![]() ![]() Lemme see if I can sort through this post and answer some of these. Thanks in advance to anyone who can help. So here there's no repeated note, but all under 1 bow, alternate bowing, or in alternate per pair of notes? Which would be more effective, comfortable, idiomatic, etc. I've thought about it all under 1 bow but I'm afraid that repeated note won't get articulated well.Ĭ-F-G-C-D-G-A-D where you play C and F on the C string, then G - C on the G - so basically repeating the same pattern across the strings. Or it could just be alternate all the way across (so each new open string gets the downbow). I want to make sure there's a clear re-articulation on the 2nd of each repeated pair so I'm thinking either down bow for the first 2 notes on the C string, then up bow for the two notes on the G, and so on. I'll indicate it so it's alternating the open string with a fingered note - so C open, G on the C string, G open, D on the G string, etc. If it's bowed, will coming off the open C to the open G let the open C continue ringing, and each successive string in order - and what about if it's done as harmonics an 8ve up with bow?įinally, I'm doing some patterns like so: on the notes if they're bowed? Or is there a better way to notate that. Seems to me the C-G-D-A pattern would just be bowing across the strings - could all be done in one direction, or should it be alternate bowing?Īlso, it'd be great if the C (and G D and A as much as possible) could ring - would it be typical to put a l.v. I have a passage that I would roughly like:Ĭ-G-D-A in quarters followed by A-E-B-F# (the A is either on the 3rd string, or an 8ve up, and E and B on strings 2 and 1, and the F# comes down from the B) then basically repeating this 2 measure idea with the C-G-D-A played as natural harmonics an 8ve above the open string. Related question - what about bowing them? How will the open string pizz compare to the octave natural harmonic pizz? Will it be a significant decrease in volume and sustain? Can you play them so they are the same basic volume, and what would you have to do to do so? How would you indicate it?Īnyone care to record it for me? (or link me to a recording if you know of any - I've been able to find little to nothing on You Tube). I've got a Violin (really, a bluegrass "fiddle") at home I've tested this on so I assume the lowest 3 strings will be similar to the Viola's upper 3, except the Viola being longer I'm hoping for even more resonance. How about playing the natural harmonic at the 8ve on each string pizz. The piece uses quartal (or quintal if you like) harmony so there are patterns based on the open strings, C-G-D-A. I'm working on a piece that includes Viola and had some questions about the viability of certain techniques or the execution thereof especially with regards to bowing. ![]()
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