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A Comparison of theViolin Techniques of Havas, Rolland, and Suzuki Marianne Murray Perkins

Dr. MarianneMurrayPerkins has taught violin in her studio in northern Virginia since 1986. She has also taught in a Suzuki Method program in Saudi Arabia, taught strings in England and Japan, and was a sceondary school string teacher for the Hamilton Township (NJ) Public Schools. She ison theboard ofdirectors oftheSuzuki Association of Greater Washington, DC. Perkins received herbachelor's degree in music education from Temple University, her master's degree in education from the University of Pennsylvania, andherDMA inmusiceducation from Catholic University ofAmerica. She also earned a Graduate ViolinTeachers Certificate at theTalent Education Institute, Matsumoto, Japan. This article is derived from her recent doctoral dissertation, "A Comparative Study oftheViolin Playing Techniques Deoeioped by Kato Havas, Paul Rolland, and Shinichi Suzuki,"which isavailable from University Approach, the Rolland Method, and the Microfilms, 300North Zeeb Road, Ann Ar- Suzuki Method. But first, it is important to examine the background of each bor, Michigan. Kat6 Havas, Paul Rolland, and Shinichi Suzuki have firmly established themselves as the three leading violin pedagogs of the second half of the twentieth century. Much has already been written by each pedagog and others about their methods or teaching approaches. But little objective information is available concerning the playing techniques they created especially for their methods and how these compare with other methods. This article is an attempt to fill that void. It will briefly summarize and compare the major features of the violin playing techniques included in the New

Elizabeth Ivanoff Holborn, Editor 8522 Enramada Avenue Whittier, CA 90606 AUTUMN 1993

pedagog to gain insight into the origins of their ideas about technique.

Paul Rolland was born in Budapest, Hungary, in 1911and died in 1978.Like Havas, Rolland studied violin (and viola) atthe Royal Academy under Waldbauer during the 193Os. Rolland was also greatly influenced by Waldbauer's ideas and by the writings of Carl Flesch. In 1938, Rolland came to the U.s. as a member of a quartet-in-residence and shortly thereafter began his string teaching career in Iowa. He later joined the University of Illinois string faculty, where his leadership of the String Research Project from 1968-70culminated in the film series and text, TheTeaching ofActionin String Playing. Among his many achievements, Rolland helped to found ASTA and was the first editor of American String Teacher. Shinichi Suzuki was born in Nagoya, Japan, in 1898. He received his basic musical and violin training from Karl Klingler (a former pupil of Joseph Joachim) during an eight-year period of study in Berlin during the 1920s. Although Suzuki claims that most of his newer ideas are based on his own teaching experiments and observations during the past 50 years, many of his techniques bear a remarkable similarity to those of the Old German School. Suzuki actually credits listening to recordings of JacquesThibaud, FritzKreisler,and Pablo Casals as being the chief influences in the formulation of his technical ideas.

Backgrounds Kat6HavaswasborninTransylvania, Hungary, in 1920. Shewasa child prodigy on the violin and studied from the age of eight at the Royal Academy of Music in Budapest under Imre Waldbauer. Waldbauer had been influenced by the writings ofF. A. Steinhausenabout natural violin playing movements. Havas The Goals attributes the germ of her ideas about Havas, Rolland, and Suzuki each playing technique to the teachings of created their techniques with specific Waldbauer and to the influence of the goals in mind. Havas considers her viogypsy violinists of her homeland. She lin teaching approach to be truly holistic, began teaching in 1958 in England and addressing the needs of the mind, the has written five books on violin playing body, and the spirit of the player. She and teaching. Havas has named her says that her technique is really a system method the "New Approach." She is a for organizing the body's natural balpopular lecturer and specializes in the ances for the purpose of creating music subject of the prevention of string play- and facilitating musical self-expression. ing injuries. In 1992, Havas received Havas utilizes a great deal of imagery, ASTA's International Award. vocalization, and visualization to aid in 55

to vocalizations) he has developed to improve tone. Suzuki's playing techniques are introduced to the student via developmental, progressive teaching points, whichare includedin nearly every piece in the repertoire. These techniques are reinforced throughconstantlistening, review, and repetition. A Technical Comparison

The Stance

The standing position advocated by both Rolland and Suzuki are very similar, while Havas's is unique to her approach. Rolland taught that the weight should be equally balanced on both feet. He said that while playing, there is a natural shift of weight onto the left leg, but that it should return again onto both legs. For Suzuki, the weight is primarily centered over the player's left leg, although the weight may shift between both legs slightly while playing. Havas teaches that in standing position, the weight of the entirebodyshould be distributed between the heels of the right and left foot, with the center of balance being situated over an imaginary "third leg" that emanates from the base of the spine. Havas says the body should tilt backward slightly onto this imaginary leg, while the knees remain springy, in order to drive the "rhythmic pulse" of the music while playing. For sitting position, Havas and Rolland concur that the weight should be evenly distributed over the player's feet and bottom. Suzuki teaches that the weight should be centered primarily over the left leg, while the right foot rests lightly on the ball of the foot under the chair. The right heel is off the floor, and the right knee should slope downward slightly.

