alargando o atras$ndose con el

    tempo escrito, para dar e&presividad personal a la composici%n# +uy usado en el

    romanticismo#

    4-4.E:#

    ?olpe de arco# 4onsiste en una serie de spiccatos siempre !acia abao, utiliando el

    rebote natural del arco sobre las cueras#

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    S

    =A*:**- 5=A:**E7#

    ?olpe de arco que utilia el rebote natural de las cuerdas para tocar las notas a

    mayor velocidad que el =picatto#

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    nstrumento "abricado por Antonio =tradivari, el m$s "amoso lut!ier de la !istoria,

    y el m$s in"luyente# o os perd$is el porqu( de su leyenda en /E$ m#to Strad#"ar#!s

    =* P-:4E**-#

    =obre el puente# ?olpe de arco que se realia con el arco colocado Dcasi encima del

    puente#

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    ?olpe de arco que se realia repitiendo r$pidamente la misma nota y cambiando la

    direcci%n del arco despu(s de cada repetici%n#

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    Ay, el vibrato# En rigor sera la oscilaci%n en torno a un tono realiado con los dedos

    de la mano iquierda, para producir un e"ecto e&presivo y calide que proporciona

    pro"undidad y brillo en el sonido# .ay diversas t(cnicas para producirlo, poniendo

    en uego la mu)eca, el brao, las "alanges, o una combinaci%n de todos ellos#

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    T T T

    Appoggiatura:an ornamental note t!at is added be"ore a principal note,usually a step !ig!er or loSer t!an t!e principal note# :!e appoggiatura note is

    leaned on, t!en it resolves to t!e principal note#

    Arpeggio:sounding t!e notes o" a c!ord in succession, rat!er t!an

    simultaneously#

    Artificial harmonics:!armonics created by !olding doSn one "inger 5t!us

    Us!orteningU t!e string7 and t!en putting anot!er "inger doSn lig!tly# -n t!e

    violin, one usually !olds doSn t!e "irst "inger and touc!es t!e "ourt! lig!tly to

    t!e string# U4ardasU by +onti !as a section Sit! all arti"icial !armonics, as does

    t!e UPe locU movement "rom @artoORsR!man#an Fo$6 Dan)es#

    Avec le bois:8renc!L UQit! t!e Sood#U =ee Ucol legno#U

    Bariolage:t!e quicO alternation betSeen a static note and c!anging notes,S!ic! "orm a melody eit!er above or beloS t!e static note# :!is tec!nique

    http://www.violinist.com/discussion/response.cfm?ID=10585http://www.violinist.com/discussion/response.cfm?ID=10585http://www.violinist.com/discussion/response.cfm?ID=10585http://www.violinist.com/discussion/response.cfm?ID=10585
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    usually involves repeated string crossings and is common in @aroque violin

    music# A good e&ample is in t-e Pre$!d#o ,rom 7a)-8s Part#ta No& 9#

    Bow:a "le&ible Sooden 5or carbon "iber7 sticO Sit! !orse !air stretc!ed "romt!e bent tip, or point, to a moveable "rog, or nut# :!e !air is draSn over t!e

    strings to set t!em vibrating# A Baroque bow!as more conve& curve to t!e

    sticOM t!e modern boS, developed in t!e late 1Ht! c# by Francois Tourte, !as a

    more concave curve and more tension applied to t!e !air# 5%ere #s an art#)$eon

    t!e parts o" t!e boS#7

    Bow holds:see 8rancoV@elgian, ussian and ?alamian#

    Brazilwood:laterVgroSt! Pernambuco Sood used to maOe boSs# .ere is an

    article about7raz#$:ood "s& (ernam*!)o

    Bridge:t!e ornate, raised Sood t!at !olds up t!e strings in t!e middle o" t!e

    "iddle# t is not glued doSnM it stays in place only because o" t!e pressure o" t!e

    strings#

    Buri:Ste(-en 7r#"at#

    Cadenza:*ooO care"ully and you can "ind t!e Sord UcadenceU in t!is term# A

    UcadenceU is t!e conclusion o" a p!rase, and a UcadenaU is simply a very "ancy

    one# sually occurring toSard t!e end o" a concerto movement, it is a place

    S!ere t!e orc!estra drops out and t!e soloist plays a virtuosic cadence, S!ic!

