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Abstract: This article focuses on the use of techniques in the emotional expression of the violin work "Song of the Wanderer", first of all, several common bow methods in violin performance are briefly expounded, so as to provide certain theoretical support for the development of the research of this paper, and then the analysis of the violin bow and emotional expression is carried out, taking the author's introduction of Sarasati as the starting point to understand the background of the creation of "Song of the Wanderer", which is conducive to the analysis of emotions expressed in the music, hoping to master the playing skills of "Song of the Wanderer". Improve your violin playing ability to provide a corresponding reference.
Keywords: violin; Song of the Wanderer; emotional expression; use of technique
Preface
At the end of the nineteenth century, Romanticism prevailed and gradually influenced from the field of literature and art to the field of music creation. Under the influence of the delicate atmosphere of Romanticism and infected by the enthusiastic, optimistic and kind character of the gypsies despite their uncertain residence, Sarasati created the most representative violin work of the Romantic era, that is, "Song of the Wanderer", which is highly difficult to play and contains particularly rich feelings, so the playing skills and emotions expressed in the works have high research value.
First, several bow techniques in violin playing techniques
(1) Violin playing skills
When playing the violin, it is necessary to change a variety of bows and bows, which is an important means to show the superb playing skills and beautiful timbre of the violin. The left hand is mainly responsible for the decision of the pitch in the violin performance process, and gives each tone vitality, the right hand is mainly responsible for the continuous vibration of the strings, the time value and strength of the tone are determined, and the length and strength of the tone are the main performance, in contrast, the right hand bow technique is more difficult and complex, so exploring the right hand bow technique is of great significance for the better presentation of the connotation of the work. In the process of violin performance, the longbow and jumping bow are important and basic bow handling skills, which are especially necessary for the accurate grasp of the music style, so the following is an elaboration of bow handling techniques such as longbows and jumping bows.
(2) Longbow - fast and slow, how many bow segments, a bow a few tones
In the bow handling skills, the fast bow and slow bow are the basis of all bow techniques. The slow bow is played in a variety of different ways, forms, and the pressure exerted is also different. The slow bow is influenced by the long tone of the vocal music, and the performance requires a continuous cycle of bow after bow. Usually, the slow bow playing method is mostly suitable for emotional and profound music, and the performance of this bow method is impossible to achieve with the previous bow. When playing a fast bow, the bow needs to move quickly, mostly suitable for passing sentences, under normal circumstances, the performance of such sentences requires light playing, and in the bow performance that requires a certain amount of pressure, the notes played need to be round and full. In addition, the reasonable allocation of bow segments when carrying the bow is also particularly important, if the note time value is not pulled enough, it will weaken the volume and cause the sound to be weak; if the bow is too much, it will lead to accents, affecting the final performance effect. Taking the spectrum shown in Figure 1 as an example, when playing, the first note should be a point of eighth, pulled by a 3/4 bow segment; the second note is a sixteenth note, completed by a 1/4 bow segment pushing the bow; and the third note is an eighth note, pulled with a half bow.
Figure 1 Bow Atlas
(3) Jumping bow - single tone, double tone, octave
Jump bow method playing process, from the air to drop the bow, after completing the pronunciation quickly leave the string, and the arc dynamic, when playing, the specific contact position between the bow and the string in the arc bottom or near the position, this action is mainly composed of vertical, horizontal two kinds of action, if the horizontal action beyond the vertical action will make the arc more gentle, the sound emitted is softer, the nature of the vowel is more intense; if the vertical action is excessive, the sound will be sharper. At the same time, the height of the bow will also have an impact on the sound quality and strength, the higher the bow, the sound emitted changes to sharp, and the player jumps the bow near the tip of the bow, or the tip of the bow, but this way of playing is mostly used when special acoustic effects are required. In order to play the bow jumping technique well, it can be practiced with the help of empty strings, which can help the completion of the more complex bow methods in the music, and can also achieve a good display of single and double tones. This kind of bow method is more common in plucked string sentences, and is mostly used to play intopective notes. In terms of bow length, the violin's jumping bow can be converted from a very short bow to a very wide bow, generally the lower 2/3 is the main application position, if the note played is fast and short, the jumping bow is closer to the middle, when the played note is fast and short enough, even close to the upper position of the middle bow.
