Rol ad RRA i i, Vlmeery« ASTA/NSER | 2000 Lisa]. THE DRIFT OF CONTEMPORARY TRENDS © Paul Rollaiid: The Teaching of Action in String Playing Movement Education and Rhythm Training ‘Technique Training Provides Substrate for Skill ‘Hastens ~ Habituation of Technical Skills Figure 12 CONTROL AND REGULATION OF VOLUNTARY MOVEMENT — 29‘CONTENTS: INTRODUCTION |... Misha See : ni Background (1) - Guidel ines for Using the Materials 4 CHAPTER YOUNG VIOLINISTS IN ACTION .... .... ‘The Urbana-Champaign Project Cass (6) - Narration ofthe Film (9) Tl, PART ONE: CONTROL AND REGULATION OF VOLUNTARY MOVEMENT: APPLICATION OF NEWER KNOWLEDGE TO VIOLIN PEDAGOGY by F. A. Hellebrandt, M.D... 10 Introduction (10) - Diagrams (14) PART TWO: PRINCIPLES OF MOVEMENT IN STRING PLAYING ......... 72230) Introduction (30) - Total Body Action (32) - Balance in Siring Playing (32) - Types of Bowing Movements (37) - Beginning and Ending of Movements (38) - Changing the Direction of Movements (39) - Nara of the Film (41) TH. RHYTHM TRAINING . : 43 ‘Acting on the Pulse (43) - Imitating Rhythm Petters (44). Acting on the Ress (4) - Acting withthe Rath ‘of the Melody (45) - Reading Rhythms (45) - Rhythm Games (47) - Narration ofthe Film (60) IV. ESTABLISHING THE VIOLIN HOLD . fone Seeal Introduction (61) - Placing the Instrument and Shaping the Left Hand (64) - ‘Tang (66) - Stance (68) ~The “Case Walk” (69) - The “Statue of Liberty" (70) - Balancing a Ball (Holding Game) (71) - Securing the Instrument (71) - The Sitting Position (75) - The “Shuttle” (75) - Left Arm Swinging (77) - “Tapping” (77) + Narration of the Film (78) > V. LEARNING TO HOLD THE BOW . a sFeeewnys E80) Introduction (80) ~ Preparing the Bow Hold (81) - The Early Bow Hold (82) - Holding the Bow with the Regular Bow Hold (83) - “Shadow Bowing” (85) - Holding the Violin and Bow Simultaneously (85) - “Roll the Arm" and “Rock the Bow" (86) - “Place and Lift” (87) - The First Bow Strokes (88) - Balancing the ‘Bow (88) - Nairation of the Film (88) PLAYING AT THE MIDDLE WITH SHORT STROKES ..... Shawne Fyre 90 Introduction (90) - Playing Short Strokes (91) - Playing Shon, Slrred Strokes on Two Strings (98) - Refining ‘Tone Beginnings--the “Rebound” (94) - Refining Tone Releases (95) - Narration of the Film (97) ‘Vil ESTABLISHING LEFT HAND AND FINGER PLACEMENT IN THE FIRST POSITION ...........98 Introduction (98) - Silent Prepération (100) - Placing the Fist, High Second, and Third Fingers (101) - The ‘Octave Game (102) ~ Percussion Play (102) - The Low Second Finger Placement (103) - Narration of the Film (104) /VIIL PRINCIPLES OF LEFT HAND AND FINGER ACTION ......, 105 Balance (105) - Elevation (107) - Thumb Placement (108) - Angle ofthe Fingers 110) - Fingertip Contact (111) ~ Contact of the Base of the First Finger (112) - Narration of the Film (113)IX. EXTENDING THE BOW STROKE i iar Seat taste oy Sew als ee tig “Flying Pizzicato” (115) - “Wandering” (Exploring All Parts of the Bow) (117) - Silent Bow ‘Transfer (118) ~Short Strokes with Lifted Bow Transfer (119) - the “Rebound” with Long Strokes-(120) - Long Strokes ‘Followed by Release (121) - Slurred ‘String Crossings at Various Parts of ‘the Bow (122) - Narration of the Film (122) i % DEVELOPING FINGER MOVEMENT ........ Fhacdaretarsa eevee vs 0st4e6$oi ieee 1A Using the Fourth Finger (124) - Vertical Finger Placement (125) - Horizontal Finger. Movement (127) - Finger ‘Movement across Strings (128) - Narration of the Film’(129) Xi, BASIC SHIFTING MOVEMENTS 6000.22... seeeeee cs cseee Py HSI gs 130. Review: The “Shuttle” (130) - The Octave Game with Harmonics and Other Fingerings (131) -.Long Silent Shifts (132) - Long Free Shifts with the, Bow (132) - Stepwise Shifts (133) - Incl ling Shifts in Melody Fragments (133) - Additional Shifting Studies (134) - Narration ofthe Film (135) XI BOUNCING THE Bow .... - Narration of the Film (140) ‘ee Aceent (Bite) and the Martlé Stroke (141) - The Martelé Staccato Stoke (142)- The Martelé and Martelé- Staccato with Longer Bows (143) - The Group Staccato (Stured Sticcato) (143) - Nanation ofthe Film (144) XII. MARTELE AND STACCATO... XIV. DEVELOPING FLEXIBILITY 0.0.00... 