    can be Sritten by someone else or improvised by t!e soloist# ac!el @arton Pine

    !as s(o6en e1tens#"e$; a*o!t -o: to :r#te ;o!r o:n )adenzas#

    Chin rest:a Sooden device attac!ed to t!e bottomV"ront o" t!e violin t!at

    separates t!e c!in "rom direct contact Sit! t!e violin sur"ace# :!ere are man;

    d#,,erent 6#nds#=ee alsoL houlder rest

    Coffee:common eli&ir among "iddle players

    http://www.youtube.com/watch?v=waxat-_tRH8http://www.violinist.com/blog/kinor80/201212/14232/http://www.violinist.com/discussion/response.cfm?ID=12159http://www.violinist.com/discussion/response.cfm?ID=12159http://www.violinist.com/directory/bio.cfm?member=Burihttp://www.violinist.com/blog/laurie/20099/10458/http://www.sharmusic.com/shop.axd/Search?keywords=chin+resthttp://www.sharmusic.com/shop.axd/Search?keywords=chin+resthttp://www.sharmusic.com/shop.axd/Search?keywords=chin+resthttp://www.youtube.com/watch?v=waxat-_tRH8http://www.violinist.com/blog/kinor80/201212/14232/http://www.violinist.com/discussion/response.cfm?ID=12159http://www.violinist.com/directory/bio.cfm?member=Burihttp://www.violinist.com/blog/laurie/20099/10458/http://www.sharmusic.com/shop.axd/Search?keywords=chin+resthttp://www.sharmusic.com/shop.axd/Search?keywords=chin+rest
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    Coll!:Upinc!edU boSing at t!e "rog done Sit! "ingers onlyM o"ten assigned by

    teac!ers to !elp students cultivate "inger "le&ibility S!ile still balancing t!e

    Seig!t o" t!e boS# 5.ere is a d#s)!ss#on a*o!t #t#7

    Col legno:striOing t!e strings Sit! t!e Sood o" t!e boS instead o" t!e !air# :o

    avoid messing up t!eir e&pensive boSs, sometimes pro"essional musicians use a

    spare boS or even a pencil S!en music calls "or col legno#

    Conductor:evolved "rom t!e concertmaster position VV deally, !e or s!e

    SorOs to resolve issues o" pitc!, balance, articulation, pulse, etc# Sit! orc!estral

    musicians during re!earsals and Oeeps a steady and clear beat during

    per"ormances#

    Con sordini:played Sit! mute# 5=ee UmuteU7

    Concertmaster:t!e "irstVc!air "irst violinist o" an orc!estra, o"ten c!arged

    Sit! leading t!e section, deciding all boSings, translating t!e Sis!es o" t!e

    conductor to t!e orc!estra and viceVversa, listening to auditions, and serving as

    a representative o" t!e orc!estra to its larger community#

    Concerto:a composition "or solo instrument5s7, Sit! orc!estral

    accompaniment# :ypically, itRs in a t!reeVmovement sonata "orm, Sit! cadenas

    in t!e "irst and last movements, t!oug! a number o" violin concertos, especially

    more modern ones, use di""erent ideas to organie movements# @e"ore 1CW0, t!e

    term re"erred only to a SorO "or voices Sit! organ or continuo# n a nuts!ell, itRs

    a ve!icle "or a soloist, or group o" soloists, to s!oS o""X

    Concerto grosso:a Oind o" concerto in S!ic! a small group o" instruments

    alternates Sit! a larger group# 4orelli Srote many o" t!ese, most "amously !is

    4!ristmas 4oncerto#

    Daempfer:?erman Sord "or mute#

    Demisemiquaver:t!e European Sord "or a 32nd note# " you say it loud

    enoug! youRll alSays sound precocious#

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    D!tach!:detac!ed, Sit! separate boS stroOes, but not staccato 5or s!ort7

