40 CHAPTER 2 Tuning, Range, and Timbre ‘Violinist, vilits, celts, and eeoustle bass players all woik had to be anlaists: The ‘repertoire dhoyatudy isdemarsng The standardusot by composers andplayerslevebecr rising seu for hundreds of years. Many hooks ave aveilale with rick documentation bout the enoeacus Yerlty of sounds that stings can make. This book snteaded to give ‘out basiounderstancingof whats posible on sringinstrumonte witha particulsrfocu on the new tchniques that have come inte common tage in the ns twenty Yous ‘Many of these weehniques reference deren parssofUielnstrument, Instruments inthe orchestral ting fasmy share similar proportions in aon to having many of the sone component parts. violins showen in igure 2.1, Cellos and basses generally have bigger hips no chin res, and arene pin that pulls ous the instrument can be supported on she oo: Bows pet thicker an server asthe situnenss xe bigee FRONT VIEW SIDE VIEW sow Dow te Nea bale — Bre End in — h Fo (Cato ra Bass ony) ‘Adjsivert Screw FG. 24. Pats ct.a Sting lcrumert. Vin chown,2 2 se “smananc on somss ions seid ue ble ee. FG, £2. Visn Open tgs ‘iotis havea vast upper ange It isbest o keep the technically challenging passages to within dee o: four leer ines Dut for yal melodiesend effects ke emolo(seechapter 4 °Standar Techniques" hoe is ploy of headroom, Thohighortnote you can weeeweh somtorably on thowtalia the Rew octane aon ‘he open E string. Notes i this may baer lines are ften writen anocteve lowe accom panied bythe Fn symbol fo ndcnte thn the note is played an octave higher than writen £ te st FG.2.. High € on Vitin ‘his melody wil give you an idea arthesound and range of he vtin oe SSS HE.24 iin ogy Viola Violas ave the unsung heroes of te siting section. Their wonderful, chocolatey sound Is what fest attracted me w the sic farly. Tele range is neady tacked Ia between ‘i glittering vokns atid the moody callos. Vilar ean offer rch support tor the msledy and accompaniment. The unique timbre of the ibis can be & welcome alternative 0 the onnlpresen! sound ofthe villa, iit read mosty ato (or “vale cletin which middle Cis the msde lino. Thoy alco read table ele and some can eal haus caf Rea good Mea to change elafwhen there ate more than four keer nes Rg FiG.25, Vista Open Stings‘red 2 ng, pos an inbr Reton) ‘Thelighest note you can woik with eomftably on the violas A two ectavesabore dhe open A steng. Here ane ways ete the sme note, FIG.2.5, Vila High A, Theos Ways ee that same metody ftom audio wack 9 (figure 24) transposed to give you an ee oO of the sound and range ofthe vs: ia — = BLOT I.2.7. Vela Melody Violoncello (Cello) in il oi, Tein ce mem oar ort he ns beastie they take ip mors sonic space oe chapter 8, “The Sting Seetio') Yet they are st dexter enough to play biliane, vituose paseages (Celis read pokarly base: They also read tenor els whe le isthe second Digest tie aunt webie cle ord oul i aces lS FE, 28, Calo Open Sings TheIughest note you can work with comfortably on the elo A two etaves above dhe ‘open A sing may be writen in fur diferent way, including both treble nd tenorelels FIG, 29, Calo Hig A, Four Ways‘GUPER 2 ung. args an Tin RabsX) Bassiss can go much higher dhan dls with harmonles as well a sound somewhat thin aid dosnt project wel Her, again, ix that melecy transposed for and played on the base Agni sounds on Q rciecinien cal pees The = “pte ——— 2 eS 1.28. eas Hey ‘ese ae tunings anc notetion for pen stings on stander insteumenss Many variations ofthe andar four stsng aeons nstrument are staring become populae in non classical ones. Five- sn. sixtring instruments are becoming more prevalent. The extra strings give the instrument more resonance, ice ade reverb At the ‘moment, the tve-string Molin seems 0 be the most common variation. A CString aes, ‘901 ely tnt in tae Tce ae a0 ls as (wee) “F below the vila °C") Five and sic string ellos ao alo coming into fashion, Some prefer acd higher E sung, Sow prefer the extra F bei Sone get a sisisng stu ‘ment and dabott, Tce ie slo awonierfl cretion called an “octavo “baritone vikin,” lcs cuned de seine as four string viola butsounudsone octave lower: Companies that ‘manuaotan otiaga hve begun developing tinge thot aan he wed an standard wiline ‘drop the plch an ociave Aduing strings to Instruments fs cit more prevaleat Inthe nou-orchesral elect: Instrument world. Electric basses have had five arte tings for many decades, Rested ing the tverite, Maker sven fets inthe ease of Mark Wood! other eke instrument for many yeas Fora more ‘xcenslve list ofthe available brands of siecle sang instruments, check out the Eleceie Vion Shop andthe Long sara Violin shop. you work with someone who hes more than four stings on theicinsrucnent itwoulk lhe well worth C1 ask how they would ike tele music notated: Many vests Who havea low € dost wad viola cl and would peforaweble pat with ce Bb notation Jor the lv ‘ring Likewise, clists with an exra high string might prefer reble ele for these upper ting ineteumene wim more than four sting quickly bee RANGE ‘The low notes porsible on standaid instruments can change with the use af an octave pedal. Many players who use electric fastmimants Inlad that pedal in thelr rack. Or you ean add t yourself inthe bos” dung the edleug/nisng process, The eo (bowed) sound on the low bass notes adds powerful gel. Any seing instrument ean be Yous ase ayer with these ofpecals. There wil nemare discussion of thisin chapters Recording snd Sound Reingescoment”1% snnunine so ‘ns wae, the electric tve-stsing voit is playing de bass part with an octave pea “The pass item in bass cle, sues DE Tretate te FIG, 2.4. Too Few Views" Base Line Thigh notes lited foreach nstrumentare only partel the picture Harmonies go even higher. (See chapters, “Standard Techniques”) TIMBRE White is tre thats ofeach port ofthat range. The low stings of any inctrumenst gensnaly haves eelatvely rch, das tone, he ews fon the bass, ceo and vio speak moce skal than thase on the violin, The law egister is better for adng depth ane power and enhaneingbass lines. The midrange fall the inst ‘ments conesponds inst closely to the ple of spoken language. Ifyou ate welling string parte behind a vocal, be sure to hoop that in mind so they dont compete lar attention. The ‘igh stings om alle instruments espectaly tie Voln, cut dough the soale pale Ts ranges teat fox empliasis or high points of pases. Slag istruments are designed tebe played in Lt position ie, withthe left hand as Farstom the brkige as possible (ae gare 22), Talis thes to resonate