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30 Pages·2013·18.82 MB·English

by  Martin Wulfhorst

2
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Part 13
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Index (1) and Gloss1ary: INDEX/REGISTERS.454 leggiero .leg.giero
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54 . . . .
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Page numbers in boldface refer to ex- 65 ||: :|| = repeat signs or bars . 333 = retake the bow toward the point
cerpts and exercises. For translations of 56155 bis = repeat sign . 333 IpNdfD-DEXate/iRenEGfüIrSSTyEmRbSo.le45u4ndZeichen = bow-division symbol . xx, xxii
Ital2ian, German, and French terms and 7762666 ,ãã 6ã  2 rbeitpteenticihttiodien6 skyopmierbenols: one beat, one > = accent
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Index (1) and Glossary: Terms, Abbreviations, Symbols 455
I, II, III, IV = E string etc. accelerando . 319–20, 352 applying for orchestra jobs (audition) . 442
(1) = optional fingering accent (emphasis; ”click,” fz, fp, hat, appoggiatura, rhythmic performance of .
1 )4 = extended finger onset, practice with, rinf., sf, sfz, 371–74, 382, 392
)
5 = rehearsal number stressed) . 404–7 arco, switching between, and pizzicato .
4 = left-hand finger that plucks the string . avoiding unwarranted . 87, 91-92, 406 284–87, 403
+
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3449423333018888444ÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÅÏÏÏÏÏÏÏÏ . [[1.Ï TT[T1ii8tti(llt6Ï4eele]]3]Ï–)64, 350–51 aaddavpotciancgy ( yaonudr lpolbabyiynign)g  . b4l5e0nding, G9, OM2 str1o7k8e, (4s0ig0n–,1 18th and early 19th centuries) .
3444433334444494444422559999444003115444444ÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏ......ÏÏÏÏÏ.ÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÅÏÏÅÅÅÅÏÏÏÏÏÏÏÏÏÏ......Ï.ÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏ[[[ÏÏTTTÏÏÏiiitttlll(( eeeÏÏ..]]] 11ÏÏ68))70 .–– 1686812–63 “aaaelelr-aoftrboeirscicsco .. 7t5r6e4a, tm5e3n2t of the orchestra” (Wagner, ssstttrrroookkkeee,,, aaoddrdd deeddo ttt?oo . fil4ars0stt 0 nn–oo1ttee uunnddeerr aa sslluurr . .3 39967––9978
4444444444664466445554424444776433110000 ÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏ..Ï........ÏÏ..ÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏ..Ï..........ÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏ ..ÏÏ ÏÏÏÏ11d((11ÏÏo24t,,tÏÏ e))11d11 r46hythm “AalSleltrxroaaunundssde)r o . T5rec4chhenstirqau” e. 4. 83–69, 51, 76, 562 stteetycrmlhenss i a.c na4ld0 c 2do–env3terloolp . m94en–t9 9. 386–91
4444444444444444444888468844477979442299444422228333791111 ÏÏÏÏÏÏÏÏÏAÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏ............. ...ÏÏÏÏ=ÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏ ÏÏÏÏÏÏÏÏÏÏÏÏÏaÏÏÏÏÏÏÏÏÏÏ....ÏÏÏÏÏÏÏÏÏÏu Ï.“gÏÏÏÏÏÏÏÏ ÏÏÏÏÏÏÏÏÏs.Ïm i1c ÏÏÏÏi.eÏÏÏÏÏ6ÏÏÏÏ l1ni((((5ÏÏÏÏa1tne8doÏÏÏÏ–”)))) c2 rh1hoyrtdh mor .t r1i5ad8–59, 177–79 “A“aaalmttlliello redunnropiasc”w t.a i nnn8”g6 uo ,p r4cbddh4ooie4vwwsitssnri, abcsoo, wnstssye, lcceuo atninvsdee cwuotirvkeing condi- aAA“arsSstisiOawisgntLi,n n ooe d=drrc c Aachhnhmeedassitet rrbrr”aair cs(la s,asm enssct, ut ySiasolydeincm a.i ppa4ptnl4ahi ny4aoegsnr .ty wo4 O i5.t h29r c–4ah5ne3)s t. r4a3 7, 441
A (= plucking with ring finger) . 280 ametric music . 342 League, now LAO
4944443333 ÏÏÏÏ.AÏÏÏÏÏ ÏÏÏÏÏÏÏselfÏÏÏ-assessent amplification, playing with . 287 assistant/associate concertmaster . 437, 441
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A1 = initial self-assessment while learning analysis (score a.) . 7, 27–28 solos . 441, 541–42
a piece . 19, 39 anchor finger . 44, 72–73, 75, 161, 208, 233 Aston-Patterning . 76
A2 = continuing self-assessment during the andantino . 344–45 atmosphere, positive, in an orchestra . 436, 449–50
learning process . 19, 39 anomalous low frequencies (ALF) . 287 atonal and non-tonal works (and free tonality) .
a due (solos a due) . 82, 222, 539, 541–42 “antenna” (= ability to receive signals from 30, 32, 262–64, 531
abziehen (shorten the last note under a slur) . 393 conductor and other players) . 13 attitude identity, job satisfaction
©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)
456 Index (1) and Glossary: Terms, Abbreviations, Symbols
audiation (= “hearing and comprehending in stroke terms . 402–3 chamber music playing . 8, 15, 453
one’s mind the sound of music that is not, or Tourte . 387–88 at auditions . 445
may never have been, physically present”;  transitional . 386–87 character of a piece expression
G8) . 18, 27–37, 39–40, 56, 59, 219, 288, vibrato . 106, 118, 126–27, 398–99 children’s concert (educational program) . 447, 453
310, 329, 440, 446 bowed out = one stroke per note chin rest, high . 76 (photo), 451
auditions . 21, 40, 442–45, 561 bower (= person who copies bowings into the chorale style . 530
repertoire . 10, 433, 515, 547–48 parts) . 440 chordal arpeggiation (broken chord, arpeggio) .