    Double stops:playing on tSo strings at t!e same time# 58IL U=toppingU is

    simply putting your "inger doSn on t!e string, to produce a note ot!er t!an anopen string# =o tec!nically, it re"ers to using your "ingers on bot! o" t!ose

    strings#7 And yes, t!ere are U:riple stops,U playing on t!ree strings at once, and

    even UNuadruple stops,U playing on "our strings at once#

    Drone:a single tone t!at is sustained "or a period o" time S!ile a melody is

    being played# 5A teac!er mig!t play a UdroneU on t!e tonic S!ile a student is

    playing a scale, to !elp Oeep t!e student onVpitc!7 @agpipes !ave a builtVin

    drone#

    F"hole::!is sounds bad, but itRs not# t describes one o" t!e openings in t!e

    "ace o" t!e violin, on eit!er side o" t!e strings, t!at is s!aped liOe a cursive U8U

    but really looOs more liOe an U=#U

    Fiddle:same e&act t!ing as a violin# :!at doesnRt mean Se canRt ar2!e a*o!t #t on

    V#o$#n#st&)om&

    Fingered octaves:alternating using "ingers 1V3 and 2VF in a passage o"

    doubleVstop octaves, rat!er t!an playing t!em all Sit! "ingers 1VF, or all Sit!

    "ingers 1V3# 5.ereRs a discussion on(ra)t#)#n2 ,#n2ered o)ta"es#7

    Flautando:a Usul tastoU 5overVt!eV"ingerboard7 boS stroOe t!at creates a "luteV

    liOe sound#

    Franco"Belgian bow hold:!olding t!e boS Sit! rounded and "le&ible

    "ingers, including a rounded pinOie S!ic! taOes some o" t!e Seig!t o" t!e boS#

    %ere8s a n#)e V&)om ,$ame :ar :e -ad *a)6 #n e)t o, 8*o: -o$ds8?5=ee

    ussian boS !old and ?alamian boS !old7

    Frog:a removable device at t!e loSer end o" t!e boS sticO t!at secures t!e !air

    and permits t!e regulation o" its tension# Also called t!e UnutU or t!e U!eel#U

    http://www.violinist.com/discussion/response.cfm?ID=18410http://www.violinist.com/discussion/response.cfm?ID=18410http://www.violinist.com/discussion/response.cfm?ID=12999http://www.violinist.com/discussion/response.cfm?id=20595http://www.violinist.com/discussion/response.cfm?ID=18410http://www.violinist.com/discussion/response.cfm?ID=18410http://www.violinist.com/discussion/response.cfm?ID=12999http://www.violinist.com/discussion/response.cfm?id=20595
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    #ai$u:a Bapanese "orm o" poetry, and a great Say to :r#te a*o!t t-e "#o$#n#

    #air:on t!e violin boS, t!e !air comes "rom a !orseRs tail and is rubbed Sit!

    rosin to maOe it sticOy#

    %alamian bow hold:a modi"ied 8rancoV@elgian boS !old in S!ic! t!e Srist

    is "latter and "ingers slig!tly closer toget!er#

    %lissando:to glide or slide t!e "ingers along t!e string, usually to create a

    special e""ect# :!e late uggiero icci Srote a booO called R#))# on @$#ssando

    about a Oind o" violin tec!nique t!at maOes more "requent use o" t!e glissando

    "or s!i"ting#

    #eel:t!e "rog o" t!e boS

    #oo$ed bowing:!ooOing tSo notes into one boS, usually Sit! a stop

    betSeen#

    &ntervals:t!e distance betSeen tSo notes# %ere are some e1am($eso" Says toteac!, identi"y and remember di""erent intervals#

    &ntonation:t!e degree to S!ic! somet!ing is Uin tune,U or to S!ic! somet!ing

    is t!e correct pitc!# 5Pyt!agorian, Bust and Equal :emperament7

    'et!:8renc! "or Ut!roSn,U a bouncing boS stroOe t!at involves tSo to si&

    ricoc!ets in a roS#

    'ust temperament (or )pure intonation*:a tuning system t!at produces

    !armonic intervals tuned to eliminate all beats# 5.ere is a d#s)!ss#on t-read on

    >!st tem(erament7#

    +e,:t!e tonal center o" a composition VV t!e scale t!at a composition is built

    upon# :!e UOeyU is named a"ter t!e "irst note o" t!e scale# 8or e&ample, U?

