Details

Subject(s)

• Violin—Performance—History—17th century [Browse]
• Violin—Performance—History—18th century [Browse]

Series

Publications of the Early Music Institute. [More in this series]

Summary note

Drawing on the principles of Francesco Geminiani and four decades of experience as a baroque and classical violinist, Stanley Ritchie offers a valuable resource for anyone wishing to learn about 17th-18th-and early 19th-century violin technique and style. While much of the work focuses on the technical aspects of playing the pre-chinrest violin, these approaches are also applicable to the viola, and in many ways to the modern violin. Before the Chinrest includes illustrated sections on right- and left-hand technique, aspects of interpretation during the Baroque, Classical, and early-Romanti

Notes

Description based upon print version of record.

Bibliographic references

Includes bibliographical references and index.

Language note

English

Contents

• Cover; Title; Copyright; Contents; Preface and Acknowledgments; Introduction: How to Support the Pre-Chinrest Violin; Part 1. Right-Hand Technique; General Observations; 1. Tone Production; Basic Right-Hand Technique; The Importance of Arm Weight; The Use of Arm Weight; 2. Bow-Strokes; Lifted Strokes; Slurred Notes; Retaking; Z-Bowing; Martelé and Spiccato; Sautillé; Bariolage; Ondeggiando; 3. Chordal Technique; 4. Bow Division; 5. Swift-Bows; 6. Combination Strokes; Part 2. Left-Hand Technique; 7. Position-Changing Exercises; Basic Concepts; The Position of the Left Hand; The Swing; Shifting
• Half-PositionVibrato; Part 3. Interpretation; 8. Expression; Affect and Rhetoric; The Role of Analysis; The Importance of the Bass-Line; The Tyranny of the Bar Line; The Significance of Metre; Shaping Notes and Gestures; Beware of the Beam!; The Trouble with Notation; The Reality of Rubato; 9. Dynamics and Nuance; Harmony; Melody; Figures of Musical Speech; Repetition; Sequences; Tessitura; The Question; The Exclamation; Silence; 10. Tempo; Metrical Symbols; Harmonic Motion; Technical Complexity; Affective Words; Cautionary and Qualifying Words; Baroque Dance Movements; 11. Ornamentation
• SymbolicNotated Ornaments; Un-Notated Ornaments; 12. Baroque Clichés; The Classic Cadential Formula; Slurred Articulations; The Hemiola; Pulsations; Suspensions; Syncopations; Melodic Accents; ""Down-downs""; The Ultimate Baroque Cliché; Part 4. A Technique and Intonation Practice Guide; 13. Tuning; A Word about Intonation; Tuning; Difference Tones; Difference Tone Exercise; Visualizing; Warm-Up Exercises; A Shifting Exercise; 14. Exercises Starting with the First Finger; Scales; Broken Thirds; Double-Stopped Thirds; Sixths; Octaves; Fingered Octaves; Tenths; Arpeggios
• 15. Exercises Starting on GScales; Broken Thirds; Double-Stopped Thirds; Sixths; Octaves; Fingered Octaves; Tenths; Arpeggios; 16. Half-Position; Notes; Index; A; B; C; D; E; F; G; H; I; K; L; M; N; O; P; Q; R; S; T; U; V; W; Z

Show 1 more Contents items

ISBN

• 1-280-69647-8
• 9786613673435
• 0-253-00111-0

OCLC

• 796384066
• 797815865

Statement on language in description

Princeton University Library aims to describe library materials in a manner that is respectful to the individuals and communities who create, use, and are represented in the collections we manage. Read more...