Layer playing on the violin

Martin Keller's collection of material on layer playing is the result of the author's intensive study of the baroque violin, which is held with the left hand and not with the chin. For this reason, a large part of the book is devoted to slurring and neck positions.

The first impression is characterized by musical and technical inventiveness. A multitude of layer change secrets are developed in a musically stimulating way. This hits two birds with one stone. The booklet contains a lot of good reading material in all keys, different styles and rhythms, beautiful original compositions and stimulating duets. On the other hand, there are no longer pieces that would get you going. Most of the problems concerning changes of position are precisely explained and substantiated with telling examples. However, the naming of certain practices with letters seems somewhat intellectual. They should be replaced by clear technical or figurative names. The detailed explanation and practice of contraction and extension is a plus. However, it is not specified that these techniques are only suitable for slow, expressive music. For fast passages, the fourth fingering suitable for the respective position should not be burdened with contractions and extensions, otherwise the intonation will suffer. The sections on scales and runs through the circle of fifths p. 8 and 114/115 are particularly successful (excellent!), The ski jumper p. 13 and the introduction to the artificial harmonics p. 112 and 113.

However, the booklet lacks a few things to be considered a "school", i.e. to be didactically constructive:

1. The elementary experience of the fingerboard, first in its entire length; arm swing sideways (elbow) and forwards-backwards, wrist bends. Principle "from the big to the small".
2. Awareness of the different contacts of the finger to the string in a separate chapter: a do not touch (empty string) when changing positions freely (also as a preliminary stage to c: changing positions with the empty string suggested in order to learn to release the finger pressure), b glide like "skating mosquito" (flageolet (glissando)), c loose change-of-pitch glissando as audible pitch glide, d firm gripping.
3. Sufficient exercises and pieces with changes of position by measuring the interval between the change of position of the last finger of the old position ("cab") and its auxiliary tone ("cab position") in the new position with finger contact c (see 2.) and only then resolute fingering with the target finger. At the same time, become aware of the anticipation of the target fingering.
4. In this context, the conscious repositioning of the playing finger, e.g. when sliding a major third from steep to flat, and vice versa for a minor third, was also part of this.
5. Use of resonance tones for secure intonation.
6. Why is the booklet limited to the first four positions? In my opinion, for example, transposing a melody on the same string(s) an octave higher is a useful and clear experience of the narrowing of the fourth fingering (actually belongs under 1.), which takes place with all changes of position. Furthermore, all the important contacts of the hand with the instrument are not mentioned and all three should be made aware of: a 1st and 2nd position free wrist, b 3rd and 4th position wrist leaning against the body, c 5th and higher positions thumb span at the base of the neck.
7. The role of bending the wrist forwards and backwards, e.g. when "fetching" some notes in the half position from the 2nd position and back to it, which leads directly to real Paganini position playing (see Philippe Borer: The twenty-four caprices of Niccolo Paganini, their significance for the history of violin playing and the music of the romantic eraStiftung Zentralstelle der Studentenschaft der Universität Zürich, 1997). There it is shown in many examples that Paganini reaches many positions (about 1st-6th) from the hand position of the 3rd position. This approach has helped me to find simple solutions to many tricky passages. Keller has good, similar, but smaller requirements with so-called pseudo-position changes, but without mentioning the role of the wrist, which allows the arm to be kept stable (and therefore secure) in one position. The wrist is also the motor for playing to the half position and back; the arm remains in the first position.

If the author recommends an individually suitable selection from his material to the teachers, they must be aware that his material is valuable but not comprehensive.

Martin Keller, Lagenspiel auf der Geige Introduction to the 1st (incl. half) to 4th positions and their alternation, movement and intonation problems. Self-published, available from the author for viewing or purchase (copying costs Fr. 22.50),
m.keller-rall@bluewin.ch