ss mech as possible for cach pitch You can get many mote colors and textures by asking your players to playin bighor postions, with ho Toft hand closer to the bridge. You can hear thie soxind in many ston pleees Tors the tte nineteenth and early twentieth centuries Many ‘composers fon his pera sich as Brahms Wena and Saasare wok advantage othe troty quality ofthe violin playing high on the Going. The great vitwoso Jaceha Hele uted that woud in many of hs encore pices, Nkool6 Pagani, another ane of the grestes violins ofall ime, use pl his program so {he est piece ol Le played ll othe G sing, Hee! sin ents by connecting razor blado otha frog 9 hie bow s tha be could et tho stings ave by one. White the andiencesssursed she strings breaking wasanaccisent, Paganini would continte jen ovo, hen only one suing ess, jst ag he ied paced. Q siteoiene ere isa melody played on the violin all in fret position using thre ifferent tings sao ob Sy =e - a= ‘i = yh + f FIG. 245 Wing Street Tango" en Thves Stings have huge range, ts important o understand de charaeter IHUPTED Eng, rae, Tibre Raton) 1" Fete isan ample ofthe same melody payed al othe G sting, Nock the doar tone. Also notice the notation sul Cand loo (meaning “in place.” caneelling any previous instruction] to indicate how long the C sting soction is be a ee a $e = FG. 216. "king Steet Tengo" SUG (ofcourse playershaveto py in higher positionsto get the higher notes onthe op string ean instruments range: Playing in hier posilons ean also be used wo make Engering ‘easier Sting players ec alvays juggling hetvcen sig into highex postions end eossing strings. Each of these options presents unique sonic isues Shifting can make the passege mae tecnieaty challenging, and playing i higher postion wll cu the rictest pace resonance. Ou the other hand, crosslag strings makes i ore dllul to pay @ smoot, ‘ore vocal line. Unless you are looking fora particular timbre—for example, the husky que found hgh on the olin G tring—it a hest 0 et yur players woncout thelr ating {string erssing preperions Unlike the higher posions on the ote strings he noteson the E string ofthe violin tend to cut through cletely The A strings on th cello and ola so eu theough beter than the lowerstrings ut hecaise they arin the vocal range, they-can easily be covered up. Be ‘oxeful of your orchestration wben wrth melodies for vole an! ella, ugvotswesloel beau ay live ye cents Tigh cir wie open voiengs all work. [tenn he ssf to think of your strings ae if they wre x chore Soprano, Alt, Tenor Bass Violin |, Violin 2 Viol, Clo Bass. The bend is ust as good ith fit of rings a with #fernly of voices Well take closer look at the ceils of twicingin chapters, “The String Socion.” Large Interval Skips Large imervas an be preblematie for sng pavers ners Bauer shan an octave for vena sth, in same pasages) may ee somo ficult tring rssingy—emovng from ne string wo the net Sting crossings require some practice to execute smooth witht 4 salen ecco sini yi Tae “Piso D9, Dah’s Aiea Nv. én E Majors a wonderol example of riliety writin sting comsngs Interval that oquie ‘crossing ove more than one stingarecifewtt excite smooth‘0 mason ronstimss STRING RANGE QUICK REFERENCE Here isa quick selene or the comfortable ranges of bowed string inscuments i eek sa ta ving tp dae eh eles posted deamaie 5 dark ren meas, wen 245 ede tae ie) poverfcomen FG. 247, Sting Instrument RangesCHAPTER 3 Basic Bowings and Articulations BOWING Bowing string instruments and notaiing that bowing is «complex language, beet lt 0 the pracitoners. It isan esoteric dialect undestcod ony by these who have access tc the inside knowledge handed down by generations of insiders, Ard even those ia the know otten disagree on the best steaegy for bowing, Litlerent ensembles sometiones use different bawings for the same pieces Bach concuctor may have diffevene eas bowing The symbols used in general musical notation mean diffrent thinge when they are riven for diferent famies of instruments. Far example, classealy trained string player Wal msuine dak every nee tnd ve wa eve FI SHEL MERE ME L.A el sicaliy rained brass player wil assume that every note should be played without vibrato. slur «wind player macs Una eerying wader the shris one pase one breath Bt means something dilarent 0 astsing player (oe fgue 5.1). The optimal situation i for e composer to work with ps comcocenata to get the decrod With oan character Give your concertmaster seme se about Nhiar You want each passage o express Singing che pirae cam help in determining the sound you wert. Tbe. latent the various waya there are fo achieve that sound. pal player (ex, your Slurs “Tosewind play, the surin guro 3.1 moans that the fou bars are ono long phrase ard stl be payed in ome beat Teva izing payer that same slur means that eveything under thesur should be played wth the bow going in one direction.saan sor stam Unless dhe tempo fr this is very fast would be apostle wo play this passage ld thee gong in only ane dseetion. The bow just lntlong enough, Using halepin dans ‘sl be much more fective. Think about the highpuiat of che pase ox use dymamies 0 shape Racaute string players work ard to mtketheleovw changes sind smooth, this passage Will have exato sound. HIG1.2 Store ana Dynamics you want your sing players 1 pheesowith another section, say the ham players, then: pot broath mans inthe string parts to indicate where th phrases end ‘The staceato mer |.) means thatthe now is played shor: half is written value: Use ‘is noon to get ve soul dt the sung ve i ae Beate Ui “Ble Rhy aon (Coldplay “Viva La Vis" FIG, 33, stacesto Wind playor sell be cael to make a clear ending on each of these three notes. The tacener wil easly hea the space in hetonen each note [ost elasscaly tl string players nil play this now at half is watt value, but ‘hey wil ft cer bows graceilly a the end of each note and Keep the vibrato going 50 that eventhough the bow is aot on the sting, the lstrimear will eontinue ta resonate, A ‘mentioned in chapter |, "String Player Perspectives,” the general goal n classical music for sirng payer iso obfuscate he end of each note and keep te insnument ringing a9 lon ‘8 possible. So,a passage ik thisplayed by sting will nat have tho same cep punctuation "ht it would have fit wore played by sa 9 bres sacion, xl pot be way to get your string players to play this passage: the way your wind layers will—with absolute silence between each ote You might ty acing the Following AF FIG. 28, Staccato, Non Vibitocouren: Benge and Aten abn a ‘hes you