IN PRINCIPLE VIOLIN PEDAGOGY THROUGH THE AGES

aspects ol plavin€i! recommending a practical

method but recognising the importance of

t-lexibility, naturalness and the promotion

of the utmost musical and technical

cler''elopment in each individual.'Ibnal

sonoritn accurate intonation ancl rhythmic

control are funclamental.'I'he traditional parallels betrveen

perlormer and orator are drarvn, r'l'ith

Galamian aligning the speaker'.s r-os'els

r.ith a sinfiing tone that has a smtnth

beginning ancl ending, ancl consonants

rvith the performer's percussive or accentual

elements. Spontaneitv and inclividualit-v

are openlv encouraged, along u.ith the

adjustment olvolume, tone quality,

projection, tempo and articulation to

the acoustic ofthe perlormance venue.

Galamian stresses comfbrt and elficiencv

of posture, and his left-hanil position lal-ours

a high positioning of the scroll. The fingers

should determine the placement of the

elbor', rather than vice versa, and the left

hancl should adopt a natural position so

that the octave B on the A ancl E strings

sets its'fiame'.He distinguishes tu'o principal categories

of shifting: the 'complete shif-r', rvhere

Lroth the hand ancl the thumb move intcr

he books by Joachim with

Nftrser, Auer and Flesch,

discussed in the past trl-o instalments

ofthis series (see ln Principle,

December and Januarv), r'r'ere just the tip

of the iceberg in terms ol zoth-century

instructional material fbr the violin.-lhe century witnessed an explosion

in Lreginners' methods lvith, fcrr example,

Erich and Elma Doflein'.s rgjrDa-r Geigenschulaerk and u.orks bv

Nlaia Bang, Samuel Applebaum, I')ta Cohen

and Sheila \elson. Acld to these Csaba

and Olza Szilvav's Colourstrings method,

Paul Rolland'.s emphasis on relaxation,

control and coordination in Tltt Tlu/ting oJ

Action in String Pla1ing (r9741 and Suzuki'.s

inf'luential method of instruction fbr pre-

school chilclren (see box on page 6o), ancl

the v.ealth and diversitv ofpedagogical

materials fiom the period becomes evident.

\/iolin pedagogy for advancecl plavers

took on a new dimension in r88r u'ith the

publication of Sevtik'.s treatise ,lchule der

l'iolintec/tnik op. r, a comprehe nsive

teaching svstem that had resulted from

his technical and phi'siological analysis

ofviolin playing (see box on page 6j).Amadeus von der Hova (Die Grund/agen

THE STRAD TFE I]AI]Y 2OO8

6:GALAMIAN AND FISCHERln the last of a series on important violin instructional methods,

ffi##$ru ST'#WffiilL examines lvan Galamian's Principles of Violin

Playing and Teaching and Simon Fischer's Basics

der Ticltnik de.r Violin-rpie/s of r9o4 -5)

and Demetrius Dounis (r'vith his rgzr

The Atristi 'Iichnique oJ liolin P/a:tiryop.rz

and numerous other related publications)

essentially continuecl rvhere Sertik left

off, u'ith Hova designing a system of

chromatic fingerings to overcome the

increasing clemancls of contemporary

music. Other pedagogical literature

intended to assist the performance

of developing 2oth-centuq/ tastes

and styles includes lvan Galamian ancl

Freclerick Neumann'.s tgo--"'olume

C0ntem?aront 1:;s/i2 'l)6/1.2ique ( t966).

Various books by Szigeti, NIenuhin,

Yampolsky and other violinists alstr

incorporate valuable commentary on

special technical, interpretative, aesthetic

or phvsiological issues. Kato Havas

(A Nett Approach ta l'io/in P/a1in.g, r96t;Tfu Tite/t:e Le.rson Crturce, r964), \Ienuhin(Six Lu.;an-r uith Ii:/tudi llenu/tin, r91t),

Rcrbert Jacobv (l'ia/in Tichnique: A Practita/

Ana/ysi-r.lar Pcformen, t98l e.nd

I{uggiero Ricci (. Lef t - Han d l'io / i n Ti: c h n i q u e,

r988) have contributed more specialist

treatises. One particular publication,

Galamian'.s Print'i1/es of lialin P/afing

anrl Taaclting(.r962), rvhich was actually

rvritten n'ith his approval by Elizabeth

Green and o\.erseen by others, is arguablv

the most comprehensir.e and enduring.

