HOMEGROWN: Second Fiddle
I was surprised, perhaps shocked, to open a local newsletter recently with a photo of me with my violin. I don’t think of myself as a violinist. Happily, it was taken by a very fine photographer, so I relaxed and enjoyed the moment.
I do play the violin. A lot! I play nearly every day in duets, trios, quartets and small ensembles of all kinds. I always play second violin. “Second” is an important distinction. It is not “first.” For me, second is a good place to be.
A quartet of singers is typically made up of two middle voices — alto and tenor — plus soprano and bass. A string quartet is similar. The high voice, first violin, often carries the theme. The cello provides a foundation. Both outer voices appear to be most prominent.
In my experience, the upper voices take the biggest risks. You know what I mean — when you hear a soprano in an opera or aria and, out of thin air, they manage to reach an impossible note in the upper stratosphere. It’s risky: everyone knows when that goes awry. In an ensemble, the first violin, in charge of the flamboyant melody, carries the same burden.
The second violin slot is where I choose to live. I can miss a note or play a wrong one, and most listeners won’t notice. That doesn’t mean we are not important to the group — along with the much-maligned viola, we are the core sound, the inner voices. Opportunities to play solo parts or show off are rare. The cello has the sound closest to the human voice that everybody typically loves.
The core second violin and viola help keep the two outer voices united. They are counted on to be steady. Same in a vocal ensemble, where the altos and tenors are the dependable core.
For me, the best part is that I can leave out some notes and no one will notice. That’s harder for the first violin to do. My father even lovingly called me a “faker” because I could get away with making up parts that I couldn’t play.
Playing second fiddle is a core theme in my life. I am an introvert and prefer to be in the background. From the back of a symphony, I can see and hear everyone else in the group. I can participate fully, hear and take in the whole scene without stress.
As a child, I wanted to be a choreographer. That is still my preferred role: I can pull together people who play better than I do and offer support from the middle. I practice this role in all parts of my life. My advice: employ the best! Enjoy the outcome from the back of the room.
Julie Fulkerson knows that not playing the “rests” is as important as playing the notes. She also reports that even second violinists have G strings.
Email: juliefulkerson@mac.com.