autograph = a composer’s manuscript bowing, style and technique (composite 30, 44, 59–60, 240–44, 220–21
auxiliary note guide note bowing patterns, zig-zag) exercise . 73–74
ballet, musician and orchestra . 435–37 divisi . 395 chords . 210–11, 265–67
repertoire . 526 elements of, controlling . 83 dividing, if and how . 211, 499
back of the section, playing in the . 13, free . 273, 396, 482, 488, 504 pizzicato . 280–84,
320–22, 417 patterns, list of . 455 practicing . 44–45
“bad” music unrewarding music staggered . 396 practicing with . 61
bar numbers measure numbers style and technique, development of . 386–88 chromatic (scale)
bar line, dotted . 341–42 technique, importance of . 79 alteration . 30
Bartók pizzicato snap pizzicato “singing” style . 387 fingering . 224, 233–34
battuto col legno, spiccato (tapping) bowing a part . 403, 445 intonation . 222–24, 233
BBC . 436 criteria and procedure . 87, 481–92 patterns . 233–37
beat, playing behind . 320 “policy” . 482 partial . 237–40
playing on . 320 bowings (= bow markings), printed . 402–3 Classical period, characteristic timbre . 84–85
beating pattern . 350, 352 brace (handwritten or printed, for change of dy- clave = a rhythmic pattern in African-Cuban music
beginning of a note onset namics or playing mode) . 409–10, 412–13, “click” (= bow-pressure articulation) . 50, 94,
behavior (in the orchestra) . 446, 449–50 422, 494 96–98, 106–8, 118, 126, 128–130, 132,
behind the beat, playing bracket (handwritten rhythm marking) . 170–72, 181, 210
bel canto opera, performance style (Bellini, 346–47, 396–97 click track . 288, 301, 310, 314, 447
Donizetti, Rossini, early Verdi) . 84–85, 320, breaks, taking during practicing . 76 coda sign (also used to mark cuts) . 334–35
325, 348, 442 bridge, shape . 76, 80 cm. = concertmaster
benefits (salary) . 437 British orchestras . 436 col legno . 80, 213–14, 424–25
Berlin Philharmonic . 4. 96, 442 broken chords chordal arpeggiations battuto . 213–14, 402, 424–25
beta blocker . 51 Buffalo Baffle (= sound-protection device) . tratto . 214, 424
bis (= play section or unit twice) . 333 615 collaborative pianist (rehearsal pianist, vocal
blending (with a section or partner) . 79, brush stroke (long spiccato, semi-spiccato) . 107–8, coach) . 32, 439
81–82, 226, 441, 453 130–33, 392–93 colla parte . 352
block, raising and dropping fingers as a . 46, 62 BWV = Bach Work Catalogue collé (spiccato) . 107, 118, 129–30
board of an orchestra . 448–49 c=delayed shift with contraction . 65 color timbre
“body-mapping” . 75 cabaletta (= fast section of an aria) . 330 comma . 340
bossa nova clave (Latin rhythmic pattern) . 45, cadenza, in concertmaster solo . 438, 441 commercial music . 334, 532
316–17 caesura . 340, 348 commitment OM1
boredom . 35, 442, 446, 452 calando (= diminish in tempo and/or dynamics) . communicating, communicator educational
bow (lift, retake, strokes) 345, 410 program
Baroque-style . 80, 386–87 camcorder . 20 competence, areas of (orchestral musician) . 7–8
carbon-fiber . 80 cancelation markings (nat., ord., etc.) . 422 complementary divisi
choice of . 80, 103 career . 561 complementary timbre . 82
development of . 386–88, 560 alternative . 10 composite bowing patterns (legato plus separate
division . 87–92, 284, 483ff. decision . 435 note[s]) . 96, 179–200
length . 87–88 goals, setting . 435–42 composite rhythm . 308
maintenance . 76, 560 planning . 8, 434–35 compositional style
point (part of bow) . xxii (chart), 59, 87–92 carpal tunnel, avoiding . 77–78 comprehension, swift, in orchestra OM8
pressure, avoiding excessive . 80–81 cavatina (slow section of an aria) . 330 concentration (OM6) . 13–14, 38
pressure exercise . 59, 83 cent (one-hundredth of a well-tempered half concertmaster, concertmistress (assistant/as-
speed exercise . 59, 83 step) . 221 sociate concertmaster, principal)
strokes, classification and description CEO of an orchestra orchestra manager and conductor . 437
(individual stroke types) . 106–8 chair, comfortable . 77 leading . 439–40
strokes, practicing individual . 49–50, 60–61 chamber orchestra, playing in . 14, 436 personality . 437
©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)
Index (1) and Glossary: Terms, Abbreviations, Symbols 457
requirements . 435 détaché . 106, 388, 402 symbol . 402–3
solos . 438–39, 494, 527, 533–40 articulated . 107, 125–26, 144, 162 dragging (rhythm problems) . 320–23
tasks and role . 21, 87, 330, 437–40, 493 bow-speed . 106–7, 123, 124 dress rehearsal . 446
training . 10 inflected (porté) . 106, 124, 401 dropped notes (drop-out notes), avoiding . 50,
concerto grosso . 438 lifted . 107, 116, 128–29, 210 87, 92, 110, 112, 116, 179, 185, 394
concerto repertoire . 524 loud . 78 drum stroke (“feather bowing” = consecutive
conducting (re-meter) marcato-tenuto . 107, 112, 114, 124, 404 ricochet) . 160–61
ahead . 320 practicing . 59 duplet . 346–47
manuals . 558 smooth (simple) . 106, 123, 162 dynamics (soft)
technique . 288–89 deteriorating technique adjustment and modifications . 414–18
conductor . 447–49 dialogue, spoken (in opera) . 330–31 audiating . 34
adapting to . 86 diatonic pitch pattern, scale and acoustics . 414
conception . .453, 482 dictionaries, recommended . 20, 558 and bowings . 483–84
integrity . 449 difficult pieces ”impossible” pieces balance within orchestra and section . 416–17
using metaphors . 36 diligence OM7 changes, gradual and sudden . 412–413
working with and adjusting to . 12, 14, 447–49 diminuendo, sign . 404, 407–17 complex and challenging . 215–17