Galamian (r9oj-8r) taught countless

distinguishecl violinists, including

I)orothv De[,av (u,ho rvas to become

his assistant lor about 2rl vears atter the

Second \\brld War), Pinchas Zukerman

and ltzhak Perlman. Betu.een r9r6and rclzz Clalamian rvas a stuclent of Auer'.s

disciple Konstantin \Iostras, and he rvas

rl.r, intluence.l lrv hi: sturlics in Iq:: '{u'ith Lucien Capet, the authot of La teth.-

nique supy'rieure de /'archet (ryfi). For(lalamian, the hey to technical proficiencv

is 'correlation', or mental control over

ph.vsical movement. In Princip/e.r he deals

broadlv u,ith the physical and psvchologicalFor lvan Galamian, mental control was key

I

I

ENample 1 And example of a'half

Allegro non troppohb4

Example 2 Four kinds of shifting

IIIII III3

Example 3 Three types of portamento:the'overslideithe'underslidel and

shift; where the thumb does not change the point of contact with the violin

Concerto in D major op.77, Brahms

Fit\f movemPnf

III3

Fxample z[ Two examples of treeping fingeringi with downward extensions on the first and second fingers

Allegro ma non troppo

a combination of the two

III(3) 3

III3

III(3)_ 3

Concerto in D major op.77, Brahms

First movement

and shifts involr-ing open strings, 'cleaner'

chromatic fingerings, new types ofextensions out of 'the frame', and also

'creeping fingering', which is based on

extensions or contractions and designed

to introduce inaudible shihing (example 4,

in which two alternative fingerings u.'ith

don'nr'vard extensions are given, on the first

and second fingers, and example 5, in rvhichx represents half-step shifts, t an exiension

and * contractions). \\hen considering

lingering, students are consistently

encouraged to strive lor contextual

appropriateness, independence from

set patterns, and spontaneitv.

Galamian recommends the use of finger,

hand or arm vibrato, or a combination ofo

Example 5 Half step

Allegro non

shifts (*), extensions (t) and contractions (+)

troppo

2

the new positic,,n, ancl the 'half shift'(exanrpie 1), n'here the thumb retains its

contact point r.ith the r.iolin neck but its

flexibility allorvs the fingers to straddle

pc,,sitions. \\-ithin those categories there

are also four kinds ofshifiing that concern

the linger (example 2): shifts rvith one and

the same finger; shifts beginning r.vith the

on-string finger and concluding rvith the

finger of arrival; shifting rvith the finger ofrrrir rl: and c\lqnding a finger into r ncu

hand position and subsequently moving

the hand in compliance. The speed of the

shiti should relate directly to the tempo,

accorcling to Galamian, and the borv mav

eliminate some of the potential sliding sound

via slor'ver and lighter strokes. Three types

of l)oftamento are also diff'erentiated

(exanrple 3): the'overslide', as laroured

by the French schor-rl; the 'underslide',

as prei'erred by the Russian school; and

a combination of the tr.vo.

Excessive finger pressure should be

avoided in clouble-stopping, suggests

Cialamian, and the fingers should not be

litie,l roo high inr rrills. Fingcring, rir.rirshould involve musical and technical encls,

but considerations ofsound and ex1>ression

should never be sacrificed for ease and

comfort. \\hile recognising the expressive

funcrion of porrrm.nto, Galamirn

acknowledges lefi-hand developments

such as increased playing in the even-

numbered positions, more semitone shifts

tEBRTIARY 2008 THE STRAD

,%q-: ffi q-j fftu $ -

ru ru'$" F*'$.$-€ # g*Observing that small children master their native language throuqh listeninq, imltating,

repeated exposure, practice and participation, 5hin'ichi Suzuki (1898-1 998) concluded

that this innate natural learninq ability could be deve oped at an early age in instrumental

playing, given a suitably relaxed environment. Suzuki's'mother-tongue' approach is

dependent on the triple collaboration of the child,the parent(s) and the teachet builds

upon a secure aural base and comprises three strands: listening for musical sensitivity;

'tonalisation'for tone development; and playing for technical and artistic progression.

