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Paul Harris
Paul Harris
Baroque strings: before chin rest, before
spike
How do teachers address the issue of style in their teaching? How can they convey to their pupils
the sense of what the music might have sounded like at its first performance? How might
understanding of the background and context of the music affect the way they approach their
music-making?
To help teachers and students tackle these issues, ABRSM (Publishing) Ltd has produced three
Performers Guides on music of the Baroque, Classical and Romantic eras. Each book provides
historical background, notes on sources and editions and articles focusing on keyboard, string and
wind instruments and singing, written by musicians with scholarly expertise and practical
experience at the highest level.
In the following extract from the Baroque book, Andrew Manze reminds us how playing stringed
instruments without chin rests or spikes influenced composition and performance style.
Holding the instrument
Before 1610, and before the need for position shifting, the violin and viola were rested against the
ribs, and held in place by the left hand and the downward pressure of the bow. As players shifted
higher, so the violin was gradually elevated, until by the mid-seventeenth century it rested on or
just below the collar bone. So far the players chin had never made contact with the instrument,
so there was no need for any pads or rests to be attached to it. (Pads and rests were nineteenth-
century, post-Baroque inventions.) Players worked out how to keep the violin safely in position
while the left hand shifted up and down. For a long time this was done by choosing clever
fingerings with strategically placed open strings, while the left-hand thumb and fingers walked
up and down the fingerboard. Provided that the thumb and fingers never moved simultaneously,
the violin was always safe from a perilous drop.
Cellists were free of this worry, although spikes were not regularly used until the twentieth
century. Players would either rest the instrument on the floor or a stool, or support it on the calves
of their legs, with feet slightly splayed if necessary, like a viola da gamba player. It is well worth
the modern cellist experimenting without a spike. Once over the initial strangeness, you may
experience a not unpleasant freedom and control of the instrument, as it is cradled by your body
like an extra limb, rather than anchored to the floor.
On chinlessness
Among da braccia players, a debate has long raged about the use of the chin. Purists rightly point
out that certain repertoire, notably early French, English and Italian music, was played senza
chin. More pragmatic players argue that, since vaster tracts of repertoire were played with the
chin, it is unrealistic in this day and age to specialise in such a restrictive technique as chin-off.
Many historically informed violinists nowadays cover such a wide repertoire that any one,
exclusive technique becomes rather a luxury. The debate is not new: one of Bibers colleagues, J.
J. Prinner, was moved to write in 1677:
If you want to play the violin properly you must hold the instrument firmly with your chin,
otherwise it would be impossible to play quick passages which go high then low [i.e. shift
quickly]. Nevertheless, I have known virtuosi of repute who put the violin against the chest,
thinking it looks nice and decorative, because they have taken it from a painting where an angel
is playing to St Francis and found it more picturesque: but they should have known that the
painter was more artful with his paint-brush than he would have been with a violin bow.
It is certainly a worthwhile exercise to try playing without the chin, to experience something of
the feeling of these pioneering Baroque violinists. One very positive result is that your head is
freer to move, to look around, and perhaps even to think. Players interested in a wider repertoire
than the early Baroque might be well advised not to bother beyond the experimental stage.
The chin debate, whichever outcome we favour, has important implications for fingering. Playing
for a few minutes without the chin will quickly reveal that 1st position is not difficult. So use 1st
position as often as possible without embarrassment. Baroque composers were expecting it, and
did not try to make life unnecessarily hard for the players. It was not in their interests: published
music had to look, as well as be, within the customers capabilities, or else it would not sell, and
professional performances had to sound well, often with little rehearsal. Turnover of repertoire
was fast, since the music-buying public and the local employers wanted a constant supply of
new works, and musical fashions changed as quickly as in todays pop music. So there was no
point in a composer frightening his customers or his colleagues with unplayable difficulties.
There are of course exceptions. Some publications were in effect a technical manifesto or a
treatise in music, such as Bibers and Walthers solo works, and Locatellis Larte del violino with
its fiendish Capricci that so inspired Paganini. Other works were composed specifically for a
few, select players, such as Vivaldis concertos in manuscript and Bachs unaccompanied sonatas
and partitas.
Vibrato
There are other implications of chinlessness. Vibrato is still possible, especially a wrist or finger
vibrato, though a full arm vibrato tends to move the whole instrument, to the detriment of bow
string contact. Vibrato was seen as a powerful way to imitate the emotional range of the human
voice, and was widely used in the Baroque era, though more by players in a solo role than when
playing in orchestras. In their treatises, Tartini, Geminiani and Leopold Mozart all refer to the
different effects of changing the speed and width of vibrato, and disagree only about how much it
should be used. Geminianis opinion is that it may be made on any Note whatsoever, while
Mozart chides players who constantly wobble as if they had the palsy. What all writers agree on
is that vibrato is most useful on long notes, equal in rank to an ornament such as a trill or grace
note. As with all ornaments, it should be used with care. Think of it as a cooking spice, and
decide for yourself how spicy you like your music.