might ask hem to keep ele bows om Ue stag to male avery esp ending “Those two insteuetions are fa rom standard Vester easscal procedure. So be patient ith your players they asst that. is 4 wondered sound to sve fr ‘Some arangets and composers write eghth notes fllowed by eighth-note ws tind ate the desied silence between the notes However this appivach becomes mone curnber- some visually (expecially at smaller note shies) andi best avoid omit vid how ve esting E E z : Oe = Ge z FG.25, seca, No ib. No Votaow en Sire ‘The thitd version, tack 16, is played esotated whhout iby nd with a textdleeton to keen the bow on the sting ta make very les, crisp ending To exch note. There no ‘standaid notation synbol for that sound Inequlzes conversation. Down-Bows vs. Up-Bows ‘A down bow (r) ise bow dian from frog to tip. The ap-tots from tip w frog. Typically, the down-bow makes a more povvertul sound than the up-bow because the weight of the frog ads to the pressure on the string, It used fer accents and to emphasize the dowrbeat Arranging your music 99 that the stcng players make hits with down-bows Will peatly enhance the power of those his. If na bowing marked, plagers wl assume alter bows: down-bow aban te Using several dow-boms ina raw emis an aggressive sound, Stravinsky used dwn: bow saczato notes fn The Ri of Spring ine section called “The Ags of Spring, Dances ofthe Yourg Gil” Tie i tho wound that Borer Hetrmann wed inthe tering seene In Poo that isso often quoted. Thee are unforgettable moen's that have often been ‘quoted an mite, FI. 25, Stacesto and Down BowsUp-boms (ate the wppostee—the Vint the down-Lew Vang. Ofcourse, good players work hisd to make ther equal ao letenee cant ear the alffrence berween denen bows ‘alps Bu erated tendency for down bows tobe more power han po Heres the sume passage played ith up-bows or esis FIG2.7. Strato, Up-Bows Tenuto TMenextmost common symbols thetenio ma (Teta comes trom the Nalian wort tucuning “bok” The tenuto mask adore intendedaustain othe ot. This cane a powerful diving fore o you pce FIG.28, Tonuto (you put all of tac in one bow (pocietoour an sound Ikea being hear or at ‘unstoppable engine pushing ever foro O Hea oz. Bg Ss FG. 29, Tonuto Sure Accents you want to give thatengne bof nudge, wkd an 2 tes ae “4 FIG, 210.Tenuto wih Accents‘ure Beng and Atelains (abn) 2 you wane sound kei ispartofalasger unstoppable machine adda san Q a es F211. Tenuto with Accents ane Sure This accent can really packaptinch witha down-bows Thistechnkqueworks best when the tempo isnot no fast so your players heve time to rrake ther howsane start again a he fog foreach net 2. 0 FI. 112. Tenuta with Accents on Ocwe Bes Articulation Choices for Fast Passages \When wetting rans of notes tke eghabs or sixteenihs you have some cholees 10 make regaiding their articultion. I'yau don't acl any bowing, this passage will havea lot of energy and drive a esc roti artivalted bythe cheng of bow FO. 219.Sikteent Notes This teem Wea tightorwand pastage Du here Wl be eine question tthe player ‘mind about thesoud you want Dyas want asticky.cnhennting su Ise, add temo masks. (Sempre mens “aheays ute ths bowlng throughout this passage”) ponasi 1: be nls an esos (son DYNAMICS ‘You may have neticed that inthe previous few sudo examples there wes 4 change In ‘aynannics that wasn’t marked. Most masictans will naturally make a ceescendo athe pitches ge up anda decrescendos the pitches ge oven, Migherpitebes ext through mare sectiarl apn mane ght Gey ines tari ib de lb te eco. ‘you want w enecurage that tendency Is best 9 ad the dynamics. Onherwrse. he layers wil assume you don wart tha sound snd work to ave i, even though sees sonstace Here sone option — SSS IE 1.20. Satoonth ote wih Sire and Cyramiee [Matking the dynes you want will Be more eocive than tring to find the Hight bexeng to expross your muses ideas. good sring playercan mora easly al the bowing thar works if they know what the musa fntent is The language of dyramles is the same for every instrument and not suibeet 10 as much imteoretation asthe laneuace of slurs. Dynamics help shape the phrase. They shew which notes are most important ane which ae subservient. A past with los ofecate! dynamics suse wll be «bigtime saver in he Jong run, Add the dynamics you want, and talk to your principal player about te arcu {Gon you are looking for Those are subtle changes, but they can make 2 huge diference in your storytelling You eam se thatthe choies are rch snl endless. Make goo friends with your lee string layers, and ask them for belp La iterpretng your lew. wl be well wor the ue Bluegrass: Hokum Shuffle Inbblucerass there sa popular borne called the “haku shuffle" "double shuttle" or just hokum bowing” lebocame very well awit in a runaway bluoprens hi cited the ‘range Blossom SpeciaL"Somepeople ced Joe Venu witlsinventingtis bowing, even {hough he waa lassiclly tained Violinist who was Keown as 2 jazz player ara never layed bluegrass He used tn his 1900 Bit"Wd Dog,” and it caught on. The eae to baw epi of tees over pamtern fous — SSS $e igeeee sesiite FIG. 121. Hokum Boning‘aman ronsromss ‘The eccented notes ee ltemately dawe-boms and up-bows. That helps to lve this roone ite unique tee Wie willexplore # number of other bowing vasatons that are frequen cael by sing players inthe res chapter. “Standard Techniques"CHAPTER + Standard Techniques VIBRATO Vibrate wobble around «pitch conte. Vibra astendard ln elasiea musi. In barogue music. vibrato wastsedsparingly Busine thelate 700s constant viratohs heenceen a price for lasscaly trained string players Thece can bee It of sublltyinibrato. layers ‘an vary the sped sn depen of ele vdeo Wo convey dierent musi meanings Some npilifers come with & vitae effet you can use 16 vary both of vhose paseo. Sting playerscan and do mae those visions on the ty to emphasize the munca line Using constant vibrato can cover minor intonation issues in alange group end mcke any ensemble soune bigger and more comple. ‘Unless ld others, elassealy salad Sig payers wl always ue WnaKa Ue rising s melodie, they wil vary che vibrato constantly to enhance the line more or loss Without thinking about itsince they have been trained for many yeers toda just het. Ifyou: feela passage nes more tens, youcanwsk your srng players co speed up thelr brat you want your melody to haven gentir fee, then suggest a slower vibrato. Hers ia melody with exaggerated vibeato variations Hite 35 has vibrate aru Teac, ‘Si fsperiormed thou vibrato Fo. 1. th Verto and Vitost Vato (king SL Tango")* snus