0l. he ceeeeecesene see M45 Sequential Action and Follow-Through (145) - Motion Cotinvity-the Bow Change (146)- Strengthening and Feting the Wrst and Fingers (Silent Bow Gymnastics) (147) - Continuous Short Strokes with Flexible Wrist and Fingers (145) -Plling and Pushing the Bow against Resistance (149) - Sting Crostings. (150). Narration of the Film (152) XV. FIRST STEPS IN VIBRATO TEACHING .......... ts Pie cod lls tents HED Preparatory Relaxation Studies (153) - “Tapping” (154) - The Finger Vibrato (155) 5-B Refine tone beginnings and releases, using the “Rebound” and follow-through UNIT ELEVEN 10-BS Practice string crossings with bouncing bows (Watch elbow level!) Make up your own Play short strokes followed by Lifted Bow Transfer; Improvise 3-RT Reading of Rhythms: Always act on the pulse and make silent motions during the rests, ‘Acting on subdivisions ‘See “Rhythm Games” (Chapter Three) UNIT TWELVE 9-FS Develop vertical finger movement O'Malley's Reel, Mayday Dance B-EX Practice the “Rebound,” predually increasing the length of the strokes Study long strokes followed by release Improvisation; scales and arpeggios; chords in ensemble; open string eccompaniments 11-F Play sequential actions with follow-through; Barcarolle accompaniments 10-BS Add bow to the collé to result in martelé stroke ‘Old MacDonald, Jingle Bells, March, Pop Goes the Weasel, O Dear, What Can the Matter Be, Skip to My Lou, Irritable Cuckoo, Coke Date, Peasant Dance, Gavotte, Jungle Dance, Fiddler's Blues, Pirate Song CHRONOLOGICAL GUIDE 189PART TWO PRINCIPLES OF MOVEMENT IN STRING PLAYING INTRODUCTION The following statements by Carl Flesch are among the earliest endorsements of body moveménts in string pedagogy. He emphasized the importance of correct movements in his teaching, as have his distinguished pupils ‘Szymon Goldberg, Louis Krasner, Henti Temianka, and Roman Totenberg, : ~, Me now come tothe most important of bodily hindrances, to the excessive, incorrect or entirely missing rhyth- ‘ie movements of the body... Their importance is due to the fact that their incorrect employ influenees, net 0 much technique; but the still moré important capacity for expression, in an unfavorable manner. If'we diac, gird the more ot less craftsman lke movements ofboth arms, the movements of the remainder ofthe body while Playing may be divided into movements ofthe head, of the upper, and of the lower body. Menement of the lower par of the body. This movement is carried out mainly by the legs these swing in a more or less noticeable arc inthe hip;joins, alternately to the left and to the ight... The upper part of the body uneanstainedly and effortlessly accompanies the movement, while the fet do not move from where they ac Standing. "regard this swaying movement in itself as the most favorable and natural bodily reaction upon the sen sations which animate us while playing? ‘The relative prolixty with which the carriage and the movements of ihe body have been considered in this chap- * ter is not only specifically meant to emphasize my opinion of the importance of this matter I s also meant Serve as an intentional reaction agnint the neglect ofthe subject by the teaching fraternity.” kn bs important study of 1952, Alexander, 2 well-known British speech teacher, described his experiments segarding the Coardinated functioning of the body and its pats in everyday actions~-walking, sitting, rising, using arma, pends ond tools. The following was his cardinal principle: {The unity of the human organism i indivisible... The parts ofthe human organism are knit 0 closely into a diy tha any attempt to make 2 fundamental change in the working ofa partis bound ta alter the use and adjust ‘ment of the whole.* 2 Interaction among the various parts of the body is discussed by outstanding specialists in human motion, for example: ‘When there is feulty adjustment atone joint, a mechanical readjustment is nécesstated elsewhere, resulting in an increase in muscular effort and strain.* oe gh Te Art of olin Play, Book Too: Arise Realization ond Isration, wan, FreetckH. Maint (New York: Con Faces, 1930), p92. e Wid. 0. 94, id. p. 96. Matas Alesanes, he Ue oft Se Corin Direction in Relat Diana, Feconng adhe Con of eacon ew York: EP. Dutton and Co. Ine., 1932), p. 45. “Tosephine Rathbone, Corrective Phsicl Education (Philadelphia: W. B, Saunders Co, 1949), p:9 30. CHAPTER TWO“The tenseness, awkivardness, and poor timing of a beginner performing & complex skill are due to a combination of Superfiuous movement, us of unnecessary muscles, and either excessive of insufficient applications of power.’ ‘The artist Gachers Henri Temianka and Francis ‘Tursi emphasize the importance of the correct use of the body: ‘Activity creates energy: motion produces flexibility. By contrasts immobility, when accompanied by the flexing of Jerain muscles fequired to hold the violin and bow, produces tensions ‘Therefore we must be on our guard constant: Jy to forestall immobility and its consequences. We must Kes ‘certain key joints, muscles, and limbs flexible and mov- ing? ote how our students (particularly the beginners) use their bodies. This use should sugges Sf we tal to do this, we invite increased difficulty of, perhaps, total falure ats lster stABS- As teachers we should n our course of procedu “observation assures vs that the student's direction ofthe use of his body is imperfect, then our first concern should be with its improvement. Frequertly, the improvement we seek does not ‘satisfactorily come about when we employ te aiona methods of instrumental pedagogy, for they aim ata specific feet in the belief that the mis-use of & particular part, such asthe finger, the wrist, oF the shoulder can be ‘corrected independently of the structure as a whole. Because posture is fundamental, we should begin with it. In 1952, it wis estimated that two out of three children aertied faulty body mechanics asa result oftheir fafure to accommodate 1 cect Poste. If posture is poor, breath- fag. which is so criteally important in performance, is certain tobe Poor also. [No effort was made inthe reseirch project control or influence the breathing of students. The assumption was that with rophasis on comfort and free movement, free and normal breathing ‘would take place naturally. ofthe player are obviously influenced by the manner of breathing: The indication is thatthe vy normal during playing will fare better then one whose breathing is WreBD/8% Disturbances Tote fight) or unexpected mistakes. When the player is tense and uncomfortable ‘The comfort and well-being player whose breathing is nea may be caused either by excitement he tends to hold his breath. Breathing tests of violinists conducted by Szende and Nemessut' reves! the following findings: i far more often during up-bows than dovin-bows. In the Szende-Nemessur tests 85.7% of. 1. Expert players inbal + Jung the up-bow.) This is one ofthe factors io the relative lightness ofthe up-bow. the inbalations occur 2; Approximately four out of five ihalations take place adjacent to bow changes, either atthe tip or frog. 45, Raising the arm and inbaling are complementary, while Towering the am antagonistic to inhalation, Accented ree exhalation complement one another, exhelaton may distur legato Playing ‘4. Since the left arm in violin playing is relatively quiet, the rhythm of breathing is influenced more by the move- ‘ments of the bow arm. “LE Morehouse and J. M. Cooper, Kinesiology (S- Louis: C. V. Mosby Cou 1950) p-212, “Henel Teouua, “Bowing Techniques: The Isionenialist 21, No.0 (March, 1967) P74 Haein, "excresve Tense n Song Perfomance” American tring Teacher: 5 No. (al, 959) P canna aod Maly Namessui The Phyilogy of Wolm Pleing Stipe: Akad Kind and Cols Limited, 1971), pp. 121 (éistbuted by American String Teachers Association. PRINCIPLES OF MOVEMENT IN STRING PLAYING 31.TOTAL BODY ACTION [tis insufficient to look at bowing as a mechenical-physiological problem ofthe bowing arm only. The needs of a highly perfected violin technique require that bio-mechanical functions of the entire body be mseluded, the older concept ofthe arm performing the bowing 1s being replaced now by the concept ofthe body performing Fh function. It ems to us more useful not to think any more in terms of a “right” and “left” hand technique but rather of an “entire body” technique.’ ‘The importance of considering the whole body in the performance of inusical or physical skills cannot be overemphia- sized. In contrast, conventional string teaching is usualy limited to the isolated movements of the fingers, hends ced arr Without much concer forthe attitude ofthe body as a whole. TOTAL BODY ACTION, including the fine, alnece tndetectable movements of the body which occur when the player is well-balanced and relaxed, often escapes aventon: Sustazed immobility in any pat of the body results in STATIC TENSIONS, which hamper natural movetnents and coo. dination and cause feeling of discomfort. Such tensions frequently occur in the areas of which the player is not em, scious—the ankles, knees, waist, shoulders, and neck. These tensions, if allowed to become sel, tend ta fect negatively the playing actions of the arms, hands, and fingers. : Perhaps the worst of these tensions is the “Yretze” ofthe left arm and shoulder, traceable tothe traditional practice of earictng the lft arm of the beginner to the frst