Bariolage

The bowed string instrument musical technique bariolage (French for "multi-colored"[1]) involves, "the alternation of notes on adjacent strings, one of which is usually open",[2] exploiting, "the individual timbre of the various strings."[3] This may involve quick alternation between a static note and changing notes, that form a melody either above or below the static note.[4] The static note is usually an open string note, which creates a highly resonant sound. "Bariolage" is a nineteenth century term for an eighteenth century violin technique (requiring flexibility in the wrist and forearm), the mechanics of which are not discussed by nineteenth century writers.[2] In bluegrass fiddling the technique is known as "cross-fingering".[3] Perhaps looking back on what he considered an earlier, less advanced, time, one pedagogue explains that

The name bariolage is given to the kind of passage which presents the appearance of disorder and oddness, in that the notes are not played in succession on the same string where one would expect this or when the notes e2, a1, d1, are played not on the same string but alternately with one stopped finger and the open string, or else finally when the open string is played in a position where a stopped note would normally be required.
—Pierre Baillot, L'art du violon (1834)[5]
Bariolage from Principes du Violon (1761), p.79, by L'abbé le Fils[6]

Examples may be found in Mauricio Kagel's 1993 string quartet Notturno and the cadenza of Giacinto Scelsi's 1965 Anahit.[3] Joseph Haydn used this effect in the minuet of his Symphony No. 28, in the finale of the "Farewell" Symphony, No. 45, and throughout the finale of his String Quartet Op. 50, No. 6. The "gurgling" unison bariolage passages on D and A gives this quartet its nickname of The Frog.[7]

In the following example, from a violin sonata by Handel,[lower-alpha 1] the second measure is to be played with bariolage. The repeated A is played on the open A string, alternating with Fs and Es fingered on the adjacent D string.

The notes on the D string (E and F natural) would be fingered as normal (first finger and low second), but the fingerings given above the second measure would be [2040 1040 2040 1040], indicating the switch (bariolage) from open A string to the stopped 4th finger on the D string, also playing the note A.

Another well-known example of bariolage is in Bach's Preludio to the E major Partita No. 3 for solo violin, where three strings are involved in the maneuver (one open string and two fingered notes).

See also

Notes

  1. ↑ The Schirmer edition identifies the sonata, in F major, as "12th of the 15 Sonate ad Camera". The quotation comes from the second movement.

References

  1. ↑ Winold, Allen (2007). Bach's Cello Suites, Volumes 1 and 2: Analyses and Explorations, p.19. Indiana University. ISBN 9780253013477. "Involves rapid alternation between two adjacent strings, usually with an open string note on one string and fingered notes on the other string," the difference producing an, "interesting timbre."
  2. ↑ 2.0 2.1 Stowell, Robin (1990). Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries, p.172. Cambridge. ISBN 9780521397445.
  3. ↑ 3.0 3.1 3.2 Patricia, Strange and Strange, Allen (2003). The Contemporary Violin: Extended Performance Techniques, p.32. Scarecrow. ISBN 9781461664109.
  4. ↑ Nardolillo, Jo (2014). All Things Strings, p.9. Scarecrow Press. ISBN 9780810884441. "A technique of rapid alternation between a moving line and a static note, often an open string, creating a dazzling virtuosic effect...particularly popular in the Baroque era."
  5. ↑ Stowell (1990), p.198.
  6. ↑ Stowell, Robin (2001). The Early Violin and Viola: A Practical Guide, p.79. Cambridge. ISBN 9780521625555.
  7. ↑ Hunter, Mary and Will, Richard (2012). Engaging Haydn: Culture, Context, and Criticism, p.283. Cambridge. ISBN 9781107015142.