    maorU is built on t!e maor scale t!at starts on t!e note U?#U :!at "irst note isalso called t!e Utonic#U

    http://www.violinist.com/discussion/response.cfm?ID=5332http://www.violinist.com/blog/laurie/200712/7851/http://www.violinist.com/blog/laurie/200712/7851/http://www.violinist.com/discussion/response.cfm?ID=5564http://www.violinist.com/discussion/response.cfm?ID=20203http://www.violinist.com/discussion/response.cfm?ID=20203http://www.violinist.com/discussion/response.cfm?ID=5332http://www.violinist.com/blog/laurie/200712/7851/http://www.violinist.com/discussion/response.cfm?ID=5564http://www.violinist.com/discussion/response.cfm?ID=20203http://www.violinist.com/discussion/response.cfm?ID=20203
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    -abel:8ound on t!e inside o" t!e violin by looOing t!roug! t!e le"t U"UV!ole,

    t!is tells S!o made t!e violin, S!ere it Sas made, and in S!at year# E&cept

    S!en t!e label is "aOeX

    -egato:smoot!, connected boS stroOe

    -imeric$:more enterta#n#n2 (oetr; a*o!t t-e "#o$#n#

    -uthier:maOer o" a stringed instrument suc! as a violin, viola, cello, bass or

    guitar# :!e term comes "rom t!e Sord Ulute,U a basic stringed instrument#

    .a/or scale:a scale Sit! !al"Vsteps betSeen t!e 3rd and Ft! and t!e Kt! and

    Ht! degrees# 5+y students liOe to c!ant, US!oleVS!oleV!al"VS!oleVS!oleVS!ole

    !al",U to remember t!e intervals in an ascending maor scale7 .ere is aN#)e

    :on6; d#s)!ss#on t-read on s)a$es and modes and t-e#r -#stor;#

    .artel!:UmartellatoU in talian means U!ammered#U A detac!ed and strongly

    accented boS stroOe#

    .easurements for violins::!is seems liOe a "airly amaing Sebsite, Sit! an

    encyclopedic catalogue o" precise measurements o" violins by maOers "rom t!e

    1Kt! t!roug! 20t! centuries# 8or eac! o" 30W instruments, t!ey list 2W0

    measurementsL T-e L!t-#er8s L#*rar;#

    .inor scale:a scale Sit! a loSered t!ird degree# +any agree it sounds UsadU

    compared to a maor Oey# n addition to t!e loSered t!ird degreeL a natural

    minor scale!as a loSered si&t! and sevent! degreesM a harmonic minorscale!as a loSered si&t! and raised sevent! degreeM and a melodic minor

    scale!as a raised si&t! and sevent! degree ascending and a loSered si&t! and

    sevent! degree descending#

    .odes::!ere are a total o" seven di""erent Says to picO K pitc!es out o" t!e

    available pitc!es to "orm an eig!tVpitc! scale S!ic! ends on t!e same pitc! it

    started Sit!# :!ese seven di""erent Says to arrange t!e scales are OnoSn as

    modes, and t!eir names areL onian, /orian, P!rygian, *ydian, +i&olydian,Aeolian and *ocrian# :!e maor and minor scales are actually tSo o" t!ose seven

    http://www.violinist.com/discussion/response.cfm?ID=7768http://www.violinist.com/discussion/response.cfm?ID=14980http://www.violinist.com/discussion/response.cfm?ID=14980http://www.theluthierslibrary.com/luthiers_library/http://www.violinist.com/discussion/response.cfm?ID=7768http://www.violinist.com/discussion/response.cfm?ID=14980http://www.violinist.com/discussion/response.cfm?ID=14980http://www.theluthierslibrary.com/luthiers_library/
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    modes# +aor is onian mode and minor is Aeolian mode# 5/e"inition taOen

    "rom t-#s d#s)!ss#on#7

    .ute:a small device t!at "its over t!e bridge to mute t!e sound o" t!e violin# tmaOes it sound liOe t!e violin is singing Sit! its nose plugged# ot t!at a violin

