JAVS Spring 2013

understand this point, think of the bowing distribu tion on the violin in the space between the finger board and the bridge.” 17 Tabuteau was referring to the importance of the right proportions of sound quality factors when considering intensity using his number system. In Robert Dew’s article, “In Response to Instinct—Karen Tuttle’s Insights into the Coordinated Action—Its Mechanisms, Articulation, and Prerequisites,” the author writes: Marcel Tabuteau . . . made the analogy that mere ly playing louder was like racing a car engine in neutral; one makes a lot of noise without getting anywhere. This “getting somewhere,” this moving forward or pulling back in excitement, is not then simply a matter of “louder” and “softer” or even “faster” and “slower”—although these variants may be simultaneously involved. As intensity builds to its peak, bow speed is decreasing and bow pressure increasing; relaxation in intensity occurs as a result of a speeding up of the bow and decreasing of pressure. . . . Coordination, through its effect on bow speed and pressure, therefore, regulates sound intensity (and small dynamics) so as to reveal an excitation-relaxation wave or pulsation. 18 Again, we see how it is important for a violist to weigh the variables that affect intensity on the instrument. Dew’s article also reflects on how Karen Tuttle adapted the teaching of Tabuteau by applying it to the physicality of playing the viola in her Coordination Technique. This is one extrapolation of Tabuteau’s number system that has been valuable for many performing violists and teachers. To introduce the principal form of Tabuteau’s motion numbers, violists can apply each variable (pressure, speed, and contact point) individually to an étude, such as Kreutzer’s Étude No. 2, and alter the intensity of the variable by the motion number

Phrasing Numbers

Phrasing numbers were used by Tabuteau to show the large-scale view of phrasing. So far, Tabuteau’s applications of numbers have focused on small sub divisions within a beat. But his numbers function differently in phrasing numbers. Phrasing numbers are always consecutive, and if a number is repeated, it means that the two consecutive notes with the same number are part of different phrase groups. The numbers must be sequential to be part of the same phrase group. This differs from the rhythmic grouping, in which the appearance of a high number immediately followed by “1” just implies the first note of the next group. Low numbers also do not imply low volume, such as with scaling numbers. Phrasing numbers assist in creating a sense of pro portion throughout a line. The use of repeated num bers creates “inner intensity” of a motif. One can specify on a micro level various phrase groups and then piece together these smaller groups for a macro view of the line. 16 In the first movement of Bach’s Brandenburg Concerto No. 6, we can see how phrasing numbers could be applied (ex. 7). The appearance of the sequence at the beginning of the first movement pro vides an example in which consecutive statements of the motif feature consecutive numbers, but within the motif, there is also intensity built as it is divided into smaller fragments with repeated numbers. Taking a step back, it is important to remember what elements are in place to affect the intensity of sound on the viola. It is through the dynamic rela tionship among bow pressure, speed, and contact point in which string players adjust intensity. In ref erence to his number system, Tabuteau said, “Progression of numbers is not exactly a crescendo or a diminuendo. It is, rather, a scaling of color. To

Example 7. J. S. Bach, Brandenburg Concerto No. 6 , movt. I, mm. 1–3 (viola I part).

J OuRNAL OF THE AMERICAN VIOLA SOCIETy 36