conservatory, training . 4 technical control . 83–84 controlling, with elements of bowing . 83–84
orchestra, playing in . 4, 435 discipline OM7 decoding and clarifying . 407–10
contemporary music (atonal) dividing (separating, splitting) bows . 486, 488 echo, added . 417–18, 420
coping with challenges of (unrewarding divisi . 28, 40, 54, 56, 88, 493–504 harmonics . 272
music) . 24, 34, 38, 40, 59, 452 alternating . 150, 282, 286, 502–3, 512 and importance of parts . 416–17
repertoire . 437, 526 bowing . 395 long cresc. and dim. . 416
contraction shifts, delayed and bowings . 488 loud passages, relentless . 418
coordination (between left-hand fingers and bow complementary . 227, 428, 502–4, 512 micro-dynamics and phrasing . 418–22
arm) . 39–40, 72, 88, 114, 122, 139, 141, 144, dolce . 428–29 mid-range (“only f ”) . 414
171, 177, 191–92, 194, 201, 233, 313–14 Doppelschlag (= turn, as an independent orna- playing too loudly or too softly . 80, 411–12
practicing . 45–49, 62 ment) . 270, 370, 374–79, 384–86 pizzicato . 284, 414–15
copyright law . 557 dot articulation dot practicing . 49–50
core repertoire . 8–10, 20, 32, 36–37, 55–56, dotted bar line and register . 414–15
433, 515–29 dotted-rhythm pattern (legato, ”siciliano”) . in repetitions or tremolo . 142–43, 149
counting . 289–90 130, 170–77 and rhythmic mode . 323
craftsmanship . 436 and bow division . 89–91 terms and expressions, flowery and unclear . 407–8
“crawl bowing” zig-zag bowing bowing styles . 482, 489, 491 warnings and reminders . 411–14
creativity in orchestral work . 452–53 practicing . 50 E string, playing on (high, register) . 80, 275–76
crescendo . 406–17 practicing with . 47, 62, 115–15, 233 e=delayed shift with extension . 65
–diminuendo (< >) double hairpin and rhythmic mode . 324 ear plugs sound protection devices
technical control . 83–84 with string crossings . 202 ear training . 9
cross-rhythm (polyrhythm) . 45, 308–14, and triplets simultaneously . 350–51 manuals and software . 32, 558, 615
316–17, 350–51 and vibrato . 100–1 ease of playing OM6,  G13
cue . 331–32 double-dotting (overdotting) . 530, 350 editions (issues and problems)
adding and improving . 289, 331–33, 348–51 double hairpin (< >) . 410–11, 430 critical or urtext . 507–9, 563
text and vocal . 330–31 double sharp and flat . 360 first . 507, 564
cut . 335 double stop . 210–11, 265–67 reprints . 507, 564–65
d = dimished chord or triad broken . 265–67 “educated faking”
da capo . 56, 334, 336 dividing, if and how . 211, 499 educational and outreach program . 445, 447, 453
daily routine exercise . 75 efficiency of work OM8
dal segno pizzicato . 280–81 efficient practicing . 16
dampen (pizzicato) . 283 practicing . 44, 103, 106 effleuré . 284, 287
dance types and tempo . 344 practicing with . 43, 61, 220–21 EFT = Emotional Freedom Techniques . 51, 550
dash . 392, 401–2, 408 downbeat stressed eighty-twenty focus OM3
added to first note under a slur . 397–98 downbow (equalizing) Eingang (= “lead-in”: a short cadenza-like
several under a slur . 399 accents and diminuendo, avoiding unwar- retransition from a chord with a fermata, for
decision-making process in an orchestra . 450 ranted . 92, 412 instance, to the return of a rondo theme) . 438
deliberate practice . 16 consecutive (“all down”) . 78, 151–52, 278, embellishment ornament
demographic development . 7 487, . 504 emphasis accent
©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)
458 Index (1) and Glossary: Terms, Abbreviations, Symbols
end of staff or page . 336–38 divisi (staggered) . 101, 105, 323 G10 = no. 10: preparing for the eighty-
ending a note (“parking the bow”): 98–99 dotted rhythms . 170 twenty focus (OM3) . 19, 38
endings (multiple, volta) . 330, 334 harmonics . 272 G11 no. 11: expanding your technical
endurance OM6 memorizing . 40 resources (OM4) . 19, 38
energy, use of . 75–78 writing into part . 428 G12 = no. 12: preparing for push-button
enharmonicism . 260–61, 362 first violin (position) . 441 quality (OM5) . 19, 38
ensemble playing rhythm fitness, physical . 75–76 G13 = no. 13: preparing for ease and endur-
entrance, off-beat . 290–94 flautando . 105 ance (OM6) . 19, 38–39
equalizing downbow and upbow . 95, 135, 191, 387 flexibility (adapting)OM5,  G12 G14 = no. 14: preparing while prioritizing
equation (for tempo relationships) . 343–44 physical . 75–78 (OM9) . 19, 38
espressivo, various meanings (e.g., portamento) “floating” the bow (flautando) . 105, 424 gender studies . 36
. 365, 428–30 “flow” experience . 52 German orchestras European
etude . 59, 567–84 flow of motion . 78 giusto (allegro or tempo) . 344–45
European orchestras, style and working condi- flying staccato . 108, 153–56, 157, 487 glissando (portamento) . 270–71, 339, 363–64
tions . 86, 436–37, 444 Folge (= continuation) . 334 goals, importance of setting (G) . 453
excerpts orchestral excerpts form, musical, as a system of reference . 330 grace (= grace-note symbol) . 371, 373
executive director of an orchestra orchestra foreign languages, learning and decoding grace note (”little note”; appoggiatura) .
manager ( G3 ) . 8, 18 chains of figures . 118–22
exercise physical exercise fourth-harmonic . 272, 368–70 multiple (Schleifer) . 380
expression (character) . 428–29, 529 fouetté . 107, 116–17 rhythmic performance . 371–74
audiating . 34–37 fp (accent) .405–6 single . 122–23, 382–83
markings . 428–29 free bowing . 273, 396, 482, 488, 504 growth, artistic . 453
and vibrato . 102, 430–31 freelance work . 437, 442 guide note (auxiliary, intermediate note) .