position. The lack of left arm movement resulting from this proich is the primary cause of this problem, which delays the development of shifting and vibrato skill: In Project, the trrmobility of the left arm is avoided from the start The low, middle, and high position ofthe fingerboard are cepared through simple shifting exercises using left hand pizzicato and harmonics. ‘Similarly, the cure for excessive muscle tension in all pars of the body isthe introduction of slight motions ino te areas nor direetly involved in playing. Slight body movements, introduced by shifting weight, eliminate static tensions ead alow the Player to maintain natural body balance, When al parts ofthe body are free to move, the player (at any level Acquires smoother bowing and shifting skills, gains endurance, and experiences a fesling of ease and comfort, BALANCE IN STRING PLAYING? PRINCIPLES OF BALANCE AND LEVERAGE, Balanced objects can be moved with minimum effort. Even a small child can easily move heavy objects which are balanced. In string playing, as well as in work and sports, good lever- age facilitates action It 1s fallacious to overemphasize the work of the fingers and hand. While they are important, they are never used independently but are coordinated with the larger motions of the entire arm and even the body. When the body and the arms are brought into a balanced relationship, they will function inore effi- ciently. The same is true when the body and its parts are brought into a balanced relationship with tools or instruments. Throwing a ball, ‘swinging a golf club, or playing 2 string instrument can be done more skillfully and efficiently when there is internal balance within parts of the body and external balance between the body, its parts, ind the instruments played or handled. ore 25 GK Peauer, “Biomechanics, A New Approach o Mul Education," Journal ofthe Franliniatinte, 254, No (1952, 296) See also Frederick F, Polnauer and Morton Markt, Senso-Motor Suudy and its Application to. Violin Playing (Uvbase li ‘American String Teachere Association, 1964) : “istic i tated eecuvely by Percival Hodgson in Moron Study nd Voln Bowing (Urban, ti: American Sting Teaches (sociation, 1958), pp. 89 frst published in 1934, and by Kat6 Havas in A New Approcch to olin Plovng (hasten Benoa £. £0 Lu 1961), pp. 14-17, and in The Twelve Les:on Course m a New Approach to Valin Playing Londen: Boater, on Ltd., 1964), pp. 1-9. 32 CHAPTER TWO.Good leverage helps to move objects with litle effort. ‘The greater the distance between the fulcrum and the { application of power, the better the leverage and the easier the werk, Good leverage = ease of work ‘ESTABLISHING BODY BALANCE ‘The mechanical maladjustment, resulting from foot imbalance or reaction to pressure, is felt m the body above.’ ‘Static tensions are less likely to occur within a well-balanced body. When the body's natural balance is disturbed, ten- ‘sions will appear. Good body balance is based on a correct stance. According o the physiologist Hellebrangt, “When the feet are togeth- cr the stance is unsettled. Tarming the toes out fo an angle of 45° or separating the feet... fieadies the stance” The Project advocates this recommended “V" postion of the feet and slight space between the heels (varying from about ‘two to ten inches according to the height and agility of the player). Hellebrandt has observed that standing is actually movement on a stationary base and that “postural sway is insep~ rable from the upright stance of man.” In the Project, this natural sway is encouraged to promote relaxation, In Standing position, the body weight rests on both feet but not in a static manner. During playing, the student is Encouraged to allow the weight to shift from one foot to the other, which relieves tension and aids bowing move~ Sronts, If the student is relaxed and well-balanced, the weight transfer will occur instinctively. Its absence isa sign af stiffness, which can be alleviated by slight flexion in the knees and through the “Action Studies” described in Chapter Nine. The larger share of the weight rests on the left foot much of the time in order to give greater mob), tty to the right arm, However, the weight is approximately the same on both feet when playing atthe frog with he wo arms close to the body. ‘As mentioned above, Carl Flesch was concerned with the teaching of body balance. In addition, he recognized the relationship between the direction of the weight shift and the speed end direction of the bow