Portamento Potency

The controlled slide, or portamento, is one of a violinist’s most emotionally potent expressive devices. I bet you knew that.

Problem is, many fiddlers are asleep at the wheel when making them. The most common error is something I have written about before. Namely, the two hands want to mirror each other.

When the left hand makes a decisive move to a new position, the right arm has an urge to mirror that movement by suddenly changing bow speed. This is fine if your intention is to sound like you’re about to lose dinner. But if you’d rather the audience didn’t instinctively brace for incoming projectile vomit each time you move to a new position I would take steps to rein in that reflexive movement.

The other point to be made, and I promise not to allude to another bodily function, is the movement of the left hand itself.

Just like a phase of music, each slide has some kind of shape. If you are playing, for instance, something slow and powerful, you may want to begin the portamento somewhat slow and accelerate into the new note. That kind of movement adds heft, or weight, to the new pitch.

On the other hand, doing the opposite, starting the movement fast and slowing into the new note can give a softening effect, especially if in the middle of a diminuendo.

Naturally it is difficult to discuss these subtleties without a violin present to illustrate.

When Vol. 3 of the Kreutzer Etudes comes out it will begin with Etudes #1, you see, I haven’t forgotten it. This etude will be a great departure point for a real in depth look at expressive shifts.

For now, however, be very conscious of your bow speed as you shift. That way you and your audience won’t feel as I did the last time my daughter dragged me on the ‘teacup ride’ at Disneyland.

All the best,

Clayton Haslop

P.S. If you want some serious attention to the finer points of your playing, and you want if for an uproariously low price; register for the Violin artistry Masterclass/Seminar.