extension (left-hand fingers; shifts, delayed) . French overture style . 173, 530 42–43, 63
224, 227 French slide . 271 H Hauptstimme
eyes, having them checked . 77 frequently performed repertoire hairpin double hairpin (< >)
f, as emphasis marking . 405 from the string, starting (lifted stroke) . 107–8 “half the section” . 494–95
facilitating difficult passages . 55, 172, 294, 134, 210, 276, 294–95 half step, intonation (chromaticism) . 220–24, 258
298, 489 free tonality atonality hall size
facility speed frustration job satisfaction and articulation . 92–93, 388
faithful performance (HIP) . 25 fulfillment happiness, self-expression and bowings . 488
“fake f  ” . 80, 416–17 furiant (fast Czech dance) . 310 and section size . 493
faking and “educated faking” . 50–55 fz sf and vibrato . 103, 430
“feather bowing” drum stroke G string, playing on . 82, 102, 249–50, 276, handwritten markings . 328–431
Feldenkrais Technique . 76 427–28 happiness in orchestral work (job satisfaction)
fermata G (= establishing goals) . 6–8, 18–19 . 436, 450
adding cues to . 348–49 fixed performance goals harmonics . 55, 75, 103, 106, 228, 272–74,
practicing with inserted . 47, 62, 114–15, G1 = no. 1: checking the accuracy of 366–70, 427
170, 179 your score/part . 18, 21, 505–9 artificial (fifth, fourth, major-third) . 272–74,
symbol (various) . 340 G2 = no. 2: decoding notation . 18, 21, 24 368–70
fermata embellishment . 438 G3 = no. 3: decoding foreign-language natural . 272–73, 366–67
fifth-harmonic . 368–70 terms . 18, 25 pizzicato . 283
film score . 334, 532 G4 = no. 4: decoding handwritten technical slide to . 271
final chords . 89, 94–95 markings . 18, 25 substitution . 370
financial compensation (salary, benefits) . 436 G5 = no. 5: interpreting notation according harmony, analyzing and understanding . 29–30,
finger to performance practice . 18, 25–27, 390 559
anchor finger G6 = no. 6: musically accurate perform- hat (petit chapeau, marcatissimo sign; accent) .
exchange . 64, 69, 99, 398–99 ance of the score (OM7) . 18, 27 406–7
moving all to the same string (for practicing) . G7 = no. 7: technical precision and added to first note under a slur . 397–98
34, 44, 253 performance . 18, 27 several under a slur . 399
pressure . 77 G8 = no. 8: audiating . 18, 27–37, 56, Hauptstimme (H = P = principal part, Schoen-
“twister” . 264–65 59, 288 berg, Berg) . 213, 228, 416
fingerings . 224–29 flexible performance goals “Haydn ornament” . 370, 375–77
chromatic . 72, 323 G9 = no. 9: practicing with a range of vari- health problems, preventing and counteracting
designing . 30, 32, 56 ables (OM2) . 19, 37 . 57, 451
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Index (1) and Glossary: Terms, Abbreviations, Symbols 459
hearing problems and loss . 451 in pizzicato . 275 simple (vs. articulated or inflected) . 106, 108–16
Hearwig (= sound-protection device) . 451, 615 practicing . 42–43, 46, 219–24 short (2–4 notes) . 112–18
hemiola . 310, 346–47, 530 pure (chordal, just; derived from three major two-note, with repeated pitches . 114–16
hierarchy in the orchestra . 12 triads in pure or natural tuning) . 75, 220–21 types of . 106
high pitches/register . sharp . 222 leggiero . 402
across A string and E string . 253–57 soloist’s . 221–22 legno col legno
exercise . 69 string-quartet . 222 lh (= lower half) . 403
extremely . 258–60 systems . 12, 46, 220–24 librarian (orchestra librarian; bower) . 330,
markings . 361 well-tempered . 221–24 335, 440
unprepared or reached by silent shift . 251–53 inverted mordent . 267, 380, 382 libretto (opera) . 20, 35
HIP historically informed performance jazz . 531–32 lifetime work span . 7
hiring criteria (orchestral players) . 442, 444 articulation and rhythm . 316–18 lifestyle . 75
historical background of a piece . 35 slides and swoops . 271, 364 lift the bow . 89–90, 95–96, 173–75, 179, 404
historically informed performance (HIP) . 7, job . 551 lifted stroke types (collé, détaché) . 98, 107,
38, 389, 499 market . 435 128–30, 162
“hold the note” (warning not to cut it short) . 349 satisfaction (happiness) . 436, 452–54, 561 lifting the fingers . 62
holistic concepts of physical energy . 76 security . 437 ligato non ligato
homogeneity in performance or section “swap” . 453 line (handwritten rhythm marking) . 346–47, 352
(blending) . 11, 39, 79, 82 “Johari window” (= concept of open, hidden, linked stroke types . 108, 126–27
hooking linking blind-spot, and unknown factors in interper- linking (hooking, tucking = playing several
humor, sense of . 436 sonal relations) . 445 articulated notes or groups of notes on a single
hypermeasure (unit of several measures) . 289, 420 judging other players . 446 bow without retake) . 166, 171, 176–77, 184,
I = obtaining information and resources about jump cut, leap 396–97, 403, 482, 486, 488–92
a piece (or for a task) . 6, 9, 18, 20, 434 key listen (OM2)
i (= plucking with index finger) . 280 with many accidentals (remote) . 29, 59, to principals and other players . 13
identity of the orchestral musician, defining . 1, 260–61 to yourself . 39
5–6, 451–54 identify . 29 literature, recommended, on orchestral playing .
