| PLAY FOR ONE VOICE
To begin with the upper part of the saw-blade is pressed to
the left-hand
side; the saw now describes an even arc. Virtually at the same time the
left
thumb presses somewhat on the holder handle; the saw-blade now forms a
slight
S-bend. The small finger of the left hand exerts little pressure in
direction
of the floor, thus compressing the blade from above. At this moment
merely
a short slight touch is needed – a stroke or a swift beat on the saw
edge
with the back of the bow or even nothing at all – to let you hear at
once
a weak tone.
All of a sudden the ear must now ascertain the name of this
tone and where on the saw-blade it is to be localized. With a good
relative pitch, some exercise and possibly auxiliary means it is easy
to recognize the tone. It is obviously an asset if a tone of well-known
frequency, which was heard shortly before, is still kept in mind. In
the event of a concert the prelude of the accompanying instrument is a
great help in this respect.
Before bowing the first note, the tone that was softly
sounding a
moment ago or is now dying away must be corrected according to the
frequency desired. To this end the source of sound, i.e. the blade part
producing the tone (identical to the flat part between the two bends),
must be shifted in
direction of the envisaged tone. This again occurs through the ear: If
the
envisaged tone is lower than the presented tone, the saw must be held
to
the right, that is to say more steeply, in the contrary case to the
left. However, the slight S-bend must be retained at all times.
This is the most delicate instant at the start of play, since
the audience should not become aware of the musician's difficulty in
finding the
first tone. For this reason the best thing is to set the necessary
flexure of the saw-blade a few seconds prior to the actual beginning of
the play, very discreetly for example during the opening bars of the
supporting voice.
It's now time for making the first tone, the bow
touching the
edge exactly at the point of the relevant tone, i.e. in the event of an
a4
precisely on the marking for an a. The bow must be applied very softly
in
conjunction with an upward stroke (in direction of the frog), no
downward strokes, and it ought to be exactly at right angle to the
blade. During
the building-up phase there is a little time left to correct the pitch
once
more, e.g. with the left knee (variation of the pressure against the
blade).
For the second and subsequent tones the starting point is
quite different.
The vibration is present all right, but the frequency is wrong. The eye
instantaneously
focuses on the position of the next tone. In a fast movement the blade
must
be brought into the new position, while also moving the bow, at first
without
any touch and then striking, once the correct frequency is attained and
precisely at the correct rhythmical moment, again exactly at the right
point
of the blade. For quick passages a very short touch or a kind of beat
(in
direction of the blade end) with the bow hairs will suffice.
Another possibility of frequency adjustment is the frequency
vibrato. This is done with the left hand by way of pressure of the
small finger in direction of the thumb. It may serve the purpose of
improving the tonal expression as in the case of a singer. However, it
works out well only between a3 and g2. But the complete absence of
vibrato has a special charm, provided that the pitch is all
right.
Sometimes it may occur that the tone will fail, in particular
as regards the bass notes. Remedial action is taken by a certain
pressure of the left small finger in direction of the floor, as if you
were compressing the blade in longitudinal direction.
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