sonra since somenian mean rare eatin cence eras ear IO eigen eee cane eo Tia cacrsecorsnnamniesentaicenenncentnn eS See Players to stend aut, then using vibrato will help ocoomplish that, eee oe eee 0 2 Se eee pane naling naman noid gradu cab = Ot. = 5 Mm. sped et. FIG42. Vibrate Added Gradually (king Tango’) son grey vi, SS] SUL TASTO ‘Sul tasto means o play wth the bow ever the fingeroard. This gives a breathy: unfocused tone grea fr enfin up fog ais Ur sued a ve NaC aL Hal Se OF understand. Tes eusy play andvery evocative. Many late mictee someat used this sound ta pret elfect, Seinen o Et sae — 4 oe o n po ee BL te FIG 43. Su Tasto ("King 8 Tange’)staan Tetegus (i PIZZICATO Plezicata means plucking the string rther than bawing i Thls s moet cormmonly done with Ue right hand while de ethane ngers he pic, The notaton for is eects pic, The end of the pia o ws aa Fi. 48,Pisicato 0 vectlon ps nteted by arom, mening “bow: Plasicato le aormally played in away thatalinesthesteng toring a much a porte. If You are writing somethinga lie Ranke, you might ak your players to muse me pesca beyteleosing the presure oftheir stopping fingers ight after the note sounds, givingit more rhythmic panch, Staccato dots ean help indicate that you de aot want the sound to Hing. Track 0 isthe same example played lth muted piezo. Q ania {Wisimportant to leave enough ime tor the player to anangetheright and tr pizsieata and enough tine getbock 0 arco. These movements are wot Wstantaneous. doesa take much tine, but at least second getwo in ether direction is help, ‘Speed can be an lai wit pizicato There ie abit 0 how fst pazicata Hot aidculated, Usual, players use only the index ger for plzicto in faser passages, is possible to alternate the ince are the mide fingers, but even with this, thers ism iit ‘nsean aek your playete strum aeroscthe ringlike «guitar player would Thece are called “arpertted plziatos” You can even dicate which way yout! He the sm 6 go Using p and down arrosesQ A down-strokes om Ue low ising Lowards the gst an wp-sire goes tbe oppo site dvection, ftom high ta lve it a r v 7 - hs ~ + + Qi: od bt — 4 S$ 5 5 f F & Ss FI. 45, Arpeagiaied Paziceto 11 sls possinl to pay pizsicata withthe lt hand, particulary open snngs ae Involved. Because the string kg so short when doing pice wid he ethan, toaeand deceit are cornet compronnsad Aleo the player ean only the Fingers that are not being used to finger the pitches ‘The "sign ver the note indicates that sa lesan pz also helps io write“ sat cael ty obs FIG.45, LomtHand Fiza Suing length makes a big diterence in pizzieato, Cello open strings, when played pz, ‘make a much higer sound than slin strings as pzzieato open srings ring for 8 tong ‘ime, seting the Rarmonle foundation beaut: Plz in be upper esters al ot reso rte aswell The very highest aotes on the viola played pizzcata ere more ofan effect Ibecaute tisha to distinguish the pitch forthe percussive sound, ‘Ge aiicny wit pizacnta i coordinating t with tne omer aston tes ate relatively shore and have le sustain compare to bowed nates, so they have beef tae ks its rom a drarime. The Asctopaicies ane parieuaty neice Inemallergroups. An excelentconductor and some extra reheuinal ie ean be very helpful In geting tne pla rogether Ire tempo f stead, chen a eliek track or Cee pao 88) slong with can pull the passage together quick. The effet is wort he wouble[GPE : ocr Foie Rabon) Usine A ConpUCTOR Meat azsealy ranod ating payers have worked na isan ha eaquie a entucdoe Good conto help the mute come to We ad Keep te ocho teootherrot ew in tne xt son musical Pet layers and conductors have oot KNOW each omer hatte expect ram bach ater inaghersoveloreresras there are some merestng suns, One ose can be very compicals rr a plecats passage It ay Seon ie the dovrnoct ofthe muse SHOU corres! wth the town stick of to onectr's Baton Bit 8 ralty her elena smal an beeen these wo moments: This gaps more pcncancedin belt orchestras Th gop can vary based onthe apoed, dyrarss, oF emoional rzaning ef tho eve. Are pyar in an esebshed arches hast get sed to this ep as [may vty tom corer to earl and fom exces osfeesa. This maka pizieso passages en more deo cporanate because ree 0 ‘eam for efor if yu ate using + candutr for yoursoeson, beaut ale! tone for the payare and the candle eget to knew aazh ner and find the swaet spot Gewoen ie doweea me ben and pregucion oun BARTOK PIZZICATO Tro wenteth century composer Béla Bart popularized aparticularkind ofpizzicatoin which the string is plackea so har thet snaps agsinst te firgerDoand, siving an aceed powerful accon 1 the note This over aecented pluck has came tobe called the "Bariok Dlezteaio” (6). Bariok mew have heard use in the taeliional Hungarian rasiethet he frchived, Therois an instrament called an UtSgardon dha is played with ths technique almost exclusively. Jazz and rockabilly bats players use this teebigue regularly. I is ‘wsully flowed by «slay on ihe fingexooard with the left and. Used sogetber, those ques help bass players project in loud situations and add solid punctuation to any pote, keeping the thythm sreng. ‘Violins, vols, and cells are reluctant to use Che Bartok liz partaly because pall the seing out of tune woking i dificult t play the ensuing pessages. There is alse some concem shout damaging the fingerboard String insirimeni ar yplally very expen sive and easy to damage because they exc made of wood, Sing players ave often reluctant Toexperiment with techniques that maybe dangeros fo thelr instruments ‘TheBartkpizzcatoregultesextratime andetforo ply. should be used foreryphasis, ot in passages that equi rapid deter Here ete novation 9 tae FI, 47, Bartok Plzzoato‘Te notation for Bartek pizicato() shout not be confused withthe notation for ‘oumb postion (Thum postion Is use by clits and bast in passages that av ‘ex high ponitions on the ingesbound (elas ro the badge). The thumb is anchored o the fingerboard! onthe lowest note af the patsage making it easier forthe other fingers to Keep ne passage in tun cs [rum postion gas anda | FI.A8, rt Peeoate vo, Thumb PIZZICATO BASS ‘As mentioned, ne boss Is he member of the string family tha Is most commonly fund inensembls that dont play classical music Bassesare frequently found ia non-classical ensamblos playing rock, jazz, pap, ete Ia those ensembles, it iscormmon far theboss tobe layed only pizzenta, Thicalawethe has payer ta setup not only the harinenie ature forthe music, but the dhythmic structure as well The punctuation that pzzicato adds isa wonderful way to create a