![]() For sul ponticello, this may be over a range of up to approximately one centimetre away from the bridge. In post-Second World War repertoire written for the modern violin, variations often appear, from sul ponticello to molto sul ponticello, in reference to the proximity of the bow to the bridge. Since this time, scores of composers have used this technique with increasing regularity and variety. In the following century, Carlo Farina (1600–1639) described a technique for the baroque violin in the Avertimenti, or instructions, for the Cappriccio Stravagante advising that the player should play with the bow “a finger’s width from the bridge” (Farina, 1627, p. 77)įurthermore, Ganassi’s treatise discusses the viola da gamba rather than the baroque violin. There is no evidence that Ganassi was thinking of sulla tastiera and sul ponticello in the modern sense… when he spoke of ‘near the fingerboard’ and ‘near the bridge’, respectively. The distance of the bow from the bridge is determined by the kind of effect and tone desired: well away from the bridge and near the fingerboard for sad effects near the bridge for stronger and harsher sounds and in between for normal playing. 3), Sylvestro Ganassi dal Fontego (1492–1565) described what may have been sul ponticello in his Regola Rubertina of 1542. Īs Patricia and Allen Strange note (2001, p. The Italian term sul ponticello refers to a bow position where the bow is placed “on the bridge”, or in the vicinity of the bridge, in order to achieve an overtone-rich, corrupted timbre, that may be perceived as scratchy or distorted when used in combination with various bow pressures.
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