illegible parts . 77, 532 practicing in different . 65 4, 558–62
imagining the motions of the fingers or right keyboard skills . 9 for practicing . 20
arm . 28–29, 34, 36 kinesiology or kinetics (study of movement) . 9, 75 “little note” (grace, grace note) . 371,
imagining the pitch or sound . 28, 32, 65, 69 Kurorchestra = spa orchestra . 14 374–78, 380, 382, 384
“impossible” pieces and passages . 17, 50–55 languages foreign languages lobbying (advocacy) . 450
“improving” the score . 512–13 LAO League of American Orchestras “locked,” feeling . 78
inconsistencies in scores (horizontal, oblique, larghetto . 344 loco . 362–63
vertical) . 370–71, 509–11 Latin rythms and dances . 310, 316 loop practicing
indeterminacy . 365, 532 leading (concertmaster, principal) . 439–40 loudly dynamics
individuality . 12, 435, 452–53 League of American Orchestras . 450, 526 loudness . 451
“infinite melody” . 395 leap . 44, 69, 251–53 louré portato
injury health problems learning M = major chord or triad
inner hearing (audiating,  G8 ) . 28 and practicing . 7, 16–56 m = minor chord or triad
inner metronome . 289 how to learn . 16–17 M (= plucking with middle finger) . 280
instrumentalist versus musician . 435, 453 process . 17–18 (table), 19 macrobeat (e.g., the half note in 4/4) . 70, 289,
instruments, characteristics of (organology) . a solo piece (method of) . 6, 17 303, 444
331, 560 left-hand articulation manager orchestra manager
transposing . 331–32 legato (non ligato, slur) marcato-tenuto détaché
intensity, “controlled” . 80 articulated . 106, 116–17, 184–90 marking parts . 8, 10, 327–28, 440
integrity, sense of (OM1 . 12, 436, 449 avoiding . 93 markings, handwritten
internship (orchestral) . 4 composite bowing patterns (legato plus decoding  G4
intonation (chromatic, pitch, tuning) . separate note[s]) international code for . 25, 328
consistent . 219–20 dotted . 112, 114, 116, 183 with negations . 329, 406
expressive . 221 exercises . 59 principles . 328–29
high range . 258 inflected (marked, “soloist’s,” porté, bow quantity (number) . 327–28
melodic or Pythagorean (derived from a vibrato) . 106, 118 martelé . 107, 118, 125, 388, 402
series of perfect fifths) . 220–21 long (more than 4 notes) . 108–12 martellato . 402
orchestral . 222–24 and separate notes composite bowing patterns meaning (message) of a piece, audiating . 34–37
©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)
460 Index (1) and Glossary: Terms, Abbreviations, Symbols
measure numbers . 330 moving around, while playing . 78 OM4 = no. 4: wide range of technical and
medical problems health problems MPA = musical performance anxiety musical resources ( G11 ) . 11, 13, 38,
medicine for the performing arts . 8, 550, (performance anxiety) 41, 56, 79, 126, 128, 130, 135, 139, 153,
literature on . 562 multiphonics . 287 157, 191, 210, 275
meditating . 51 muscoskeletal problems, preventing . 75 OM5 = no. 5: push-button technique and
memorizing (SM3 . 13, 16, 28, 32, 40, 59, 65 musical performance anxiety performance flexibility ( G12 ) . 11, 13–14, 27, 38, 59,
mental coach . 51 anxiety 123, 127, 130, 152–53, 184, 191, 227,
meno . 344–45, 407 music history surveys, recommmended . 558–59 275, 371
mental (practicing, strain) music stand, height of . 77 OM6 = no. 6: ease and endurance ( G13 ) .
optimization  MO musician versus instrumentalist . 435, 453 11, 14, 38, 75–79, 103, 125, 140, 147, 152,
messa di voce (< >) . 392 musical (the genre) . 334, 532 268, 272, 278
message of a piece meaning orchestra . 437 OM7 = no. 7: accuracy, precision, diligence,
metà (= half the section) . 494 repertoire . 526 discipline (OM1, G6) . 11, 14, 27, 79,
meter (ametric music, re-metering) . 341–44 mute . 212, 226, 287, 348, 422–24 83, 446
alternating (= regular pattern) . 314, 342 types of . 423–44 OM8 = no. 8: speed of work, swift compre-
change . 343–44 n. (o = niente) . 407, 413 hension, efficiency . 11, 14, 56, 446
combined (= irregular pattern of two meters) nat. . 422 OM9 = no. 9: prioritization ( G14 ) . 11,
. 314, 342 NDR (= Symphony Orchestra of the North- 14, 38, 52–56, 446
composite (= non-standard grouping of German Radio) . 436 on the string . 106–7, 123–26, 388
beats) . 342 negations, handwritten or printed markings . on or off? . 388–89
fractional . 341 329, 345, 406, 414 onset (”click”) . 96–97, 106
irregular or imperfect (= composed of groups neo-romantic style . 532 harmonic . 272–73
of different lengths, e.g., 5/4 = 2+3 or 3+2) NHK (= Symphony Orchestra of the Japanese spiccato and sautillé (first note from the
. 314–16, 341 Broadcasting Corporation) . 436 string) . 134, 138–39
mixed (= several different time signatures in a NMA (= New Mozart Edition, Bärenreiter) . 400 tremolo . 149
single measure) . 314, 342 noise protection sound protection “open” playing position (= violin turned slightly
with non-standard denominator or numera- non-chordal tones . 30 to the left) . 62, 77, 249
tor . 341 non ligato . 402 open strings . 226,275, 427
polymeter (= different meters simultane- non-tonal atonal used for easy shifts . 224
ously) . 308, 342 notation (orchestral) . 8, 327–432 opera
simple (= meter with two, three, or four decoding G2 company . 436
units to the measure) . 341 non-standard . 24 learning an . 20, 35–36
with unusually small or large units . 341 software . 20, 310, 615 orchestra . 14, 436–37
variable (= no regular pattern) . 314–16, 342 surveys of . 559 repertoire . 525, 527
metric modulation (= pulse change according to note heads without stems . 339, 381 opéra comique . 532
a complex equation) . 316, 344 note values . 339 operetta . 334, 532
metronome . 20, 45 octave transposition (8va and 15ma) . 362–63 repertoire . 526–27
