The Orchestral Violinist's Companion, Volume 1 + 2

Name: The Orchestral Violinist's Companion, Volume 1 + 2
Brand: Bärenreiter
Price: 84.0 EUR
Availability: OnlineOnly

Martin Wulfhorst(Autor*in)

Bärenreiter (Verlag)

1. Auflage

Erschienen am 10. Juni 2025

XXIII, 483 Seiten

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978-3-7618-7324-3 (ISBN)

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Beschreibung

Orchestermusiker im heutigen Berufsleben sind hochspezialisierte und hochqualifizierte Instrumentalisten. Schon lange wurde erkannt, dass die traditionelle Ausbildung an den Hochschulen zwar ein hervorragendes Fundament für das Orchesterspiel legt, den besonderen Anforderungen des Orchesterbetriebes aber nicht in allen Punkten gerecht wird.

Die vorliegenden Bände vermitteln Fähigkeiten und Kenntnisse, die Orchestergeiger neben der normalen Hochschulausbildung und über sie hinaus benötigen. Als Trainingsanleitung und Ratgeber können sie die Musiker über alle Stadien ihrer gesamten Laufbahn hinweg begleiten - von der Probespielvorbereitung bis hin zur Bewältigung der Langzeitbelastung beim täglichen Orchesterdienst. Dabei bieten die Bände eine Fülle von Themen aus den Bereichen:

- Übetechniken
- Blattspiel
- Tägliche Überoutinen
- Umgang mit dem Körper
- Bogentechnik und Tonbildung
- Technik der linken Hand
- Pizzikatotechnik und spezielle Techniken
- Rhythmus und Ensemblespiel
- Notation und Aufführungspraxis
- Einrichten von Orchesterstimmen
- Stilkenntnis
- Erarbeitung eines Kernrepertoires
- Probespielvorbereitung
- Bewältigung von Auftrittsangst
- Bewältigung des Orchesteralltags
- Verständnis für das Orchester als soziales Umfeld
- Bewältigung der physischen und mentalen Langzeitbelastung im Orchester

Beigefügt ist ein ausführliches, kommentiertes Verzeichnis aller Orchesterstudien-Sammlungen und aller themenbezogenen Bücher und Artikel, einschließlich der wichtigsten Studien der letzten Jahre zur "Performance Science". Spezielle Kapitel zu allen wesentlichen Übe- und Spieltechniken enthalten Hunderte von Übebeispielen aus über 300 Orchesterwerken aus den Bereichen Symphonik, Oratorium, Oper, Operette und Ballett aus der Zeit zwischen ca. 1750 und 1950. Hinzu kommen spezielle Übungen, die der Orchestertechnik gewidmet sind.

Die Bände wenden sich an Studenten in speziellen (Master)-Studiengängen im Orchesterspiel, Probespielkandidaten, Berufsanfänger, erfahrene Orchestermusiker und Dirigenten und sind auch als Material für Kurse im Orchesterspiel geeignet.
Zusätzliches Material und Einführungsvideo auf www.orch.info