    !as a nose# A Upractice muteU is usually a bit bigger and !eavier and maOes t!e

    violin very quiet, "or times suc! as practicing in a !otel room# %ere are some

    e1am($es o, "ar#o!s m!tes#

    0atural harmonics:overtones produced by touc!ing t!e open string very

    lig!tly at various points "rom t!e bridge# ?enerally t!e clearest !armonic occurs

    in t!e very middle o" t!e string, S!ic!, S!en touc!ed lig!tly Sit!out depressingt!e string, sounds an octave above t!e stringRs openVstring pitc!# .armonics are

    usually notated Sit! a small circle over t!e note or a diamondVs!aped note, and

    t!ey tend to sound open and ringVy#

    0ut:-n t!e boSL t!e "rog# -n t!e violinL t!e grooved ridge o" Sood near t!e

    scroll S!ere t!e strings pass over "rom t!e "ingerboard into t!e peg bo

    1assage:a section o" music

    1edagog,:t!e art o" !oS to teac! somet!ing# A UpedagogueU is an e&pert in

    teac!ing tec!niques and o"ten teac!es teac!ers# .ere are t!e names o" some

    violin pedagogues, past and presentL *eopold +oart, *eopold Auer, Basc!a

    @rodsOy, 4arl 8lesc!, Ota6ar Be")6, EugYne IsaZe, Bose" ?ingold, van

    ?alamian, /orot!y /e*ay,S-#n#)-# S!z!6#, S#mon F#s)-er, Ro$and Vamos, Stan$e;

    R#t)-#e#

    1ernambuco:t!e rare =out! American Sood "rom S!ic! many boSs are

    made# .ere is an article about 7raz#$:ood "s& (ernam*!)oand !ere is an article

    about a*o:ma6er :-o (art#)#(ates #n re5,orestat#on e,,orts ,or (ernam*!)o#

    1edal tone or pedal point:a sustained note !eld under t!e ot!er musical

    goingsVon, as Sit! an organ Upedal#U 8or us string players, it sometimes re"ers to

    t!e repeated 5unc!anging7 note in bariolage#

    http://www.violinist.com/discussion/response.cfm?ID=14980http://www.sharmusic.com/shop.axd/Search?keywords=violin+mutehttp://www.sharmusic.com/shop.axd/Search?keywords=violin+mutehttp://www.violinist.com/blog/laurie/20111/12018/http://www.violinist.com/blog/laurie/20122/13212/http://www.violinist.com/blog/laurie/20122/13212/http://www.violinist.com/blog/laurie/20103/11005/http://www.violinist.com/blog/laurie/201210/14009/http://www.violinist.com/blog/laurie/201211/14147/http://www.violinist.com/blog/laurie/201211/14147/http://www.violinist.com/discussion/response.cfm?ID=12159http://www.violinist.com/blog/caeli/20067/5458/http://www.violinist.com/blog/caeli/20067/5458/http://www.violinist.com/discussion/response.cfm?ID=14980http://www.sharmusic.com/shop.axd/Search?keywords=violin+mutehttp://www.sharmusic.com/shop.axd/Search?keywords=violin+mutehttp://www.violinist.com/blog/laurie/20111/12018/http://www.violinist.com/blog/laurie/20122/13212/http://www.violinist.com/blog/laurie/20103/11005/http://www.violinist.com/blog/laurie/201210/14009/http://www.violinist.com/blog/laurie/201211/14147/http://www.violinist.com/blog/laurie/201211/14147/http://www.violinist.com/discussion/response.cfm?ID=12159http://www.violinist.com/blog/caeli/20067/5458/
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    1izzicato:an indication "or string players to plucO, rat!er t!an boS, t!e string#

    1onticello:t!e bridge o" t!e violin# U=ul ponticelloU is a direction to play very

    near t!e bridge, S!ic! creates a nasal sound#

    1ortamento:an e""ect done by sliding into a note Sit! t!e le"t !and# :!e

    violinist Fr#tz re#s$erSas a master o" t!is tec!nique# .ere are t#(s ,or :-en to !se

    t-#s e,,e)t#

    1ortato:as opposed to upVboS or doSnVboS staccato, in S!ic! eac! note

    marOed Sit! a boS stop VV eac! note in a UportatoU boSing is reVarticulated very

    gently, Sit! t!e boS continuing to move betSeen notes# :!inO USa!VSa!VSa!VSa!#U 5btS i" you type Uportato,U spellVc!ecO Sill liOely c!ange it to Upotato#U7

