Principles of Violin Playing (X)

Pattern 1.7
Portamento of left hand

Creating sound continuity between two notes in the source and destination positions when left hand position changes and “two different finger numbers” are involved is called portamento. Portamento can be performed on single string or two neighboring strings and with hand moving on fingerboard either upward or downward.
7.1.1. when performing portamento involves moving left hand upward and changing finger from lower number to a higher one, (such as playing the note of G with third finger at fourth position after playing the note of B at first position with first finger of A string) this change must occur by shifting finger of lower number from source position to destination position, and placing finger of lower number on fingerboard quickly. (This example is performed by shifting first finger of E to first finger of B at fourth position and then quickly placing third finger of G at the same position).
7.1.2.when performing portamento involves moving left hand upward and changing finger from higher number to a lower one (such as playing note E with second finger at third position after plying note D with third finger at first position of A string) this change occurs by moving finger of higher number from source position to destination position and then quickly placing finger of lower number on fingerboard. (This example is performed by shifting third finger of D to third finger of F at third position and then quickly placing second finger of E at the same position).
7.1.3. when playing portamento involves moving left hand downward and with changing finger of higher number to finger of lower number (such as playing note A with first finger at first position after playing note C with second finger at second position on G string), this change should occur by shifting finger of higher number from source position to destination position and then quickly placing finger of lower number on fingerboard (this example is performed by shifting second finger of C to second finger of B at first position and then quickly placing first finger of A at the same position).
7.1.4. when playing portamento involves moving left hand downward with changing finger of lower number to finger of higher number (such as playing note C of second finger at first position after playing note D of first finger at third position on A string), this change should occur by shifting finger of lower number from source position to destination position and then quickly placing finger of higher number on fingerboard (this example is performed by shifting first finger of D to first finger of B to first position and then quickly placing second finger of C on the same position).
7.1.5. The general rules of portamento when occurring between two neighboring strings don’t differ from those of portamento occurring on a single string.
Notification 22: during practice, playing portamento begins with heavy tempo and the note of the shifting finger is played like a Ornament.

Post a Comment

Required fields are marked *
*
*
Your email is never shared.

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (3)

Wolfgang Amadeus Mozart, a musical prodigy of the Classical era, was deeply influenced by the intellectual currents of the Enlightenment. His exposure to Enlightenment ideas was multifaceted, shaped not only by the cultural milieu of his time but also by the relationships within his family and his own interactions with prominent figures of the Enlightenment. This exploration will delve into Mozart’s acquaintance with Enlightenment ideas through his father’s relationships and his own encounters with influential personalities of the era, including Christian Fürchtegott Gellert, Baron Melchior Grimm, Madame d’Epinay, and Joseph von Sonnenfels. Additionally, the essay will examine the impact of Joseph II’s reforms on Mozart’s life and artistic endeavors.

Journey to Iran Revisited: Celebrating 20 Years of Guity Adjoodani’s Return to Persian Roots

This year marks the 20th anniversary of “Journey to Iran,” an album by Iranian pianist Guity Adjoodani that has resonated with audiences worldwide. Released two decades ago, this album is a beautiful tapestry of twenty Persian folk songs, each carefully selected from the rich musical traditions of various regions in Iran. It also features four notable compositions by the esteemed Javad Maroufi (1915-1992): “Prelude,” “Jila Fantasia,” “Golden Dreams” (Khaab-haa-ye Talaayi), and “Isfahan Rhapsody.” Additionally, the album includes the beloved song “Kiss Me” (Maraa Bebous) by Majid Vafadar (1912-1975), adding depth to an already impressive collection.

From Past Days…

Principles of Violin Playing (IX)

4.3.1. To practice playing of doubles of notes involving two different fingers, each note is played at separate bows with slow tempo, each note is played perfectly regarding its bass and tenor sounds and then the considered double is played at another bow while considering the resulted sound of the double.

A few steps on the “Road to Bach”

The world of music has unparalleled respect for Bach. Bach is considered the spiritual father of classical music; Bach’s great position is due not only to his great achievements in the fields of harmony, counterpoint, and compositional sciences but also to his respect for and adherence to the artistic principles of classical music. In the history of classical music, it is recorded that Bach walked about fifty kilometers to listen to the music played by the great German organist Dieterich Buxtehude, and this is the path that every idealistic classical music student should walk.

Ashoura Opera

Ashura Opera was composed by Behzad Abdi, the Iranian composer, in 2008 based on librettos compiled by Behrouz Gharib. The main source for the libretto is poems by Mohtasham Kashani, a sixteenth century Iranian poet.

“Symphonic Poems from Persia” Released in Germany

While the name “Persia” (Western historical name of Iran) has attracted tens of thousands of people from around the world to London’s British Museum to visit ancient Persian artifacts, the Nuremberg-based music company, Colosseum, invites Europeans to listen to eight masterpieces of Persian symphonic music.

The Mystery of Messiah

Antonio Stradivari (1644 – 18 December 1737) was an Italian luthier and is considered the most significant and greatest artisan in this field.

The Structure of Kurdistan Daf (IV)

Researcher: Mohammad Tarighat Translator: Fatemeh Alimohammadi Daf Structure The Structure of Daf in different cities of Iran has a great variety in terms of dimensions, components and even appearance; some of which are as follows: – Square Daf, on which the skin was stretched either on one or both sides, with strings installed inside it…
Read More »

Inefficiency of some chords and harmonization systems in Iranian music

Discussions and research have been conducted on the harmonization of “dastgah” and melodies in Iranian music, and several books have been published on this topic, including “Armenian Music of Iran” by Ali Naghi Vaziri, “Harmony of Iranian Music” by Farhad Fakhreddini, and “Harmony of Iranian Music” by Ali Ghamssari. A master’s thesis titled “Presenting a Solution for Harmonizing Based on the Structure of Tritone Intervals” was written by Atefeh EinAli in 2014. Additionally, the invention and use of “Even Harmony” by Morteza Hannaneh should be mentioned.

Three singers in one larynx

Sima Bina (b. 1945) is a unique singer among the singers of Golha radio programmes which were broadcast on Iranian National Radio for 23 years from 1956 to 1979. She received her first lessons in music from her father who was a poet, a musician and the most important supporter of Sima’s cultural activities.

HarmonyTalk Journal’s Twentieth Anniversary Celebration

On the 10th of Khordad, 1403 (equivalent to May 30, 2024), the twentieth anniversary celebration of the online journal “HarmonyTalk” took place at the Ersbārān Cultural Center. The event garnered such interest from enthusiasts that the venue was completely filled.

History’s Impact on Evaluating a Work of Art

With this description, we have automatically included a criterion called “History”, Until we know the time of the creation of a work of art, we cannot judge whether it has been easy to create or not. Suppose that, in a historical study, we find a musical work that is similar in compositional techniques (including form, melody, context, and orchestration) to a minor work of the nineteenth century; however, our research proves that, this work dates back to 200 years prior to that date. Can we still consider this work insignificant? Definitely not! So this is where the first use of history-based judgment comes into play.