Like Koddly s'mother-tongue'method, Suzuki\ includes eurhythmic games and movements

and introduces technical elements gradually.The teaching of reading is delayed, and emphasis

is instead placed on aural development, muslcal memory and easy, Ielaxed movements.

Children generally receive a short individual lesson and a group session weekly,all

with parental participation. Repertoire is initially slmple, but comprises'real music';

playing from memory, stage manner, posture, tone and intonation accuracy are

constantly emphasised.Ten books of graded works allow pupils to progress gradually

from Twinkle,Twinkle Little Star,lh roug h Bach's Concerto for two violins BWV1 043, to

violin concertos by Mozart.The principal goal of this'Talent Fducation'is to cultivate

artistic appreciation in studenis in their formative years, allowing them to develop

thelr artistic potential simultaneously with technical skills.

ozo

=o?

Ic

aa

7

z

According to Galamian, teachers must be good

psychologists, practise flexibility in their teaching

and encourage independence in interpretation

all three accorcling to the context, therebv

ollering a n.icle range ofcokruring (especiallv

r.hen the vibrato is combined l-ith sPeed,

r.jdth and intensitv ancl aclaptecl to the

d-vnamics of the borr'). He aclr-ocates

rribratc.r practice regimes, ancl er-en inclucles

a 'simulated' fingertip viLrrato, and aclvises

opting ft.rr the flatter sicle olthe pitch rvhen

introducing vibrato.

Linsurprisinglv, given his reverence fbr

Capet'.s instruction, (ialamian discusses

bor'ving technique jn the greatest cletail.

He relers to its basis in 'a svstem ofsprings'

that is partlv artiflcjal (the resilience oftlre

Lrou, hair and stick) and partlv natural (the

joints ofthe shoulder, eLbou', l'rist, fingers

and thumLr). His ideal bos. holcl allorvs

the iieest plav olall the springs involr-ed in

terms oftheir interaction and coordination.

His 'natural' bolr'grip (shou'n above)

stresses comfc.rrt and fieetlom. but it is

subject to constant modification according

to the bow division emploved. clvnamic

changes ancl the tonal qualitv clesirecl.

'l'he funclamental straight bow strohe

is analvsed bv Galamian in three stages.

He ilescribes the movements c.rfthe arm,

hancl ancl fingers ancl recognises the need

tor inclining the bou'to preser\-e a straight

stroke; compensatir-rg lbr the natural

increase of bow r,,,eight ancl pressure on

the strings at the frog; and contributing

llexibilitv to the ri'rist action. At the fiog,

the arm ancl the instrument lbrm a

triangle; at about the midclle of the bol',

thjs becomes a square; and at the point,

the arm is stretched out almost straight.

The tonal aclvantages of inclining the

bor. slightlv 'in the clockwise direction'

are acknorvleclgecl, along x'ith avoidance

of raising the u'rist excessir-elv l'henapproaching the fiog.

Galamian cliscusses the interdependence

ofthe borvl speed, pressure ancl contact

point ancl the importance of skilful bolr'

tlir,'ision ibr optimum tone production.