thythark foundation, The “walking” jaza bast line is. perfect ‘seumple of thic pinicaro quarter notes that ouine the hime. Some hake players ihe do not ply classical music may not have Maney witha bow. ‘as players in on-lasical anda sichas rack, ester sing another Amesican roo styles are krown to ap the Cngerboatcl on the of beats w add even more Cyt comphacis, This slap” technique is unique (inthe bexeed sting tay) to bass players. eis ‘er eeeure andever nore so on elie stuns, were Ahir hus ea be Neate, Justas easly. Bren alight tap on the sing cam eeatea powerful accent on an electric bess. lots of eletrie base players, such as Larry Graham ("Super Base Slapping” on Vou), Fee ("Higher Ground), and Francis Rocco Prestia Wha i Hip") use te sap technique frecuently abo with 9 pop fom paling the arn hand enough to sep again the Bing board swat the appr sings calla Dark pi. TRILLS Til ae great wayto up the exciement. They can have thesame efactas “przhands” O ast einen FIG, 49, tancera Ti, ton and Playos‘The speed of the notes depends on the tempo ofthe mane. Faster emp have te for fewer repetitions and slower tempesshave mete more. Notes with longer durations mabe Ii ponsible tad more repetitions the tunity for repetitions, There are» couple of assumptions that ssing players make when they see a tate trl. Fist es mentioned, they wil got tho neat sale degree. Scone they wil tart on the riven noe il he nove above, Tat hs econme sad pce, almough was pot always the case In baroque music ane muse fom de eay Classical peta, players ‘would tarton the note above and teil down to the writen nota That is lovely suid thet cds tothesuspense of the ine by slighty deaying the resolution. you arefonting for that Svan. you can notate ke si Notes withshorterdurationshave less oppor Tl tom Abe ‘The gaace note indicates shat you would lke che ail to sau fons the note above you want your players to til to @ non-scle tone then you cen indicate it ike igure 4411. This inicates that you want your players © tri to C narura rather than C2 ceuea in ue key sare 4 Ghee You can add even more excitement to your tle by asking your ayes to tll benoeen po-aijacent cones, suc a ds ot fourths, 9 pe st FIG. 4.11, Ghuorate Ti FIG 492. To 8 Tis ‘This makes our music even more UirBing. This kes of lads a cera sly th line that orev caniesorrof solution, Tle of more tha 4th for io&ns and vols ant aur forthe celloshavea deren sound, Those intervals usually regulre some sting exossings, whic make the wiles ‘compact the bottom no is open sng, then the stig crossings nt reedTREMOLOS “Tremolos area way 10 acd ashes or sense of urgency. They ar notated us shown in Figure D ote sat F418. Tamolo lag eye ey menses ppg os many ropilnns desach ste a wey ‘changing Dow dieetions as fast as ty Can. This usually subtle mation, and ti played moze easly a he tip ofthe bow. AL tha: part of dhe bow, the dynamic i elatively a0 A louder dynamic willbe played moe tasers the miele ofthe bow A trem is most fe: ‘ve with more man thee payers ona pat With one person, yousillhenrany imperfections In dae cepetions. With ewu players, you wil hear the knpesfecdons beween pecfarmanees, Wit re han two plats, wil be a onderfl msn of ou MUTES DMutesare devices that fiton the bridge of string instrumens. they are made cuttawide ‘arity of materials wood, leather: plastic, or even «rolled up deliar bil They dampen ‘some ofthe higher feequencies, making the time wasrer, fuzzies, an! fess focused. Muresereuauellyusedin eer pasiages Youean rota hist alan (pat of he classical Pedagpey? or in English nttalion, so short for sordin, meaning “mute” const Sa reo mateo ore —s Ee] FIG.4.4. Con Soran. ialan ard Engich, Make sue weave enh ve for Your players to put on and takeoff her mates 1 dost take much tne butit i not intranets. Thive seconds should be enough, (One thing to watch out forthe sound of puting on srl removing mutes. Iisa exit Drocedure, but ifyau are reenrdingsomeding that Ivey expose here might be somesi sincare eeu HARMONICS Harmonies are a ferent way string payers can produce sound, Harmonics protuce a ‘lea, clean, emneeel sound that penetrates somewhat nove than conveational notes. ‘poral playing, players push the srigall the way 16 the fingerboard making the sting shorter eteatng « higher pitch, larmoies te produced by Ightly touching the string (ottheur pushing all the way the fingerboard aca nace—aplace where the ampiirude of de vibrating sting i zete: Harmonies generally lo not project as mc ws stopped << FG. £15. Harmonics Sg players use two kins ot barons: etl end Natural Harmonics Natural harmoniesaretieceesthat occu on an open sting by lightly tuehingthe nodes ‘he easiest one to play andthe most resonant is the hactonic that divides te string i uli the oa resonant becouse the ateng length tat i ibeating fs the longest of all theharmentes. you lightly touch the open G sting in the made, at dhe node that divides the wing in bal you will got the same pitch that you soul get by puting your Finger denen nthe fingerboard but with aces, bint quality of sand, FIO. 416, Neural Harmonies Mot sting payers have mastered this harmonic By hel secand Yeas ofaPy ‘ua om sti ss you divide the sing into itd he note you hear is new an octave above the nae youtouched Fingered Nader Suan Ph FIG. 47 Harmonie Octave you divide the sting into fours the pitchis nowan octave ane fh abave the note ‘Age sno Pingeree Node: Sours Ft se FIG. 418, Harmon One Plus ith The ast wo harmenics ave a ite acer 0 master, Rut mae ayers have some expe renee with thee. Th grt swing vilnist, Stéphane Grappeli. wos forel of using te bast two exzmples gether to paneiuate hs phrases, His mane “Daphne” uses those partcar harmonics a te bass of te melody. Dy playing the fice four wren pitches as harmonics, Grapplli sounded the last Four geo yp PP ‘Tea vl ini tat ela at Leese bot ployee aad acnnsers Standarcl practice for natural harmenict offers wo choies: 1. Wile diamond ote heads the plies whace the desiced node 2. Wile uaa stclo over the pliches you wane to hear as hari, ise oe : ingrod Ne ‘Sonning Pach ine FG. 420, Naural Harmorice, Dlamend notahoade show whore the noo aro fingered Harmen oles inieae sounding pen"UPER Stace Teche a isso hep wile “hars.ones" a the (op of any passage La which you wan that effec, Wite net. (Short for“natual") when thot passage is ave, just to cone thet the potes are no longer harmonies 113s wont cto add tngering vo any harmonies passage Ifyou are unsure, den run the sages wi harmonics post your fend neghborhoud string payer to rake sate they ae playable, ‘The above passage would be even clears If writen lke dhs using “su” co inde de ssxing. mens Te 2 at FI. 421. writen Harmonies Ive clumond neds indicate harmonics. SL and st.A mean that hose notes shoud be played on the D siting A ising, respectively x9 thatthe cortet nates ae: played ‘The numerical fingering clests up any-conhsin the player might have about adding shit. Some composers adden‘ ontop ofthe Bagerng indicated to emphases idea that is leanarmonic (Generally speaking, naw! harmonics haves pure, bella sound. 