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Inhalt

Cover
Title
Imprint
Contents
Preface
Acknowledgments
References, Abbreviations, Symbols
Musical Examples
Bow Points for Bow-Division Markings
Part 1: Training as an Orchestral Violinist: History, Challenges, Concepts
1.1 The Eighteenth and NineteenthCenturies
1.2 The Twentieth Century
1.3 The Dilemma of the Aspiring Orchestral Violinist
1.4 A Comprehensive System for the Twenty-First Century
Part 2: The Orchestral Mode
2.1 The Nine Principles of the Orchestral Mode
2.2 Developing Your Orchestral-Mode Skills
Part 3: Learning, Practicing, and Sight-Reading
3.1 Learning How to Learn
3.2 The Learning Process
3.3 Getting Ready: "What Information, Materials, Resources, and Tools Do I Need?"
3.4 "How Should This Piece Sound?" Fixed, Objective Performance Goals (G1-G8)
Layer 1: Rhythm
Layer 2: Pitch
Layer 3: Timbre
Layer 4: Expression
3.5 Flexible, Situational Performance Goals Preparing for the Orchestral Mode (G9-G14)
3.6 Assessing and Self-Monitoring Your Practicing
3.7 Planning and Organizing
3.8 Strategies for Mental Practice
3.9 Strategies for Physical Practice
3.10 "The Road to Excellence" Mental Optimization of Practicing and Performance
3.11 Special Types of Learning (I): "Is It Really Possible to Play This Passage?" Prioritizing and Educated Faking
3.12 Special Types of Learning (II): Learning Repertoire with a Time Limit and Sight-Reading
Part 4: Basic Orchestral Technique: Principles, Routines, and Maintenance
4.1 Basic, Advanced, and Individual Technique
4.2 Principles for Daily Technical Routines
4.3 Bow Pressure, Bow Speed, Soundpoint
4.4 Routines for Practicing Various Bow Strokes
4.5 Patterns for Bowing across Strings
4.6 Coordination, Left-Hand Facility, and Left-Hand Articulation
4.7 Shifting Technique
4.8 Shifting Routines
4.9 Silent Shifts to High Pitches
4.10 Diatonic Scale Patterns
4.11 Chromatic Scale Patterns
4.12 Chordal Arpeggiations (Broken Chords)
4.13 Double Stops and Chords
4.14 Physical Fitness, Ease, Endurance, and Use of Energy
Part 5: Bowing Technique, Sound Production, Coordination
5.1 The Basic Orchestral String Sound
5.2 Controlling and Adapting the Elements of Bowing
5.3 Bow Division
5.4 The Challenges of Orchestral Articulation
5.5 Articulation and Emphases: Technical Control
5.6 Vibrato
5.7 Very Soft Sustained Notes, Melodies, and Onsets
5.8 Basic Bow Strokes: A Systematic Description
5.9 Long Simple Legato (More Than Four Notes)
5.10 Short Legato (Two to Four Notes)
5.11 Grace-Note Figures
5.12 Separate Bow Stroke son-the-String (Détaché, Martelé)
5.13 Linked Strokes on-the-String (Portato)
5.14 Lifted Strokes
5.15 Spiccato
5.16 Sautillé
5.17 Repetitions of Pitches
5.18 Tremolo
5.19 "All Down" Consecutive Downbows with Retakes
5.20 "All Up" Consecutive Upbows off-the-String - Linked or with Retakes
5.21 Ricochet
5.22 Mixing Different Note Values and Articulations (I): Consistent Bow Direction
5.23 Mixing Different Note Values and Articulations (II): Bow-Direction Changes
5.24 Short-Long (Dotted Rhythms)
5.25 "Siciliano" Rhythm
5.26 Composite Bowing Patterns (I): Simple Legato Plus One Lifted Note
5.27 Composite Bowing Patterns (II): Articulated Legato Plus One, Three, or Five Separate Notes
5.28 Composite Bowing Patterns (III): Legato Plus Two, Four, or Six Separate Notes
5.29 Composite Bowing Patterns (IV): Complex Patterns
5.30 Bowing across Strings
5.31 Double Stops and Chords
5.32 Special Bowing Techniques: Tasto, Ponticello, Col Legno
5.33 Complex and Challenging Dynamics
5.34 "Good" and "Bad" Bowings
Part 6: Left-Hand Technique
6.1 Toward a System of Orchestral Intonation
6.2 Fingerings
6.3 Diatonic Motion
6.4 Chromatic Motion
6.5 Partially Chromatic Motion
6.6 Chordal Arpeggiations (Broken Chords)
6.7 "Scale-Chord-Plus" (Framework of Scale Segments and Broken Chords)
6.8 High Passages on the G String
6.9 Leaps and Silent Shifts to High Pitches
6.10 High Passages Across the A String and E String
6.11 Extremely High Passages on the E String
6.12 Remote Keys, Accumulation of Accidentals, and Enharmonicism
6.13 Whole-Tone Motion
6.14 Free Tonality and Atonality
6.15 Finger Twisters
6.16 Double Stops and Chords
6.17 Trills without Turns and Two-Note Slurred Tremolo
6.18 Trills with Turns, Doppelschläge, and Other Ornaments
6.19 Portamento and Glissando
6.20 Harmonics
Part 7: Pizzicato and Other Special Technical Issues
7.1 Basic Pizzicato Technique
7.2 Advanced Pizzicato Technique
7.3 Switching between Arco and Pizzicato (and Vice Versa)
Part 8: Rhythm and Ensemble Playing
8.1 Challenges and Practice Strategies
8.2 Conducting Technique
8.3 Counting and Reading Rhythms
8.4 Short Downbeat Rests and Short Downbeat Ties
8.5 Ostinato Off-Beats and Ostinato Syncopations
8.6 Irregular Off-Beats and Syncopations, Off-Beat Accents
8.7 Subdivisions of the Beat and Tuplets
8.8 Polyrhythms (Cross-Rhythms) and Polymeters
8.9 Irregular and Changing Meters
8.10 Jazz and Latin Rhythms
8.11 Flexible Rhythm: Rubato and Accompanying
8.12 Ensemble Playing and Rhythmic Modes
Part 9: Decoding and Marking Orchestral Parts A Manual of Orchestral Notation and Performance Practice
9.1 How to Mark Your Part: General Guidelines and Models
9.2 "How Can I Be Expected to Read This?" Handwritten, Barely Legible, and Illegible Parts
9.3 "Where Are We?" Points of Orientation
9.4 "Where Do I Go Now?" Repeats, Jumps, Cuts
9.5 End of Staff, End of Page, Page Turns
9.6 Rhythm, Tempo, Pacing: Printed Symbols and Instructions
9.7 Rhythm, Tempo, Pacing: Handwritten Markings
9.8 Repeated Material, Abbreviated Notation, Tremolo
9.9 Accidentals and Pitches
9.10 Harmonics
9.11 Ornaments (I): Grace Notes and Appoggiaturas
9.12 Ornaments (II): Doppelschläge
9.13 Ornaments (III): Inverted Mordents and Trills
9.14 Articulation and Bowings: Development and Styles
9.15 Articulation and Bowings: Signs and Terms
9.16 Emphases and Accents
9.17 Decoding and Clarifying Printed Dynamics
9.18 Dynamic Reminders and Warnings
9.19 Adjustments of Dynamics
9.20 Phrasing and Micro-Dynamics
9.21 Expanded Modes of Playing
9.22 Timbre, Character, Expression, Vibrato
9.23 "Which Part Should I Play?" Strategies for Dividing the Violins
9.24 "Is My Part Accurate?" Misprints, Mistakes, Inconsistencies, "Improvements"
Part 10: Repertoire and Style
Part 11: Profession and Career
11.1 Planning an Orchestral Career
11.2 Making a Career Decision: "Is This Profession Right for Me? Am I Right for This Profession?"
11.3 Career Goals (I): "Which Orchestra is Right for Me?"
11.4 Career Goals (II): The Concertmaster
11.5 Career Goals (III) Other Principal Positions and Sectional Positions
11.6 Auditioning
11.7 Working in an Orchestra
11.8 Long-Term Work in an Orchestra
Part 12: Resources
Part 13: Index (1) and Glossary: Terms, Abbreviations, Symbols
Part 14: Index (2): Compositions, Composers, Other Musicians

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