stroke. Correction of bodily stifiness. During my teaching activity I have quite often had an opportunity of obsery- ing cases ofthis kind... begin with gymnastic exercises without the violin, swaying movements ofthe hips, far extended to either side, When the attempt is then made to continue them while playing, an out and out grotesque helplessness at first reveals itself. I advise that spun tones be played in the beginning, letting the ody accompany the movements of the bow inthe same direction... It is worthwhile knowing that the direc- thon in which the body sways is dependent upon the duration of the bow stroke. Accelerated bow-strokes tnotive [sic] an oscillation of the body contrary to the direction of the stroke, because the necessary shorten ing ofthe stroke is furthered thereby. Inthe case of long-sustained tones, however, the stroke would be need: lessly shortened by this procedure; and therefore the body, in such a case, instinctively moves with the bow.’ "Rathbone, p,9. 2 Frances A. Fellebrandt and Elizabeth Brogden Franscen, “Physiological Study of the Vericl Stance of Man," Physiclogical Revters 23 (1943), 725-26. “Ibid, p. 227 ‘Flesch, pp. 94-95, PRINCIPLES OF MOVEMENT IN STRING PLAYING 33In the Project, the weight shift is introduced with a simple exercise, the “Flying Pizzicato,"' in which the movement of the body is bilateral (in the opposite direction to the bow stroke). Bilateral movements benefit strokes of fast or medium speed. Polnauer recommended bilateral movements‘exclusively.* However, as observed by Flesch, itis advantageoiss in long, slow bow strokes to use unilateral movements (body and bow moving in the same direction). However, even in these, the shifting of body weight slightly anticipates the new stroke an instant before the bow change. A = n = : - S. ” 2 a bf = q Bilateral movements 1m both bilateral and unilateral movements, the player should anticipate the.change of direction by leaning very sligh- ly (with the head and left shoulder from a flexible waist) to the left or right in starting the new stroke, Unilateral movements - In the sitting position, the body weight is supported by the feet as well as the chair. However, weight shifting sill occurs in a similar fashion between the left and right feet and ischia (lowest parts of the hip bones). In the sitting post- tion, greater flexibility in the waist substitutes for the more passive role of the legs. In double bass playing, even greater body mobility is required because of the extensive movements of the left arm and because of the necessity of partially counterbalancing the weight of the instrument. BALANCE IN THE VIOLIN HOLD Balanced support, not a vise-like grip, is the most efficient way to hold the violin and viola. A static grip of the instru- ment should be avoided. The head should be allowed to move. slightly during playing. Much of the instrument's weight is supported at the chin rest, the left arm providing some support under the neck of the instrument, thus all. visting considerable tension in the shoulder area. The development of good instrument support is explained in the research project film and Chapter Four, “Establishing the Violin Hold.” BALANCE IN THE BOW ARM Ideally, the instrument, arm, and bow are in a balanced relationship. The weight of the bow rests on the string and on the right thumb. The weight ofthe arm is released through the bow in varying degrees into the string, which supports the weight of the bow and the released weight of the arm. The arm is not held stifly but is allowed to gravitate or rise av all times. This change of level, substantial in string crossings, should also be present to a lesser degree when the bow remains on one string, The sensitively balanced and constantly moving upper arm helps to keep the shoulder joint flexible. The right arm and bow may be visualized as a teeter-iotter whose fulerum is the string and whose opposite ends are the elbow and the bow tip. ‘See Chapter Nine, Action I, page 115. ‘Poinauer, “Biomechanics.” and Polnaver and Marks, Senso-Motor Study 44.” CHAPTER TWO.BALANCE IN BOW PRESSURE ‘To produce a beautifal string tone at all dynamic levels and with varied tone color the player must be aware of the qaarelationships of bow pressure, bow speed, and contact point. Near the bridge the sting offers the greatest resist- sete the bow, neat the fingerboard te string is the weakest, Consequently, greater friction (bot pressure) or slow- er bow speed are needed near the bridge; Jess frietion or faster bow movements are required farther from the bridge, ‘Avie string contact, the actual pressure measurements are rather small: the sel weight of the violin bow is only an vo onnces,tand this weight i sufficient to produce an average mf volume when used Un the vicinity of the bal- ance point, However, a the tip the seif-weight ofthe bow dwindles to less than an ounce. 