1s posable ws divide the string in fifths, sats, nd 20 on, but it becomes increcsingly dilficuk ta pet ‘ean sound anc to pl those notes accurately. Somme composers have guile a wonderful eerie eect by asking tel players ta slide quickly between tae harmonics ona suing ie this hermonis at P6422, Haren Glssando [Natural harmonies are usally playel without vrata beraus the normal vibrate toch qe doesn work when the Nnge Isat the fngerboae spss side he ger brack ar! forth within the nove to create dhe effect fibre,‘musa ron Artificial Harmonics Artflal harmonise crested by Aiding the string inva quarter as aw, bat bacate ofthe fingering. ris pssilew play that harmonic on any pte. SS FI, 4.23, Notte Artilisel Harmenice uw I thig notion, the otto nae ea negiter note; either an ops string ke the fee ‘ote or using te MF NAeR) tnger pusRea al me way to re ThgerBOArE. The Tp nove Angered lightly wi the third finger on the open string and the pinky onthe other notes to-achiew the artical harmanie that divides the string into quartes (Uh index finger is ‘cnsicered the fist tiger on ring instruments. The tigers are numbered up the fourth corp) Tis pase sands ie in O a | ase tte F428, atc Haxmonies Amal harmonics genealy do aot have thebsant cary OF aturaE harmonies, but they do have a dierent dnbre than segulty Conger notes They also cam be used ml vibrato, 1 possible to wte matodicpateagoe wich arial haxmonter, but playerecammot achieve nealy the samme deserty as they can wlth convenilonal noes since tw of thelr Tyger are tel up in playing each vote, DOUBLE, TRIPLE, QUADRUPLE STOPS string players cen play 1, three, of even al our sings rogeter fora Cues sound Violing, vols, and ellos are tuned in perfect fifths. I seems ike that weuld make laying pesfeet Hs easy, sounding Uke power chords on gut. But i fet, pect inter ‘vle—fourto, fifths, and etavoe—are the hacdest o ply fortrngs. Tati heoanse porfoot Intervals must be ust tha: perfect. The Intonation must be perfect. Oder Latervals Mate some room for interpretation tring players often vais ther thieds aint an neve to.enhance the tonality ofthe piece. Major thirds and major sevenths can hea litle wider, imlnorsintisa lke narower: But fourths ths, and octaves must be perfec, and tat Is challenge even for good players ARO easy Fit Fourth —Odave Second Tard —“Sewnh «Sich FIG. 425, Double Stope in Ore of Deulystaan Tetegue (a Wen yeiting @ multiple stop make sure chat euch note cen be played on adjacent ‘sings. Using open stings ranks that alot casi Bu itis Important to note that open ‘sxingy cannot beplayee wth bro, Classical taining drcourages the wre of open stings fescept under certain cneumstances. Piers nay alm Lo use a more complex gern ‘particular parse, risking sold intonation but allowing for vibrate rather haa wing a ‘open string If your passage rquizesworat, then the risk s worth taking. Otkerwie, you ‘might take me riety out putting ano" aver tae open stengs ta make sure the players use open strings Double stop: lio notes ata time) ean be played simultaneously, rather than rolled Because neo oF more fingers are requiced to play double stops, dexterity is somewhat compromised. Use these passages for their harmenic anor Hythe interest under. ‘tanuding Unc they come a he expense of same speed nd eg you want both double steps end dexterity then consider netating tho par “Din This means to divide up each stone of ro players. ina stringsection, players usually sit two toa musi stan.) Mae person on the ouside ofthe stand (closer tothe aud a arte ote ia Ui peso teh pay Uo ina up forthe tp part and down fr theborom part, maldng easy to read. When wring for orchestras or tring selon dvs feassumedt unless you indicate non ik FIC425, Naetod Div oe == | Dveiy inva iit eal ay he passe is Gat 429, iFaboubutely uesersery Thesicteenth notes would bo tricky, butt coubibe done, Witten as divsipessage, though, lew be muct ease technical alowsing the playesto focus onthe musica ather than {he execution. Triple stops ree note oe of tte brig raguiees ether a change de lava ofthe bow to coun three ngs 18m can be more dramatic and more difficult play the ‘he use of tof pressure to each all hee stingy athe same me The etc peesare i tf aad passage ofr chythnie empha sus f F427. Tiple Stops“0 ‘muna on sis ‘ipl slop that ve prmaity melodkc rater tan ythinicand all quaduple stops are smart often “broker *rolled"—that is the notes othe bottom strings replayed Est a sae notes and tea tae notes on the lop ae played ‘The fue of playing the grace mores before the heat or on the eat shouldbe diseased Mapsrtces Tce canaten ed kote A psssage writen a7 fourote chords can be brcken in poi. seat Wit Scunting FI428, Quadruple Sts Some vations ae possible: The grace wate an be played qulekly 0 make seen Uke sllfournetor are being player st tho eons tine. race notes and play the bottom notes longer This sa enlque tha classical payers mse wea playing pussagesof Une unaccompanied sonatas writen by Bachin which the melodie line in the bottom notes You can hese iin the "Cisco from Partita No.2, one of he ‘moe eautta and challenging pec for vein, “Thee meni ie hen mini arlid Tac hn bly val wld lta Keepin mind that because the viola plays higher pte the sound wil ut tough mre ‘deal. The vio and cello will sound inde playing double sd triple stop inthe lover reglsters. The bas ony typlealypleys triple and quedruple stops in the solo Ieature All of these double, ipl, and quadruple stops can be played pizceato—another ipsat way to coenbinetecheiques: Using porestoexn reduce the peblem of breaking the ‘quacieple stops, Pzzento chords an tho cola cane very pave especialy peter its, ich sound lie power chords on the gultar. This sound is paruculaly forceful open strings ave involve Fingered fits ae ie beer o get in ane, but good playersan do i And itis worth tO the bas, cho parle fith ea powertouse of sou The second moverment of dhe Ravel Sing Quarter isa gorgeous example of de rnierful use of pizieat in all Ks