Fingering
As we saw earlier, chinlessness means that shifting up is not much of a problem but shifting back
down is. This fact alone can often suggest a fingering of convenience which turns out not only to
be authentic but also to have positive musical implications. Bachs Ciaccona provides a good
example (Fig.1).
If the upper fingering might be termed modern (it appears in several twentieth century editions
of Bach), the lower fingering is perhaps more authentic, meaning that it is arguably the one the
majority of eighteenth century players would have chosen. Shifting up to the high E in bar 56 is a
simple affair both with a chin rest and without using the chin at all. Shifting back down for the
following G, however, is far more complicated without the chin, involving a deft left hand.
Staying up in 4th position and walking down one position at a time during the next four bars is
not only a more practical solution, but it also has an important, musical implication: it creates the
illusion that the violin is polyphonic, literally having many voices. Violinists will see straight
away that the lower fingering makes a regular string pattern for the sequence starting in bar 57.
The impression given is that there are four voices, each with its own string, which all appear in
bars 60 and 61.
In the Baroque era, as well as there being a far richer cornucopia of string instruments in regular
use than is the case today, there was a wide diversity in the pitches used, from country to country,
from town to town, and sometimes within one ensemble. Bach often had to score his cantatas for
instruments in two or three different pitches playing simultaneously. One players A was maybe
anothers C or F sharp. The string maker simply produced gut of a certain length and thickness
for every type of instrument, from a contrabasso to a mandolino. He cared not a jot what you
actually called its pitch. To avoid confusion, the four strings of a violin, viola and cello were
called (in ascending order) basso, tenore, canto (literally the singer) and cantino (the little
singer), or variants on these names: the French term la chanterelle is a straight translation of
cantino, while the German Chorsaite is a more general choral string. Knowing this can open up
a whole new way of looking at your instrument when playing Baroque music: it no longer has
just one voice but is potentially a miniature string quartet.
Unfortunately, its rare for composers to use these string names to tell us what fingering they have
in mind. Vivaldi wrote one concerto (RV 243) to be played entirely senza cantino, and
occasionally gave fingerings elsewhere. A good example is to be found in Le Quattro Stagioni
(The Four Seasons). Although this is one of the most famous works in the Baroque repertoire,
Vivaldis own fingering is rarely heard as the Summer cuckoo rises (Fig.2).
On the cello, because fingerboard distances are so much greater, the range of notes which can be
covered by the left hand is smaller. This rules out some polyphonic fingerings, however attractive
the idea. Cellists must think polyphonically and create a multi-voice illusion even when the
fingering blurs the edges between those voices. Take Bachs solo suites: we do not know how
well the composer played the cello, if he did at all, but can be fairly certain that he played the
violin and viola far better. Its therefore not surprising that, when the cello suites are played on
the viola an octave higher, or the violin a twelfth higher, many polyphonic fingerings become
possible.
Once you have started to think polyphonically, there is no end to the delights and discoveries in
store. Baroque music is full of two- and three-voice conversations and arguments, even when the
relationship between strings and fingering is not as tidy as described above. Here are three voices
at the start of a Telemann fantasia, first in its original form and then showing its implied
polyphony (Fig.3).
Andrew Manze is a leading Baroque and Classical violinist. His article on string playing appears
in A Performers Guide to Music of the Baroque Period.
For more information on the Performers Guides visit www.abrsmpublishing.co.uk
<http://www.abrsmpublishing.co.uk/>
Fig.1: J. S. Bach, Partita No. 2 in D minor, BWV 1004, 1720, Ciaccona, bb. 5661
Fig.2: A. Vivaldi, L'estate, Op. 8 No. 2 (1725), first movement, bb. 3140. Vivaldis implied
fingering is shown in square brackets below the stave. In practical terms, tutto sopra il Canto
indicates that the upper notes should be played on the A and not the E string; the E string is to be
used from bar 39.
Fig.3: G. P. Telemann, Fantasia XII, 1735, first movement,bb.14, (a) original notation;
(b) possible reconstruction of polyphony
To get into the spirit of simultaneous learning, write down all the activities you feel ought to be
part of a lesson and begin to make two or three connections between them. For example, sight-
reading and scales (many patterns in sight-reading are simply different scale patterns); then find
connections between scales and aural, aural and pieces, pieces and memory, memory and
improvisationthe more you think, the more connections you will begin to make. In fact, the
number and kinds of connections between the various activities are virtually infinite it just takes
a bit of effort to kick-start the mental process.
Once you are thinking along these lines lessons begin to take on a new lease of life. Teachers are
no longer reacting to (often) poorly prepared work, but are setting the agenda. One idea leads to
another in a much more musical way. The process of teaching becomes much more imaginative
a lesson becomes a voyage of discovery and both pupil and teacher become positively
motivated, fired up with a real excitement for learning. Most pupils find learning and playing
pieces the most obviously enjoyable part of their work. So pieces must remain the central focus
of the lesson. But it is how the pieces are taught that really counts.