79 make up the loss of about anes Mince of pressure the player must apply approximately two pounds of weight at the Up” ‘At the frog, the released self-weight of the bow is as much as a-half pound and must usually be reduced. In view of ire bove data, itis evident that the player must reduce or increase the sef-weight of the Pow uring the stroke at all tre a even within the seme dynamic level (more substantially im dynamic changes), To do this with ease, he should use efficient leverages. “The typical suggestion to press the first Finger down for a bigger sound is il-advised, as it tends to localize the pres- se Ope hand and short-circuit the forces of tone production. A much better way to produce needed bow pressure BG stieace part of the natural weight ofthe arm into the string through the bow while ting the thumb and fingers ve dely resist the collapse of the bow hold. The thumb, of cours, most support the bow bpw ar ‘and since the thumb is part ofthe bow arm, the right arm must simultaneously offer upward suppor the ‘bow while releasing arm weight downward into the string, Such action is possible only through rotary movement, ‘The principle of using rotary movement for tone production was fist sdyocated in U6t7 by F. A. Steinhausen." He vTeacprmed the wrist movement as ured by the Joachim school as an inferior motion which should be replaced by the fotury movements of the forearm. He called forthe inward and outward rotation ofthe forcary (pronation and supina- Manto increase and decrease bow pressure, Ths, bow pressure is decreased witha clockwise roury arm movement (supination) and not merely by pressing the weak litle finger on the bow Hoviever, Steinhausen did not recognize the advantage of using the rotary movement ofthe upper afm for tone Be Boer swore powerful and more relisble movement. The slight inward and outward rotations of He upper Stteetively support the pronation-supination movements of the forearm, resulting in beter leverage ‘and greater free- dom of the arm. -To summarié in producing needed bow pressure, the fingers are not the chief source but are merely conveyor of the pressure which comes from the controlled release of arm weight into the string. However, finger pressure is used for vances, accents, and general refinements of tone. | Viola bow, approximately 2-1/5 02; cello bow, epprox. 3 02; bass bow, approx. 4 02 ne onal information, see “Bow Pressure” by Paul Roland, The Instrumentals, 18 No.2 (1963) 80-$2- CELA, Steinhansen, Die Physiologie der Bogenfthrang, Sth ed (Leipzig: Breithopf und Harel, 1928) PRINCIPLES OF MOVEMENT IN STRING PLAYING = 38BALANCE IN REPETITIOUS MOVEMENTS Cycle series resemble circular motion in that cycles have no definite beginning except the frst one, and have no definite end-point except the last one.! Repetiious movements ar frequeot and important in string playing, Détaché, spiccato, save, and iremolo bovings are repetitious actions, as are the vibrato and the trill, Since these movements often occur in long passages of music ‘they can become tiring, causing stiffness and breakdowns when posrly done, ‘Tiete problems are often caused by overstimulated action. The mental image of fast notes tends to cause anxiety nd Stiffness; simultaneous action impulses are sent to the opposing muscles, causing tension or even complete bindivy of movement. ; ‘The realization that a group of two notes may be played with only one action impulse bas a surprisingly good effect ‘on the technique, Motion experiments with tapping can dramatize this principle. ‘The click board ‘Tap with a stick or pencil at A, producing the rhythm: ANNAN At point B, the rhythm: can be produced with the same effort However, when the player begivs the xpérment By tapping ihe sheen notes at B, he tends to use much more efor. The sume is tue in veion ing of repetitious bowings. Détaché, spiceato, sautillé, and tremolo can be produced by letting the em and enn oo back without a superfluous action implse on the return bow. When done in this manor, the movement's les thing, ‘and if done with balanced arim movement the tones produced will sound even Balanced arm movements