inner . 289 off the string . 107–8 oratorio repertoire . 526
markings . 28, 345–46 on or off? . 388–89 Orchester-Akademie at the Berlin Philharmonic . 4
method (violin method book) . 567–84 off-beat orchestra
mezza voce (= half voice) . 408 accent . 301–2 associations of, internet links . 550
microphone (amplification; recording) . 287 entrance . 290–94 governance . 560–61
minimalist composition . 532 figures, ostinato . 97–98, 294–301, 302, history of . 560
mirror neurons . 12 305, 314–15 individual orchestras, internet links for . 550
misprints and mistakes (inconsistencies) in OM = orchestral mode . 7, 11 (table), 12–15 librarian
scores . 505–12 orchestral-mode principles manager (CEO, executive director) . 448, 450
mode orchestral mode, rhythmic mode OM1 = no. 1: orchestral responsibility, com- role and value of . 5–6
mordent (inverted) . 370 mitment, respect . 11–12, 436, 449–50 types . 14, 436–37
motivation (identity issues) . 52 OM2 = no. 2: adapting all elements of play- orchestral (career, jobs, training)
MO = mental optimization . 19 ing to the environment (G9) . 11–12, excerpts . 2–4, 443–44, 558, 565–84
strategies 37–38, 79, 83, 86, 222, 371, 386 mode ( OM ) . 7, 11–15
MO1= no. 1: remove mental obstacles . OM3 = no. 3: eighty-twenty focus (= -repertoire class . 10, 15, 37, 82, 86
19, 51 reserving twenty percent of your concen- profession, value of . 1, 5–6
MO2 = no. 2: build a positive mindset . 19, tration for adapting to the performance work, challenges of long-term . 450–54
51–52 situation;  G10 . 11, 13, 38, 318, 438 work, “mechanics” and nature . 446–54, 552
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Index (1) and Glossary: Terms, Abbreviations, Symbols 461
ord. . 422 phrasing and phrase structure . 322–23, playing modes, different (pont., pizz., etc.) .
ordinario (tempo) . 344 418–22, 486, 529 34, 422–28
organology (= science of instruments) . 8, 560 physical exercise . 52, 75–76 playing style
ornament (embellishment) . 370–86 physical problems . 75 poco forte (pf) . 408
in concertmaster solos . 438, 441 platform seating arrangements point (punta, Spitze) . 389–99, 402–3
universal symbol . 370, 385 pianist collaborative pianist polka, style and types . 129, 344
outreach program educational program Pilates . 76 polymeter . 308–9
“overcrowding” (of fingers in a very high range) . 258 piano accompaniments, for concertmaster solos . polyrhythm cross-rhythm
overture repertoire . 525 533–40 polytempo . 309
P principal part (in Schoenberg; piano score collaborative pianist ponticello, sul . 212–213, 424–26
Hauptstimme) . 228 piqué (“standing staccato”) . 157 “pops” repertoire . 437, 532
P = planning pit, musician and orchestra . 322, 435–36, 451 portamento (glissando) . 270–71, 363–65, 427–28
steps of planning the preparation of a piece pitch adding . 86, 365
P1 = no. 1: identify and prioritize chal- indeterminate and highest . 365 portato (louré; bow vibrato) . 106, 108,
lenges . 19, 39 notation . 360–66 126–27, 398–99, 490
P2 = no. 2: design practicing strategies . warnings . 360–61 porté détaché (inflected), legato (inflected)
19, 39–40 pitch pattern . 29, 32 position ”open” playing position
P3 = no. 3: establish time goals . 19, 40 awkward (“finger twister”) . 264–65 position (in the orchestra) ”assigned chair,”
P4 = no. 4: establish overall schedule . 19, 40 chromatic . 233–37 assistant/associate concertmaster, principal,
pacing tempo diatonic . 229–32 sub-principal, section player, first violin,
page end or page turn . 287, 336–38, 348, 502 learning (audiation) and practicing . 29–34, 42–44 second violin, Vorspieler
“park the bow” ending a note learning irregular . 32 positive thoughts . 51–52
part, checking the accuracy of your G1 partially chromatic . 237–40 posture (”open” playing position) . 76–77
partial (fundamental and overtones of a pitch) . 366 repetition practicing (and learning) . 7, 16–56
partner, practice with (stand partner) . 15, “scale-chord-plus” . 244–49 accents, with . 48–49
37, 44, 82, 94, 100, 222, 237, 277–78, 288, whole-tone . 261–62 amount . 16–17
291–92, 294, 301, 311, 313–14 più . 344–45, 407–8 aspects, shifting focus . 39
part-time work . 437 pizzicato . 75, 275–87, 425–27 efficient . 16
pattern (compositional), learning alternating divisi . 502–3 environment . 20
(accompaniment, bowing, composite arco, switching between . 284–87, 425, 483, fermatas, with inserted . 47
bowing, dotted, pitch, rhythm) . 27–28 486 goals . 18
pay salary arpeggio (measured and unmeasured) . log . 40, 59
pedagogy teaching 282–83, 426 loops . 48
perfection, striving for . 436, 452 “blind” . 278, 284–85 mental (SM) . 17, 19, 40
performance . bow down . 279 physical ( SP ) . 40–50
anxiety (MPA, stage fright) . 51, 445, 451 chords and double stops . 280–84, 426 process . 17–19
goals ( G ) . 18–38 dampen . 283, 426 resources . 18, 20
goals, fixed or objective . 12, 20–37 “down and up” (strumming) . 280–81, 426–27 rests, with inserted . 47
goals, flexible or situational . 12, 37–38 fast . 78, 278–81 rhythms, with different and meter . 46, 48
philosophy (“Romantic” versus “historic”) . fingers, with several . 280 segments . 42, 47–48, 233, 278
26, 38, 443–44, 512, 560 harmonics . 283 slowly . 45
practice (G5) . 327–432, 530, 559–60 intonation . 275 strategies (SM, SP ) . 17
practice, how and why to study . 25–26, 437 left-hand . 279–80, 426–27 types of (“building,” “clean-up,” growth,
science (= study of the physiological and reverberant . 425 maintenance, performance-simulation,
psychology basis of musical learning and rhythm and ensemble playing . 277–78, 326 review, run-through, selective, surgical) .