forms. Complex lines ate broken up bean the players 2 cach pats coser to execute The double, tiple, and quadruple steps eres inte peaks of pasos where» broken or rolled cbont ads othe dram ico posibi play tho ep noter ae"BUTE: Scr Teiues Rabon) RICOCHETETE Sicleg players can allow the(t bons wo bouace on the sting at various levels a cant eperdingon tempo. slower speed, the bounce is cortrolld the beginning and end of fescltnote funder the comma of the player As the tanpo speedup, I becomes harder sd handesto enersl oh nsividunl nore Ataomepolet fea lls the bow la aonsing ofits owen volition. That ‘uncontrallet” ounce is ead jré (French for “heenen”) oF ‘eochet. As a plays, fels as though the hose has suddenly bgoken inno @ gallop. sonund like that, too, eis alot of fun to play and eds the chythimie pounding of beating hoot. Itie mot oectivet asad on repeated tes at fast trap. ® a5 SS USING THE STICK OF THE BOW ‘There are two techniques in whieh players tus their bows over and use ce stick 1 produce « sound, Not much volume i procuced withthe atic on the steinge, but the fffocts ace unusaal nnd interesting. Coltegnosalian for “with wood” Cal lena baru alan for eaten’) or just barra Ise teciniquein which the string struck with dhe stick: This makes wondesflly arti nto sound like inet with tap shoes. itch can be hone ae well: Rocohosd wos thie tok lg nthe 2016 song "Burn she wit 9 Ohi > ‘AIG. 4.30, Bartuto hte hare en a 2 er reer Oo ee 19 cos tgnotatn Bree peepee ey FIG. 431, Co Lagno Taito‘mune ronsromss Sullg players ate genetally not fre Felker of thes eflers because wooden bows ae etleae, eponsive, and not intondod wo be used in tls way. There ls clays «reasonable concern that some ineparablo damage wil be done by scraping the sik across the sting criti the ssi ws the stick, This of even me concer Ifthe passage a which he technique required uses aloud rams. lntonationie aoatrink when one hit testing. Carbon fiber hows are not ikl to be demagod playing bata o° col lego, bt howe ray be some damage to the strings ternselves. La your peers kr ahead he fon nen to use these techniques so they can brine ight bow Allow empl dine forewing afer the sootion with thse christCHAPTEN 5 Chops, Ponticello/ Feedback, Portamento, and Falls CHOP TECHNIQUE Chopping eters a relatively new greup of percussive bowing techniques that allow stag players vo function ia the shyt section, [Cs.mot yet part ofthe stand string Peclepoay hectse it is rot used in classical musi, bat more and more “choppers” are emergingevery day (Chepping is prominentin bluogrossand other American roots styles. Mos tring players ito ae frie with roots muse cam easly ad capping aeything Violinist chord Greene is gencellycsdited with being the fist to popularize the te rique, Darol Anger has relined anc disseminated chopping wih his plying, waiting, and "nom w" CD. Casey Driessen as tds substansaly she ecu. Composer, Nis ua master “chopper” Tacy Sieriin is contibuting a number of wew wor that nse chopping, Violinist are not the only ones using this tochaique, Colicts Miku Bloc Natalie Hees and Hushad Hgleten are alt beillan peactioners you are dhsking of wating with dls tectunique, be suse couse string players that ave familar with it before they start working for you. Geod choppers ean add rhythm w what ever they ate laying and even subse tora dno. ‘hs simpest form, hopping hegns Wit gh dampening the stings with he et hard, so we don't hea a specie pitch. Thea, the bow drops heavily on dhe stings with & slight pullnot enough o get atone or hear a note, butencugh to produces short reratehy sound 1 yery smile to the soond thst guitar and mancolin players make when they sisu wit pie while dampening te tings wh he let nan (Gitar ployers la rock and funk eeto se the tecaslqus quently ne Ie guar layers sfringpaverscan ad awah pedal toemphasze cho nderlyng grcovs legs funky very quichly.‘There ita universallyaccepted notation forchopplng yet. Darl Anger, Cabey Driessen, and David Balkeshean founda of tae Ture Bland Quartet) are working te cody nota ‘on for chepping The Bertie String Department plans to make a white papor avaiable, les website nih current preerences for chop notation. owean wrt a rhythmic part with sich note bende and write “chops on top of the sa Players familiar ith this technique willkno what ro do In this example, tho stems withou oteheads indicate anon-accented cop, Here's aa example of x standard chop patter fr an up-tempo rootsy ane _ —=— 9 aS ay ri.si. cops Sm sal sf opm. ot ti 8 ae ‘ums might play mock. Notice that you can chenge the be of he chops by chopping fn the lower strings or the upper sings. suas FIG 8.2. Chops tor Foc Feet poet ti bg cunts ve pl trop D) wesecterneny step thrvin scanttectsStnve ttm pc Myouhave players whoarealieady goodchoppers juste then come up with something ‘ha somplements the groove, That ght be mone efetive than actly witingwomething ‘L.They al find something w play that sapprepriate und comfortable, you are vling for auto than ane payee dba god dea 1 tea complementary chapping patter for exch ene. ne pager ean double ts baes drum part and anather the sonare 0, for aheavie fee yn can have all our players pay the same pattern 1 wl ve Iva dense and complex sound. Wis essential to ase players who ate already fiir wth this technique. ven brant lager whe sce new 10 chopping wil oot be able to mnrer this tecanique on short notice, Justithe any bow vechaigue chopping takes some work o pay elfrtessyhep Pnivliendes,Potanate nd Fale Base Soft Chop Ina s97 cop, the bow Is gently rubbed slong the length of the strings insten of perpentculr to then They ean be nocaed without nove beads fora pusely pereussve sonal or with x" note heads fora gentle ghost note. The arrows pointing to the right Indios Sats Seer eeripen Stenting ewer wn thay Ph orynmte neat iain towards he body When playing soft cheps forapercusste effet without ghost neres tis ssefel hol nto the fags fthe bow wana ich orcas The pent ishing ad lke the waves ona bosch or faraway trxn hugging slong o sata 3 FI. 5.4, Sot Chope or Serpe. [Evenan experienced chopper wil ned some tection rom your use thlssound ater "han the more common chopping sound, But lite this ite the tenuto mark and sof Lynam ve the ides oF what ivequied. An eqecienced chepper wil have hi sour! in ‘lr rpercote and recorivze the new fo tina st passage. Accomplished choppers wil put together combinations of these techniques and acd rval depth tthe shythm section, Check out Casey Dreecons "Tani Attack for a beiliant play of chopping