I present to you a brief and concise method for initiating oneself into the hurdy-gurdy. Despite its brevity, I have tried to integrate as many rhythmic resources as possible and to avoid relying exclusively on the classical learning system. The melodic exercises consist of short motifs in different modes and scales in C, which may be repeated at the player’s discretion until fully assimilated. From the very beginning, these are accompanied by rhythmic patterns using the trompette. I have intentionally omitted discussions on the instrument’s setup, organology, and history, assuming that these are already covered in existing methods. For the same reason, I have not included either basic or advanced repertoire.
Each lesson, with a compendium of several exercises, contains a theme explained below, as an index of the method:
1. Coup of one (C1).
2. Coup of two (C2).
3. Beat of 3/4 from C2.
4. Coup of three (C3).
5. Coup of four (C4).
6. Beats of 6/8, 7/8 and 5/8 from C4.
7. Amalgamated beats and various ways to approach them.
8. 12/8 rythms.
9. Irregular coups of two, three and four (C2iR, C3iR and C4iR).
10. Coup of five (C5).
11. Coup of six (C6).
12. Coup of eight (C8).
13. Exercises for solo chantarelle.
Due to its complexity, I do not consider La vielle & l’univers de l’infinie roue-archet by maestro Valentin Clastrier suitable for beginners. However, it remains essential for those seeking an in-depth and innovative understanding of the instrument. Therefore, I have not attempted to cover all the possibilities that Clastrier offers. I have omitted many of the secondary and tertiary “coups” he describes, focusing instead on the primary and irregular secondary ones, which I denote as C1, C2, C3, C4, C5, C6, C8, C2iR, C3iR, and C4iR. I have left out the coups of seven and nine, considering them more theoretical than practical, even in time signatures such as 7/8 or 9/8.
Important note: Do not proceed to the next lesson until you have mastered all exercises from the previous one with complete precision —except in the case of the final lesson, whose material can be practiced freely as desired.
All exercises are presented on two staves (except those in the last lesson). The upper staff contains the melodic motif for the chantarelle in G2. The lower staff includes the rhythm (trompette in C3) and the bass drone (C1). In both staves, left-hand fingering and right-hand coup positions are indicated above the melodic and rhythmic lines, respectively. The left-hand fingering is presented as follows:
In many methods, fingering is presented in reverse, including in my own 2008 method Iniciació a la viola de roda. Despite the potential confusion, I chose to follow the logic of calling the little finger "1", as the open string is "0".
The right-hand coup points are represented as follows:
Valentin Clastrier presents them this way:
·P1: thumb 1st phalanx, equivalent to "1".
·P2: thumb 2nd phalanx, equivalent to "(1)".
·IM: index/middle fingers, equivalent to "2".
·M: middle finger, equivalent to "(2)".
·MA: middle/ring fingers, equivalent to "(3)".
·A: ring finger, equivalent to "3".
·P: palm, equivalent to "(4)".
·ET: thenar eminence, equivalent to "4".
It should be noted that 1, 2, 3 and 4 represent the classic points: thumb, index/middle fingers, ring finger and thenar eminence.
Lastly, I would like to thank my colleagues from the Associació Violes de Roda de Catalunya and its president, Joan Muñoz, for their support in helping to disseminate this method, as well as the valuable input from Adrià Grandia, Sergio González, and Iván Abal Pulleiro.
You can download it here. I hope you find it extremely useful and enjoy it!