The Violin Hold

The three pedagogs have very different ideas about how the violin should be held. Havas teaches what she calls the teaching and playing the violin. She in- keenly interested in applying research "no hold" violin hold, where the violin is troduces her techniques through a series from the fields of physiology and kinesi- neatly balanced, not gripped, between of singing, miming, and rhythmic exer- ology to his techniques. In his method, the player's chin and shoulder. Instead cises that may be applied to any reper- students are introduced to new tech- of keeping the violin on a horizontal toire. Havas claims that her techniques niques through a series of developmen- plane with the floor, the player is encan prevent or cure such playing-related tal exercises he called"Action Studies." couraged to let the violin slope slightly injuries as tendonitis, bursitis, and Car- These actions are reinforced via his spe- downward, "gypsy-style." Havasclaims that this position prevents static tenpal Tunnel Syndrome. cially designed repertoire. Rolland often summed up the purSuzuki's violin technique focuses on sions from developing in the neck and pose of his method in one word: natu- developing superior tone production. the shoulders. Rolland taught that the violin should ralness. He taught that balance and He stresses that musical tone must be movement are the foundations of all vio- developed to a very high degree, ulti- be equally balanced between its six lin technique. The primary goal of his mately becoming the purist expression contact points-the collarbone, chin, technique is to enable players to perform of a player's "living soul." This is accom- thumb, side of first finger, fingertips, effortlessly, efficiently, and without ex- plished primarily through listening and and also the inside of the wrist (when cess physical tensions. Rolland was also a series of tonalization exercises (similar playing in the upper positions). Suzuki 56

AMERICAN STRING TEACHER

teaches that the violin should be supported primarily by the chin and shoulder(collarbone),sothatthelefthandand arm remain mobile.

forearm, and wrist to produce arc-like bowing patterns. He believed that such movements originate deep within the body. Havas recommends a unique "flying bow" stroke, where the arm folds and unfolds segmentally, like the wings of a bird, also creating arc-like patterns. She says that these movements emanate from the muscles located in the back and upper arm. Suzuki teaches that all bow strokes should trace circular or semicircular patterns but that these movements should originate in the right upper arm and elbow.

created a series of tonalization exercises to help studentsachieve this type of tone.

Conclusions The Rolland and Suzuki Method techniques have many features in comLeft-Hand andLeft-Arm Movements mon, while Havas's technique differs Rolland's and Suzuki's left-hand poconsiderably from the other two. Yet sitions are similar and in the traditional each individual technique has much to style, while Havas's position is unique. She recommends a relaxed "gypsy-style" offer string players and teachers. Before using any of these techniques, violin left-hand position, which she calls the players and teachers should read the "Giving Hand." In this position, the left wrist is collapsed inward and the palm writings of each of these pedagogs to understand fully how technique funcfaces the underside of the violin neck. tions within each method as a whole. Left-finger actions originate in the base String teachers contemplatingadvanced knuckle joints and move exclusively in a Tone Production The pedagogs have an ideal tone in study in any of these three methods will horizontal direction. Rolland stressed that the balance of mind, but the way to achieve this tone find this research useful in determining the left hand should be centered on the differs across the three methods. Havas which technique iscompatible with their secondand third fingers, whilethe thumb says that each tone should ring like a 'own personal and professional goals. remains relaxed and mobile. He also plucked open string. To produce this recommended three types of left-finger tone, players should strive to focus the A BRIEF BIBLIOGRAPHY movements: vertical, horizontal, and mind, body, and spirit to transmit peracross strings. Suzuki's left-finger sonal energy to the audience through Havas, Kato. The Twelve Lesson Course. movements are predominantly vertical; musical performance. As a preparation London: Bosworth & Co., 1964. however, some horizontal movement is for playing, Havas prescribes a series of Havas, Kato. A NewApproach toViolin actions involving singing (or vocalizing) necessary for his vibrato actions. Playing. Cumbria, England: Lakeland All three pedagogs differ significantly the pitches and miming playing actions Home Music, 1991.Available c/o The in the area of vibrato. Rolland's ideas before playing on the instrument. She Lorberbaum,300W. Schuster, Unit 28, about vibrato are basically traditional. calls this "inside-outside" playing. EI Paso, TX 79902. Suzuki currently teaches what he calls Rolland believed that good tone was "two-toned" vibrato, where the flat of the natural result of careful listening and Rolland, Paul, and Marla Mutschler. the fingertip should be placed a semi- balanced movements of the bow arm The Teaching ofAction in StringPlaying. tone below the desired pitch and then and body. He designed a series of develFarmingdale, NY: Boosey & Hawkes, rolled forward quickly onto the upper- opmentalexercises to help players refine Inc., 1974. their tone. pitch, producing two distinct tones. Suzuki, Shinichi. Tonalization. PrinceSuzuki has named his ideal tone Havas's "natural vibrato" technique ton.N]: Summy-Birchard Music, 1955. is unusual. She says that the fingers "Diamond Tone." He describes it as the should be placed lightly on the string so perfect combination of tonal resonance, that a small column (or cushion) of air tone color, and volume. Suzuki has remains between the string and the fingerboard. When the bowis drawn across the strings, this air column should vibrate, causing the finger to vibrate sympathetically. Havas claims that no other vibrato movements are necessary.

The Bow Hold

Each pedagog recommends significantly different bow holds. Rolland's bow hold is modeled on the FrancoBelgian School. Suzuki's bow hold most closely resembles that of the Old German School. While Havas's bow hold bears some resemblance to that of the Russian School, it can best be described as a "gypsy-style" bow hold.

Movements of the RightArm

All three pedagogs agree that bowarm movements should be sequential and follow a curved line to avoid linear strokes. Rolland advocated rotary or cyclical movements of the upper arm, AUTUMN 1993

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