posses. CHUNKS: (Chunks 21 anoiber percussive sound avilable 9 string players. The diferénex between iunka aad chops is thi: When playing tun the hes lifts after touching the stg, ping 9 ighcer sound than a chap-Ohen, chunks are pitched, Chunks are mest atten associated with bluegrass. Check out Alison Krauss ancl Micheel Cleveland for seat ‘amples Thoveis no dedicated notation for this, andthanamehasnot come intoeammen usage, Ifyou are looking fr this sound. you can tall your players to lit heir bows atthe ‘endofeach nove. Oo > SPSS “sua ron sams PONTICELLO onset oem the alian wort For bridge on anew dimension. Sing players usually hoop their how's about halfway betveen the Fingerboard at he bridge (the ceractune tat hold the erage ofthe body ofthe intranet, oo gure 2.1. Noving the bow closer or farther fam the rage changes the timbre. God players center adjust the distance betyeen ther bows ad the bride based on srmrice a Parsing repirnonss ‘hen the bow sree very’ close to (and even night on op nf te dg, the sounds ethernet pele rae rie pre lent, sometimes more ¢0than the intended pith, siiarto tho feedback fom an loot fultar, The imbre sscratcty and dcorte. ‘This na wonderful way add distortion to your string pats No eleetrnies are needed and you wil get distorted seul Just mark te part as pontiello osu! pont (see ge 56), IUhelps to add forte dynaaic To.mate the feedback even richer you ca at your players to use a very ight ouch with ‘ie fingers vo he eft hand on te fingesboard. Ths evens te potential for hasmonies to pop outs Coupled withthe bow on the budge, this sound I deeply evocative af Hendit, an Halen, ee, ora nev technique but recently has aken[HUPTELS:Ceps,FonelFontbest, Roamer an Fale fabser a oO “NIRVARKY” PONTICELLO vu oo a) ve eee ALLE Bie Df fhe E FIG. 88, Pocelo Niverky") This technique ls more effective on lotrcingerumens The“Teedback” sound ie greedy pronounce,‘Nesta Enhanced Ponticello Flayerscan enhance the distored sound even further by using vty Ile peapure an the Fingeroonrd with theieeftbands dmulancously with the pontcelo. This will pall ou the stored harmeontes even farther: “Thebes fer tls foot meio sal ponrisllas ayesha cat in soon porary classical echniques il be fame wih mete sl pte and ave gone conte cover dhe etnique. allan avantgarde composer Saito Scaring and Sean Gervason! so in their works. Payers who focus on older lesieal music may be hesitant tose thi technique, This distorted sound isnot part of he casical pedagogy and is antithotical toaskfor that tect. Or work with somicone whe has some experience with rock electronics and disiorton. They wil know exactiy what you ae looking for Asin, ponticelo is mich ‘moe pronounced oa elect lnstrumen's This cxample is played en aneleetle vesting tin GLISSANDO/PORTAMENTO- Many string players use the terms atieande and portantonte interchangosbly: There Is. subtle diffrence hetwoon glissanéo and portamento. Gissando implies thet eech Individual nove is expressed. Harps and pianos play runs dis wey We used (eal chese “roadway nas” because these fas, ashy runsee used «fot in roadway musicals 0 Hee FIG 67 Gloeande Glisendos ean cover «ge range: Glssandos going up naturally evoke a crescendo ln dynaries and spine-tingling itsnsity. Sting players can Ty dhcugh these glissandos, ‘espacilly if they are composed of famine scales tat are already part the player regular pace and vocatay. Teue portamento: are only posite on isstumonts that ean easly play all the notes betwoen half steps, such as strings, fedess guitars andl bases, trombones, and rete fultars when they bend ther sings, D ep FI.6.8, Portamento[GUTELS: Chops, FoneaoFnebast,Potanerts an Fae Rasen Pocumentos off diferent sort of spine-nging exltement es Important wber lng fr tring to be sure that yous portamento canbe played on ane string Ione than ‘one string hes tobe covered, then dbece will bes bieek in Ue smoot ie That beakexn be ‘oweved ifthere ae enough people paying the same thing beeaise hey wll most erally ‘sich stings wcifene nes Inarmoment like dhe one in Figure? there isthe question of when ext you wan! the portamento to ane, you want to Regn ight away nnd tke Ten woke eats ave atthe tp note? Or 6a you went 1 establish she ewer now end hear the parame a the last minute? ou prefer latter it probably bettor to write the portemsnte lie thie Hee Fl. 89, Portaento Rtn ‘von with chiselearr notation tice good idea vo explain what youhevein mind i your layersjustso there sno contusion. Pocamento isan easy reebnique on sting nstrumenss Because of hat, sed, People who are just beginning to improvise often ie portamento tea frequent and With ie inst. In jazz and rors-basea musi, the portamento begjas wth tle presse ne ngerboara om te stopping nger and moves ito the tna! pte te all in.reverse, discussed net) Thiscan Keep the portamento fiom sounding Ike «cater= woul Make sure thatall the portumentes help tell the tary of your use, can be over Papa John Creach Portamento Ch non typt poraiita demerit tpn ani ‘ery wide ibn ria oud tha incon ne ninetcenh-entury saan ma cone nb sonia ints melorumat sound The great rock et ein Crack ted istechakquncresteavry dente, Thee no andar aan foe the ound ur he ik 9 oie i810. Papa Jonn Creacn Portamentosanun sorta aps Jon Creach sometines palred ils effect with & In thirds. Check out is coring of Ove the Rainbow” 2 Q ] FIG. 6.11, Poramanto Tallin Teds This another technigue that is ot Found in Une easical canon, al dhe notation is& lise wehward Papa on Oreach gave usa great example of how its posible to combine offocts to erate a unig, recogaizeble sound. FALL ras are snort, descenaing portamentes inst end on an indetinatepuien. ney give tHe feeling of eeloane afteran arduous tusk Wind payers more commonly us als espacial ln big bane, Falls are easily played ty string pyers as wel, but they axe not part of the Clasaeal canon and may equito some explanation. The questions thet your stg payors, ill nave are (1) How long should the al! be and (2) “Wha te arta pot” ‘Theesucwer tequet (2) dees Use ea oan he sie oe pec The answer to quertion (2 “De arr pola should he indeterminate” That an ‘unfamta eehnique for most stein players but one that Ca be easy assimilated wth moment ey tout Hare accurate station fr afl. Fi. s12. (Nien 6 dynamite rem hat mes nothing” and eetes that the sonra at he nd ofthe note sbouldeiseppear An eperienced wind player would make the assumption shout the ¢ynsamic, but a string player teoul need an explanation, since this technique is ot part of thei reguar sty or reperote)