All good teaching will have had at least some preparation. In preparing to teach a particular piece
it is important to identify the musical ingredients: scale, arpeggio and other melodic and rhythmic
patterns for example, markings and other instructions. And it is important to know the piece. We
then begin to teach not the piece, but the ingredients. We are continually making connections onto
aural, technical work (including development of key sense through scales), memory, sight-
reading, improvisation, composition and theory. In this way the skills, related knowledge and
subsequent musical understanding become linked and a much more powerful and effective form
of education has taken place. We are teaching the language, we are teaching our pupils to see and
understand; to hear and understand. We are teaching them music.
As a teacher, I used to become frustrated at having seemingly taught a pupil something and then
finding that they could not then apply that same knowledge in a different context. For some
reason, effective learning had not taken place. In a good simultaneous learning lesson there must
be a good deal of dialogue the asking of searching questions designed to encourage pupils to
develop connections and think for themselves. Pupils must be encouraged to solve their own
problems. Teachers guide and direct. This is how progress is really made and it will allow pupils
to transfer knowledge and understanding much more readily.
So how might a simultaneous lesson unfold? There is an infinite variety of possibilities. You may
base the lesson on an unseen piece of sight-reading; you may base it on improvisation or
composition related to the piece being learnt. For now, let us assume we are dealing with a lowish
grade pianist who has prepared a C major scale and the be singing in lessons) then performing the
scale. The pupil is questioned: was it rhythmical? Was the tone even? Were there any technical
faults? Any remedial work to be suggested by the pupil. Getting pupils to take ownership of their
playing is essential if we are to produce independent musical thinkers.
Next, some very simple improvisation in C major free if you like, or perhaps based on a
melodic phrase from their piece (but keep the music out of sight!). Recalling the improvisation
discuss the range of dynamics used. Now try a second improvisation but making use of a
different or perhaps greater dynamic range. Discuss other interesting aspects of the improvisation.
Could it be improved? How? Perhaps a technical point may have emerged which can now be
explored through either more improvisation or some favourite exercise.
Next, move on to the piece but still keep the music book shut. Can the rhythm of the first few
bars be clapped? How much can actually be played from memory? Work at however much (or
little) is memorised. Any particular feature (be it melodic, rhythmic, a particular marking or
stylistic idea) can now be explored by talking about it and putting it into different contexts (still
the music is out of sight). Perhaps play a melodic fragment in different keys, exaggerate or alter a
marking, the variety of possibilities are only limited by the imagination.
Now finally open the music. Read the music through silently, in the head first, before playing it.
Try singing the right-hand line and playing the left. Then (assuming there is nothing the pupil
may really find difficult and again after silent reading) sight-read a further few bars. It doesnt
matter if the silent reading was not a hundred per cent accurate at this stage. The very fact of
trying will develop all sorts of musical skills. Again, talk about and work at the ingredients of the
new section. Never simply teach the piece. Now decide on what is to be the focus of the weeks
practice and talk about how practice is to be undertaken simultaneous learning should be
assimilated into practice just as it is in lessons. More work on C major perhaps it is to be played
at different dynamics or using particular rhythms found in the piece; beginning to think about
composing their own Allegretto in C (perhaps they might improvise different ideas or work on
the first few bars) and more work on their piece with as much memory work as possible.
Pupils should keep a practice notebook, noting down the various different ideas they had during
their sessions. Practice thus becomes a creative and imaginative experience not a half-hearted,
mindless twenty minutes that pupils would rather be spending doing something else! So, in such
a lesson (and its related practice sessions, which must be clearly connected in both spirit and
content) we have included technical work, aural, improvisation, rhythm, composition, scales,
memory work, sight-reading and the development of other aspects of musicianship. Music has
been at the heart of the activity throughout with the piece acting as the point of departure.
Once a teacher/pupil team embark on this kind of learning the horizons become increasingly
wider. The imagination of both parties is being accessed and that is where music really lives. A
music lesson should have very little to do with correcting mistakes, with showing pupils how
pieces go. Simultaneous learning is about making connections. Through teaching pupils to
make these connections, we are really developing their musical ability. It is certainly more of a
long-term approach and it will take a bit of courage, but the rewards will be considerable. We are
developing pupils musical independence, the likelihood of them giving up is diminished and we
are endowing them with a unique gift for life.
Paul Harris is a teacher, composer, writer, clarinettist, educationalist and examiner. The author
of over 250 publications including The Music Teachers Companion (ABRSM (Publishing)
Limited) and the Improve Your Sight-reading! series (Faber Music) and many works ranging from
short educational pieces to five concertos and a ballet.
Paul Harris