performance) . 7, 17, 561–62 snap (Bartók) . 284, 426–27 19, 40–41, 453
statistics, 526–28, 560 sound quality and motion . 276 varying strokes, dynamics etc. . 48
style and traditions . 529, 512 special techniques (buzz, effleuré, nail, etc.) . 284 precision OM7, G6–G7
“true” (versus playing through a piece) . 447 touch pizzicato . 277 pressure bow pressure, finger pressure
period instruments . 26 tremolo . 280–81 primer repertoire . 433, 515–17
ensembles . 437 vibrato . 276 principal (position; concertmaster, second-
ensembles, conductors of, working with . “violin down” (“guitar-style”) . 281, 426 violin principal) . 437, 441
437, 452 più . 344–45 principal part (P, Schoenberg, Berg) . 228
personality of an orchestra musician . 435–36 planning (training, practicing, career;  P ) . prioritization OM9,  G14 ,  P1
pf (= poco forte) . 408 6, 9–10, 434, 442, 434–35 probationary period (trial period) . 5, 446
©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)
462 Index (1) and Glossary: Terms, Abbreviations, Symbols
programs of programmatic pieces . 20, 36 types of . 436–37 modification . 350–52
pronunciation (of foreign language terms) . 25 repetition (repeated pitches or pairs of pitches; patterns . 455
psychotherapy . 51 tremolo) . 38, 78, 139–47, 354–59 and phrasing . 322–23
pt (= point, tip) . 403 accented . 356–57 in pizzicato . 277–78, 326
public domain copyright law and bowing . 504 practicing strategies for . 288
publishers, internet links . 552–55 displaced . 140–41 practicing with different . 46–47
R1 – R39 = pieces of the core repertoire . slashes, on single notes (tremolo bars) . 354–58 practicing with displaced . 45, 140–41, 179
516–26, 530–31 slashes, between two notes . 358–59 problems (dragging, rushing) . 170, 177,
pulse tempo symbols (one beat, one measure, two meas- 320–26
punta or punto point ures) . 353 reading . 290
push-button technique OM5,  G12 “tied” . 147, 357 rubato . 277, 318–20, 352, 355
Quigong . 76 or tremolo? . 354–55 and seating arrangements . 321–22
quintuplet . 304–5, 374 tuplet . 354 sing and clap . 288
quarter tone . 287, 366 two-tone alternation, separate bows . 126, symbols and instructions, printed . 339–46
quartet (string-quartet) playing . 15, 441 201, 359 subdivisions . 302–4
radio orchestra (recording) . 86, 436 two-tone alternation, slurred . 269, 358–59 and style . 324–25
“rage to master” (Ellen Winner) . 52, 436, 452 resources (and tools) syncopation . 294–301
“railroad tracks” (// = stop, caesura) . 340, 348–49 for practicing . 20 tie . 290–94
range of musical and technical resources OM4 for training . 549–615 tuplet . 304–7, 308, 339, 354
recitative . 530 respect (OM1) . 448 rhythm and bowing patterns (dotted) . 455
cues, adding . 332–33 responsibility OM1 3+3+2 (= son clave; Cuban rhythmic pattern)
intonation in . 222 rest . 45, 316–17
punctuation (lifted) . 128 active (versus “deflating”) . 348, 447 composite (legato plus separate notes) . 96,
recognition, lack of . 442, 447, 452–53 as articulation mark (“bridging”) . 99 179–200
recording (studio work) . 436–37, 447 adding cues to . 332–33 different note values, consistent bow direction
devices . 20 counting . 289 . 161–65
software . 20, 39 “empty” . 348 different note values, changing bow-direction
style of playing, for . 86, 103, 429 handwritten warning . 346–47 . 166–65
yourself . 20, 39 practicing with inserted . 47 impossible, practice with “educated faking”
recordings, role of, in the learning process . 4, 20, 37 “quiet” (do not move) . 348 . 55
register short downbeat, coming in after . 290–94 and rhythmic mode . 324
and articulation . 94 symbols (also alternative forms and block short–long dotted
and spiccato . 130 rests) . 339–40 ricochet . 150, 157–61, 150, 486–87, 491
and vibrato . 102 retake the bow . 89–90, 151–52, 166, 174, 403–4 arpeggio . 161
rehearsal rf or rfz (= rinf.) . 406 composite . 157–59
letters and numbers . 330 rhythm (and ensemble playing; cross-rhythm, rinf. (rf, rfz = rinforzando, rinforzato) . 406
process and technique . 446–49 dotted, meter, metric modulation, off- ritardando . 319–20, 350–51
types of (dress, stage, etc.) . 446 beat, polytempo, quintuplet, re-meter, Rolfing . 76
relax . 77–78 septuplet, time zone, tuplet, upbeat) . “Romantic hierarchy” of instrumental profes-
re-metering for performance . 289, 310 8, 88, 288–326 sions . 2–3, 5, 452
for practicing purposes . 29, 45, 48–49, and acoustics . 322 Romantic period, characteristic timbre . 84–86
310, 312–13 and articulation . 322–23 “Romantic” versus “historic” performance
repeat sign (repeat bar, repetition bar) . 333–34 composite . 308 performance philosophy
repeat or not to repeat . 334 counting . 289–90 rotation scheme in section . 441, 451
repeated pitches, and articulation . 93 cross-rhythm (polyrhythm) . 45, 308–14, routines (daily) . 59–75
repeated stress injury (RSI), avoiding . 77–78 316–17 RSO radio (symphony) orchestra
repertoire (audition, contemporary, core, cues . 289, 331–33, 348–51 rubato . 277, 318–20, 352, 355
primer) . 433, 515–29 factors . 320–26 run-through (SM2) . 41
benefits of learning certain . 515–16 flexible (dynamic, flow) . 288, 318–20 rushing (rhythm problems) . 320–23
building, order of . 528 jazz . 316–18 Russian music, characteristic timbre . 84
frequently performed . 433, 515, learning (audiation) and practicing . 28–29, 45 Russian slide . 271
526–28 markings, handwritten . 346–53 S = strategy for mastering a task . 6
specializing and “despecializing” . 436–37, 516 mode (= rhythmic and energetic qualities sabbatical . 453
surveys of orchestral . 559 inherent to certain dynamic patterns etc.) . salary (pay) . 437
preparing for current . 59 320, 323–26 sautillé . 37–38, 46, 107, 130, 135–39, 162, 388
©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)
Index (1) and Glossary: Terms, Abbreviations, Symbols 463
save bow (short bows) . 92, 404, 413–14 serenade . 438 with dot, stroke, or wedge at the end . 396–97
scale serial composition . 531 with dash, wedge, or hat on the first note .