resemble the aétion of a teeter-iotter whose imaginary fulcrum is between the elbow and wrist When slight upper arm rotary movements are combined with the flexion-extension of the forearm or hand, bal anced movement ensues: the elbow and hand move ih opposite directions, making the action more relaxed. With the bow placed on the string at the middle, the player can visualize a longer teeter-totter whose opposite ends are the elbow and the tip of the bow and whose fulcrum is the string. r The use of balanced arm movements in vibrato greatly aids relaxation and. increases stamina, The back and forth movements of the hand and forearm may be balanced by very small, almost invisible, rotary movements of the upper arm, Consequently, the elbow moves very slightly in and out The rotary movements ofthe upper arm aré easily observed when'a light sick is festened ata right angle to the upper farm just above the elbow. The experiment dramatizes the presence ofthese movements in balanced bowing and vibe, 'Szende and Nemessuri p. 16. 36 CHAPTER TWO. Sean nan nnnMOVEMENT IN STRING PLAYING ‘As Related to Violin Hold, Bowing, Shifting, and Vibrato ‘This posthumously published article was written and copyrighted by Paul Rolland in 1978. Its inclusion i this book vas brought about by Paul's commento me-~-that he believed this article best expresses some of his most important and oom prehensive ideas on “movement inthe teaching of the various technical skill n string playing.” Clara Rolland Urbana, 1985 214 APPENDIX CAppendix D MOVEMENT IN STRING PLAYING AS RELATED TO VIOLIN HOLD, BOWING, SHIFTING AND VIBRATO ‘Why Bother with Movement? 1, The importance of moveren wil become obvious to us if we consider that ‘one ona string instrument can be produced only through movement. Today there is an increased concem over this important part of string pedagogy. 2, ‘Two aspects of movement should be considered in string teaching: 2) Physiological _b) Physical ‘The first aspect-relates to the various funetions of the body while playing: balance, synergy of movements, types of movernents (swinging, sustained passive, active movements), tension, excessive tension, static tension, and relaxation ‘The second aspect relates to physical properties of movement, such as the speed, weight of the moving arm and bows starting, accelerating, decelerating, changing direction, and stopping. The role of gravity, mertia, and momentum should te considered in diagnosing problems and faults in playing actions The physical aspect should also include the acoust- cal properties of the string and bow, the quality of movement, and contact between string and hair, and finger and sing (CONSIDERATION OF MOVEMENT IN THE TEACHING OF THE VARIOUS TECHNICAL SKILLS ‘When we lift our fork to our mouth, our attention 1s on the food, its taste, smel, and texture. We chew it enjoy st, and swal- Jow it, vathout paying attention to the lifting actions ofthe arm, the holding ofthe fork, or the chewing and the skiliful move spent of our tongue. This is how siled performance should be: goal-orented and unaware ofthe details. However, when we try to cat with chop sticks ia a Chinese restaurant without previous mastery ofthe technique, we are clumsy and aware of our shortcomings. So itis wit instrumental performance; eventually, we should attain the blisful state of non-concem with teh: foal details, but until the needed skills are acquired it helps to know how itis dane, and we must also practice, Action must progress from the deliberate arid conscious to a subconscious level. Our movements, first conscious and deliberate, eventl- Ty imust become automatic and of no concem, as when we drive a bieyele or our car. ‘Teaching and leaming occur in two channels: Developmental and Remedial, New skills and knowledge should be intouced, and impressions already gained must be deepened and constanily refined. Of the two channels the fist one is always more popular with the student, and te teacher must be on guard not o be cared away by too fast progres without real substance End quality. A striking example inthis respect i the teaching of Suzuki, wit his insistence on constant review and refinement Remedial work should always be present in teaching along with developmental work. The proportion ofthe two should depend on the quality ofthe students) playing. I the student has habituated faulty postural and motion pattems, retraining may be slow and unpleasant, yet necessarj, Old habits and reflexes must be replaced with new