    1ositions::!is re"ers to t!e position o" your le"t !and on t!e violin# U8irst

    positionU is t!e "irst one most people learn, Sit! t!e !and resting near t!e end

    o" t!e "ingerboard, toSard t!e scroll# :ypically, students ne&t learn t!ird

    position, in S!ic! t!e !and is moved "orSard so t!at t!e "irst "inger is noS

    S!ere t!e t!ird "inger Sas in "irst position# :!ere are 10 positions, moving

    progressively up t!e "ingerboard, and also !al"Vposition, S!ic! is a !al"Vstep

    loSer t!an "irst position, Sit! t!e "irst "inger generally positioned rig!t by t!e

    nut#

    1ractice::!e devotion you s!oS your instrument by playing it every day and

    repeating actions accurately until t!ey come naturally# =!inic!i =uuOi

    suggested t!at it taOes 10,000 repetitions to truly learn a piece# :!atRs a lot o"

    practicingX 5t!e verb "orm, in Europe, is Upractise#U7

    1runes:dried plums, S!ic! aid in late digestion# deal snacO "or string players

    S!o may occasionally su""er bouts o" rigidity o" mind or boSel, due to t!eir

    !ig!Vstrung nature# 8irst recommended in 200F by

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    1,thagorian tuning:tuning based on t!e use o" pure "i"t!s# t uses ?reeO

    p!ilosop!er Pyt!agorusR t!eories o" p!ysics and sound#

    2elative minor:Every maor scale !as a relative minor t!at uses its same Oeysignature# :!e relative minor is located 1 1G2 steps doSn "rom t!e relative

    maor# 8or e&ample, t!e relative minor o" 4 maor is A minor#

    2h,thm:t!e organiation o" silence and sound in time#

    2icochet:a bouncing boS stroOe in S!ic! t!e boS is dropped or t!roSn on t!e

    string and alloSed to rebound and bounce again, several times# 5

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    croll:t!e decorative U!eadU o" t!e violin# ?enerally it is carved to looO liOe

    rolled parc!ment, but occasionally a lut!ier gets creative and maOes a scroll t!at

    looOs liOe a "ace or animal !ead# 5.ere are some Sonder"ul(#)t!res and

    des)r#(t#on o, t-e ma6#n2 o, a t;(#)a$ s)ro$$, "rom lut!ier Bonat!an .ai and !is

    Si"e#7

    econd violin section:a !ig!ly essential and underrated part o" t!e orc!estra

    t!at o"ten plays !armony to t!e "irst violinsR melody#

    enza sord:Sit!out mute 5t!at means i" you !ave it on, taOe it o""7

    houlder resta contraption VV praised by many, vili"ied by ot!ers VV to !elp!old up t!e violin# :!ere are man; man; d#,,erent 6#nds# 4!oosing one involves

    matc!ing your body type to t!e rig!t restL see our article, %o: to %o$d a V#o$#n#

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    ounding point:t!e point on t!e string betSeen t!e bridge and t!e

    "ingerboard S!ere t!e instrument responds most readily and most resonantly#

    =!inic!i =uuOi called t!is t!e Ureisler !ig!Say,U t!e place S!ere one must

    boS on t!e string, neit!er too close to t!e bridge nor too close to t!e

    "ingerboard# +ore re"inedL /orot!y /e*ay, and s!*se'!ent$; S#mon F#s)-er,

    spoOe o" "ive sounding points, "rom t!e bridge to t!e "ingerboard VV sort o" liOe

    "ive lanes on t!at !ig!Say# Eac! o" o" t!e "ive UlanesU or sounding points, !as a

    di""erent c!aracteristic and is used "or various Oinds o" boSing#

    piccato:bouncing boS stroOe 5.ereRs an art#)$e a*o!t a )$ass 7ar*ara 7ar*er

    2a"e on s(#))ato#7

    taccato:a s!ort note, S!ic! can be produced Sit! several Oinds o" boS

    stroOes, including spiccato, sautille, martele, ete, ricoc!et, upVboS and doSnV

    boS staccato and more# 5%ere #s a t-readt!at describes t!e UstaccatoU concept

    Sell#7

    trings::!ere are so many o" t!emX 8ind some guidance at

    V#o$#nStr#n2Re"#e:&)omas Sell as a string color / c!art to !elp you "igure out

    S!at Oind o" strings you !ave, based on t!eir colors, all made by

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    Trill:rapid alternation o" tSo tones eit!er a S!ole or a !al" tone apart#

    5ibrato:a "luctuation o" pitc! to Sarm t!e tone o" a note, ac!ieved by

    oscillating t!e le"t !and# o6es,

    but itRs only because violists are our siblings and Se love t!em#

    56:U