chromatic, fingering . 72 sextuplet (“true” and “false”) . 350 397–98
chromatic, one position, routine . 72 sf and sfz (accent) . 405 with several dots, dashes, wedges, accents, or
chromatic, one string, routine . 72–73 sfiorando (= portamento) . 363, 427 hats (bow vibrato, portato) . 399
diatonic . 229–30 shift long, and bowing . 488
diatonic, one position, routine . 70 across strings . 64 over notes with the same pitch . 398–99
diatonic, one string, routine . 70–71 “caterpillar” . 63 over rest (tie) . 392–93, 425
diatonic, three octaves, routine . 71–72 Classical slide . 63 shorten the last note and add a diminuendo
intonation . 220 combination slide . 63 (abziehen) . 393–94
learning patterns of . 29 “crawling,” “creeping” . 63 types of . 393–99
non-traditional . 262 delayed, with contraction or extension . SM = strategies for mental practice . 40
practicing . 60–61 63–64, 68, 224 SM1 = no. 1: mental simulation of physical
whole-tone . 261–62 exchange . 64 practicing . 19, 40
“scale-chord-plus” (= framework of scale seg- exercises . 42, 64–68 SM2 = no. 2: mental run-through . 19, 40, 55
ments and broken chords) . 30, 31, 244–49 expressive (vs. technical) . 62–63, 427 SM3 = no. 3: memorizing . 19
schedule (time goals) ( P1 – P2 ) . 6, 9–10 French slide . 63, 271 small orchestra . 14, 436, 40
Schleifer (= “slide” = fast ornamental scale segments, full slide . 63 snap (Bartók) pizzicato) . 284, 426–27
written with normal note values or “little notes”) guide note, with . 42–43, 63 SO = symphony orchestra
. 229, 350, 370–71, 374, 484 “partway-down” . 42, 65, 258 social atmosphere in an orchestra . 449–50
scordatura (non-standard tuning of the open practicing . 42 sociology of orchestral work . 561
strings) . 287, 365 Romantic slide . 63 soft dynamics, very . 38, 48, 78, 103–6, 135,
score, full (”improving”), consulting and pre- Russian slide . 63, 271 417
paring with . 28, 37, 320, 332, 440, 345, 439 silent (leap) . 69, 251–52 software (ear training, notation, recording)
seating arrangements (“German,” “American,” technical (vs. expressive) . 63–64 . 310, 615
“Furtwängler,” variants) . 12, 441, 321–22, .493 technique . 62–68 soli (handwritten or printed marking) . 494
second violin (position) . 320, 441, 453 “trilling” . 42–43, 249 solo (handwritten or printed marking) . 494
parts, and bowings . 483 types . 62–64 solo passages a due, concertmaster solos,
parts, challenges and strategies . 59, 77, 532 shoulder rest . 76–77 assistant-concertmaster solos, associate-
second-violin principal . 441 “siciliano” rhythm . 158–59, 177–79 concertmaster solos, second-violin principal
solos for . 441, 544–54 practicing with . 46 solos, section player solos
section player . 441–42 sight-reading . 1, 5, 15, 27–28, 36, 39, 55–56, soloist
solos for . 442, 543–44 228, 444–45 dreams of becoming . 435, 452
section sight-reading-plus (= practicing selected passages vs. orchestral musician (solo playing vs.
atmosphere and partnership in . 449 and sight-reading the rest) . 41, 56 orchestral playing) . 1–3, 79, 99–100,
healthy mix within . 441 silent playing . 28 221–22, 227, 444
sound, and articulation . 93–94 singing, in orchestral pieces . 287 sospiro (= soft, smooth lifted upbows in the upper
size (strength) . 493 El Sistema (= Venezuelan system of orchestral half) . 128, 484
size and playing style, adapting to . 12, 86, training) . 7 son clave (= 3+3+2, Cuban rhythmic pattern) .
103, 482, 488, 502 skipping strings . 61, 209–10 45, 316–17
segments simulating sons filés (“spun” notes = long, sustained strokes)
dividing a piece into, for practicing purposes . 42 a performance . 40–41, 77 . 59
practicing consecutive, overlapping, and a rehearsal situation . 86 sotto voce (= in a hushed voice) . 408
expanding . 47–48 “sixth” note (1/6) . 341 sound protection device . 451, 615
segno (dal segno) . 56, 333–35 slide glissando, jazz, portamento, Schleifer, sound quality
self-assessment ( A1 – A2 ) . 6, 9, 19, 434 shift beautiful . 79, 82, 103, 276, 429, 452
self-confidence (self-efficacy) . 52 slur deteriorating . 59, 451
self-expression, self-fulfillment, self-determination adding and removing (separating) . 391–92, soundpoint . 212
. 452–54 403, 488–89, 491 exercises . 60, 83
self-reliance . 17 as articulation sign and bow marking (Type-A) soundpost . 80
semi-professional orchestras . 436 . 393–94 SP = strategies for physical practice . 40–50,
senso-motoric processes (= processes involving as articulation sign or phrase marking (Type-C) 41 (table)
the interaction between senses and motoric . 395, 398 SP1 = no. 1: practice what is difficult . 19,
systems) . 16, 56 as bow marking (Type-B) . 395 41, 43
septuplets . 305 dotted . 404 SP2 = no. 2: practice slowly . 19, 42–43, 45
©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)