2. Violin bow and emotional expression
(1) The author's profile
The Song of Gypsy, also known as the Song of the Wanderer, was composed by a Spanish composer and violinist, composed in 1878, originally with orchestral accompaniment, but now mostly piano accompaniment. The Gypsies originally lived in India and migrated around the 10th century, which is also the origin of the term for the wandering people. This nation is wild and uninhibited by nature, advocating freedom, and has the characteristics of being able to sing and dance, and at the same time, it also shows certain advantages in the performance of musical instruments, and plays an important role in the development of European music. The famous Chardas and flamenco songs and dances all show a certain gypsy musical color. After the combination of Gypsies with the music of European countries and regions, a unique musical category and musical form was formed. Although a Spanish composer, Sarasati composed The Wanderer's Song in the Hungarian style. The violinist Auer pointed out that the main tone of the music is the Hungarian style, which is the most dazzling and recommended work of all the music to date, and the most representative musical work of the Romantic period.
(2) Musical and performance analysis of "Song of the Wanderer"
1. Part I
C minor, middle plate, 4/4 beat, play with emphasis on rhythm freedom. This section is divided into 4 small paragraphs. The first paragraph is mainly based on the accompaniment part, which is cut in, followed by the addition of the violin's full G-string strong tone and the addition of flowers repeatedly, forming a heavy and tense melody, poignant, pathetic, and reflecting a distinct tragic color. When this melody is played, with the addition of vibrato in the accompaniment, the dark thematic atmosphere is deepened again, and the vibrato accompaniment leads to the second melody, that is, the 5th bar (see Figure 1), further promoting the tragic color of the melody.
Figure 1 Subsection 5
The passage is composed in a "gypsy mode", giving the melody a distinct Hungarian gypsy color, conveying a melancholy mood with the help of slow performance. Then we move on to the third paragraph, subsection 13, into a melody full of passion and ups and downs, as shown in Figure 2.
Figure 2, subsection 13
The design of this melody is undoubtedly a further reinforcement of the rich emotional color and improvisational character of gypsy music, thanks to the insertion of a descending tone with a vibrato, and the appearance of a bow of 22 notes, plus each phrase rises in the treble zone, rises to a high octave of sharpness, and descends to the midrange zone.
Enter the fourth paragraph, that is, the 29th subsection, this paragraph mainly plays a transitional role, first with the help of overtones to complete the design of 2 small musical sentences, and secondly, the application of fast sentence walking and vibrato playing method, etc., change and repeat the theme tone, promote the music to become more gorgeous and colorful, the above techniques, with the technique of plucking the strings with the left hand, give this paragraph the improvisational characteristics of gypsy music. Through the application of complex and complicated techniques, the feeling of depression and sadness conveyed in the previous melody can be alleviated. With the help of the last bar of this part, by adding v7 in C minor - i harmony, the way down to the theme tone stops, thus successfully completing the performance of this part.
2. Part II
Slightly slower wide plate, C minor, 2/4 beat. This section is divided into two paragraphs. The accompaniment part performs short phrases with very weak strength, leading to the thematic style of this part, especially the unique melody composed of sixteenth notes and quarters notes, which is also an important feature of this part, with a distinct Spanish musical style, and reflects a long and empty sense of lamentation and desolation. The violin then slowly plays an evocative melody with the help of a weak instrument (subsection 49, see Figure 3). In the second part of the performance, the playing technique of the "Lienton Bow" is also applied, which is more difficult, and in the process of playing, it should be ensured that dozens of roundabout sounds are concentrated on a bow. The player's arm should be kept tense when playing, in order to closely follow the strings, the right index finger should be used to apply pressure on the bow hair, relieve the pressure of the bow on the strings, control the bow with the strength of the wrist, apply slight pressure with the fingers, promote the bow method to be more lively, after completing the note playing, the note should maintain elastic jumping, and the sound between the notes should maintain a high consistency. At the same time, a reasonable division of the bow in the performance is also particularly necessary, so as not to cause the bow to be insufficient when playing in the later stage.