His sun-ev of bor,strokes and their

various technical challenges tahes in

!:l:Tr::: ::l:i:l ?:v.g:f .

legato, the various ddtachi strokes,

portato, fbuettd, 'simple' ancl 'sustainecl'

marteld, colli, spiccato, sautilld, staccato)

t1r ing .t;rt t;it,, ln.l f1r inq tl'it t;1t,,.

ancl ricochet.'I'hree types ofborr attack

are categoriseci: one l'ith a smooth,

vou el-like beginning; a clearlv cleflnecl

ancl consonant-like attackl and the more or

less strongly accentecl attack. Smooth bo*'

changes depencl on clecreasing the Lrorv

speeil ancl lightening its pressure betbre

the change.

Harmonics rreed a tairlv long ancl

hcJ\\ strlkcrnLl r r,rt)tJcl 1','i1tr ncrr

the bridge, savs Cialamian, r'ith natural

harmonics requiring less pressure than

artitlcial ones. His discussion of chordal

plavir-rg involves: chorcl spreacling,

ll,ith firur-ncxe chords normallv tahen

tr,o b-v tr-o (example 6) - though not

rr.ithout excePtion; unbroken chords,

r,ith the preterrecl atrach being'from

the air' fbr optimum depression of the

nrrclclle string to bring the neighbouring

strings into plav; and musical plaving

ot'tun)ed' th,,r'J. in ur(l.r ro su.lJin

the important melodv note

ancl to preserve the rrrice-leacling in

polvphonic music (exarnple 7).

'lhe flnal chepter cf [trinrz2lu:sfocuses

on the imlxrrtance of regular and efllcient

practice. (ialamian recommencls that o

Fxarnple 6 Chord spreading, two-by twowritten played

lxample 7 Exceptions to speading chords

two-by two

ru givilgK-ru giffi $ fl .$ -,,k:'9"&

$ $i Flgq{ }S ;&ruH} ,{i{ }ruSLike the pedagogical works of Henry Schradieck (1846-1918), the majority oftheouol tal onsbySevrrkr852 9J4r'r-otabl) ^is5rhuledct\/ialintechnikop.l. 38l:Schule der Bogentechnik op.2, l sg5; and Violinschule op.6, 1904-8) comprise dry

and exacting mechanical drills for fingering and bowinq.There is a particular emphasis

on chromatic 'inger.ng'. \trengLne,'li'lq finger and arfi' n'. rLles dro rne oeve opn er-t ol

coo d:narion oelween lhe lefi a^cr rioht ranos.Th.re \^ort eler( se5 reouce Lechn qu.ro its sn a lest con"por-erl\ d1o \pdwn seve.al difrerent bowing..with varidnt5

rntroduced oy. or e/amp,e ternpo charqe or LtsinQ d ffe.eql pa'ts o'the bow.

Many viol'n'sLs have.rit ci:eo Lre drills subo.d.nation or m*sical and arti.tir values

ro 'n'nute techr-ical 66ss l. tlerch ackrowleoged the value and pitfal 5 6l .ho pxc1q .s5

describinq Ihen' as a neoic ne wh ( h, dc(oroinq to the :ize oI it: doses. kiil. or cures.

Mental alertness is essential and can be

maintained by varying practice patterns

prractice Lre rreatecl as the continuation,'f I lcr.,,n. nirh rlrc.rrr,l.nr irrrrginirrg

that thc teacher is present. ,\Iental alertness

is essential ancl can be mair-rtainccl bv

varving prractice patterns. A balance

betueen technical, interpretatir-e ancl

peribrming objectives should be achievecl.

The importance of ear training, scales

and.rc,n.fi/y' (slo1,,' practice s'ith long,

slou, bou' strokes) is emphasised, along

rr-ith 'sPring exercises' such as C)apet'.s

rrtu/y' (v'hich invol'" es roJJing the bor.r-

betq.een the tingers cluring the stroke

so that the stick inclines alternarelv

tor,vards the fingerboard and towarcls

the bridge, ancl rotating the forearm at

the frog). (lalamianls closing remarks are

addressed to teachers, q'hom he savs

mu.t lrc a.oorl |rr. holngists. 1r;1.1i..flexibilitv in their teaching and encouragc

o in,lt ltsn,lap6a itt interIrrt:rt i,,n.