motion patterns, This can be best done ‘vith through ideation with te desired action, and through practicing similar actions without the instrument vo a8 10 avoid the temptation of repetition of old but falty reflex patterns.” In developmental as well as remedial work, an awareness of the self in feeling and visualizing the efficient movement, will help to develop a good technique, tone, and style, ‘sce “Remedial Teaching”; Chapter 17, The Teaching of Action in String Playin. MOVEMENT IN STRING PLAYING 215,MOVEMENT AND VIOLIN SUPPORT ‘A fixed and restricted violin hold causes static tension in the neck and shoulder area; this tends to spread into the arms ‘and fingers, hampering their free movement. The violin or viola should be balanced rather than held rigidly. The support is adjnamic one, im which six possible contacts with the instrument (collarbone, chin, thumb, side of the first finger, fin- zgertips, mside of wrist) constantly exchange and fluctuate their support, never straining or fixing any one. To hold up the left arm (even without the instrument) in a relatively still position for an extended time, great strength is needed. The stu- ‘dent should be trained to support the weight of the arm and violin in an alert and dynamically live attitade, involving the legs (which constantly shift weight slightly), the diaphragm, and back muscles. The localization of support to the shoul- der girdle and concomitant raising of the shoulder should be avoided. ‘The selection of a suitable chinrest is important: it shouldbe of proper height (measure the distance between the coll ‘bone and the center of the jawbone for the approximate distance to be filled), and have a gently curved ridge with the-rest sloping down toward the top of the violin. The downward slope causes a suction of the instrument toward the neck (which is desirable), while a forward rising rest causes forward slipping when chin pressure is applied, and makes the violin tend to get away, particulary in descending shifts. ‘A cushion—preferably a flexible type—may be used to improve the poor platform provided for the instrument by nature. ‘The cushion is mostly used to provide needed tilt to the instrument rather than for the strong fixation of the instrument with excessive force between shoulder (or collarbone) and chin. This is in ling with the principle that static tension (con- stant holding) is undesirable wherever it occurs in the body. Learning good violin support isa long range project, as it has ‘postural implications which in many cases can be faulty even without the added task of instrument suppor. As in sports ‘and dance, the student can be greatly aided with images, perhaps more so than by receiving specific and detailed instruc- tions which can be restricting or exaggerated. For instance, the image of the “Sunworshipper” with raised arms, or the “Statue of Liberty” help convey the feeling that “everything rises in the front and gravitates in the back.” Imitation of the ever-ready stance of the "boxer" can help overcome stiff knees and lazy back and abdominal muscles. The “Case Walk” practiced by the children in the University of Ilinois Project helped to bring about healthy postures and strong arms. “Your left side is a weight lifter and your right side a dancer” puts strength and lightness where they belong. “Balancing a ball” ‘on the strings (later thé bow at the balance point) promotes horizontal string level. Pivot the violin at the base of the neck (with the left hand in the 4th position resting against the rib ofthe violin), then “wave the flag"-swinging the violin with the left arm while transferring its weight through the violin against the base of the neck. This helps eliminate left shoul- der tension and a stiff upper arm. “Embrace and slowly lift a big log” eliminates slouching as does the "Case Walk"; after practicing these for a half minute or so, the weight of the violin feels very light, which it really is (approx. one Ib. or 1/2 kilo). By transferring the weight into the large muscles of the body, the thumb, wrist, and fingers become free to move ‘and manipulate, instead of clutching the violin neck stiffly. Static tension in the thumb, wrist, and fingers can be elimi- nated by movement. ‘The aétion games described, and others that can be improvised, will help:to develop flexible and dynamic instrument sup- port and dissolve excessive tensions associated with the common and crippling WES pu au au ‘Also use name and word rhythms MOVEMENT IN STRING PLAYING — 225