Figure 3, subsection 49
The composer Kodayi once examined this melody and found that this melody was from Ilemel Sentiermey, an adapted melody with the following song: "There is a beautiful girl in the world, that is, my roses and doves, and fate has rewarded her to me, and this is also the grace of God." This melody focuses on rustic emotional lyricism, but Sarasati adapts the melody with a hungarian-style cut rhythm, giving the melody a poignant, soft mood and heartbreaking charm. The second paragraph is the change of the previous paragraph repeatedly, this syntactic structure is the repetition of the previous paragraph, but it is relatively weak in sound, after completing 1 repetition, ending with a melody of 5 bars, first reducing the vocal area to the minimum, the melody gradually slows down, adding a two-tone tremolo here, and maintaining 1 bar, and then gradually going up with the scale, stopping at the highest vocal area position, and the design at the end selects the main chord in C minor. The atmosphere of the music also changes at this moment, and the third part is led by allegro playing.
3. Part III
Allegro, A minor, 2/4 beat. The third part focuses on the expression of passionate, cheerful and fiery emotions, fully embodying the optimistic and uninhibited nature of the Gypsies and contrasting with the previous pathos and soft melodies, which are designed as a major feature of Hungarian folk Chardash. The song then introduces another theme with the plucking technique (subsection 98, see Figure 4), at which point the atmosphere of the piece is high.
Figure 4, subsection 98
After repeating the theme once , ( and again before the end ) , the music enters A major , and the sixteenth note is played with the help of the ton tone , constituting an infinitely moving paragraph , and the performance of the latter part of the piece is mainly played in a variety of ways , with the basic playing technique set to a rapid jump bow , which is due to the faster speed of playing , plus all with "·" Symbols, hints, only 1/2 of the value when playing the score is played. The natural jumping bow used in it has a certain degree of difficulty in the actual performance process, requiring the player to practice gradually from slow to fast. The rapid plucking of the right hand should be matched with the gliding of the treble zone, with the help of interspersed technique repetition, to create a sense of pleasure, and then with the help of high-frequency application of overtones and left-handed plucking techniques, to promote the musical atmosphere to the peak, with the help of two powerful chords to achieve the perfect performance of the music.
3. Summary
"Song of the Wanderer" is a representative work of Sarassati in the Romantic period, the application of the gypsy musical style in this musical work has become a major highlight, the desolate situation of the gypsies described in the first half is in stark contrast to the scene depicted in the second half of the gypsies even in the turbulent displacement, and the melody played is deeply rooted in the hearts of the people, making "The Song of the Wanderer" in addition to having high research value, but also has a strong appreciation. The players are able to create a sense of pleasure through the full mastery of playing techniques, such as repetition with the help of interspersed techniques, and the use of playing techniques such as overtones and left-handed plucking strings, which is conducive to achieving emotional resonance with the audience.
bibliography:
[1] Zhang Zhen: A Brief Analysis of the Violin Composition "Song of the Wanderer" Playing Style and Technique, Northern Music, 2019, p. 324.
[2] Li Yi: An Appreciation of Sarassati's Violin Solo Song "Song of the Wanderer", Modernization of Education, 2018, p. 366.
[3] Zhang You: A Brief Discussion on String Art in the Romantic Period: An Analysis of romantic colors embodied in Sarassati's works, Art Review, 2018, p. 89.
[4] Wang Bohan: A Brief Analysis of Sarasati's Song of the Wanderer, Henan Agriculture, 2018, p. 98.
[5] Zhang You: An Analysis of the Creative Characteristics and Playing Techniques of Sarassati's Violin Works, Art Review, 2017, p. 125.
[6] Li Siyun, Artistic Style and Musical Interpretation of Sarasati's Gypsy Song, House of Drama, 2017, p. 49.
[7] Zhang You: On the Ethnic Elements of Sarasati Violin Works: A Case Study of "The Gypsy Song", Journal of Changzhou Institute of Technology (Social Science Edition), 2017, p. 138.
[8] Xu Gu: A Study of Showmanship in Sarasati's Violin Works, Music Composition, 2016, p. 98.
[9] Examples of this article are from: Zhang You: An Analysis of the Creative Characteristics and Playing Techniques of Sarassati's Violin Works, Art Review, 2017, p. 177.