5 ll-re inspiration firr Simon F ische r'.s

o 1,.,,k nt .tou r\cr( i\r\ rrrJ 1,rr, ti, c

$ ,outines, Basics 11997), ancl his monthlr.

I Basics articles in 'I /te ,9trrd, \\.as the ser

o63 Example I Srirt witl' l^getr ' e"r',0 ou"t

=t=o+z&

ofyiolin exercises devisecl bv his teacher

rrttrI firlrmirtt'. clrtrr hilc l:sist;rnr1,

I)orothv f)el-ev. IIant' erercises hale

Lreen aclapted f}om traciitional rnethocls,

but some har-e been inspired bv otherprcclaqogues: fbr example, Fischer refers

to ()alamiar-r-tvpe tone proiluctiolr

erercises, the finger tapping in F leschis

I r.rtur/)t:n.fir |:io/int,ieriik- or Henry

Schradieck-like finger patterns, ancl the

shiiiing and tingcr action of l)ounis.

His crercises ma-v be usecl flexiblv

Jr'rr'1,1jpg tu tcthttitrl ncc,l.

The first section of Fischer's lJt.rit.-r

fircuses on the right arm ancl hancl

anc'l deals u.ith bou'qrip, Lros'changes,

the application of'r'eight' on the string,

arm firovelnents, plaving long, sustainecl

bou,strokes, bou'inq prarallel to the bridge,

;rivcxing an.l strinq-crossing. Tbn e

prc.rcluction is considered in the seconcl

section, n'ith sonre general contact

exercises as u'ell as different kinds oflrou rllrr'k. rnrl I- i.r'hrr cr.lrninq.

corrtacrt points and their interrelationshilr

r-jth bol'speed and pressure. In thc

t,,ll,,u inl scr tton. th. kt r l'.u irrg.

, lctl, hc.,.,llc. mlrtclc. .t J!!IIu. \l)i( ( Jr{,

an,l rhc t rri,,t t' .1 rf inging h,,rr i ngt rrcdi:, u..c.l t.gcthcr u ir h l','u ing 1t111qrnr

and chnrdal plaving.

'I-he firurth l)ert intro(lllces the lefi hancl.

F ischer r.r'ites alrout thumb anrl tinger

l)rcssltrc! hancl ancl finger placernent,

irngcr action and pressure, tlills, ertensions

anrl contractions, ancl inclucles ccxrrdinetion,

\\ ilrlll ulr rn,l othcl tclcr lnt .1.r, i....Part tlve conccrns shitiing ancl the

m' ,\ cmcnr , rl rlrt rtm :rn,l tingcr..

l ischer discr-rsses several shifts: 'classical'

((ialanriani'overslide' ),'romantic'( ( lalerr-r ian'.s'unclersliclc' ),'combination'(also called 'cornbination' bv Clalamian)

anci'erchange' shifis. The last inrtrlves

the fingers 'crossing cx'er'cluring the

'hitr 'evampleBr. )cr ti.n 'ir,'tt int,'nrri,'nprececles the section on vibrato, u'hic1-r

inclucles relaxation ancl tlexibilitv exercises

and attends to r-ilrrato speecl, n,idth

ancl continuitv, as u.ell as equalitv u,ith

ell the tingers.

F ischer's zoo.1 publicatictn j\'atittertenrls thc principles articulatecl in ]Ja.;in.

It ., 'tn1t1-ir.r 2.qo -lrp-lr1-sral'Itrr, ri. c

meth(xls, oiien eraminccl in phvsical

,lrrril. ln,l ,ltrn. u1',,11 l iilr-r'rnging

eramples trom thc repertoire.

Ga/atniani ond f'i.rtrtu-l; look-r art awti/uh/c[r,,tt, r/r, (}t1,/1, 11., lh,,i, .:4"1::i;jrieu'it.jr?h ru.t ln u.; i r.t h o p t otn o r ca //+1lrl7r8roq11.

Simon Fischer: inspired by the pedagogical greats

Faai.l;;" ,iiil THE STRAD