Electronic Theses and Dissertations


Frank Lakatos



Document Type


Degree Name

Doctor of Musical Arts



Committee Chair

Timothy Shiu

Committee Member

Lenny Schranze

Committee Member

Mahir Cetiz

Committee Member

Kenneth Kreitner

Committee Member

Marcin Arendt


This document examines how the left hand in violin playing represents and therefore provides harmonic information of the chords it produces. In attaining this observation, the harmonic layout of the fingerboard is defined and organized into pitch intervals as units of measurement. These are used to provide measurements of the hand and finger-proximity as they relate to the fingerboard. These measurements are used to explain how the fingers can be directed in achieving fundamental, harmonic implications. The purpose of this study is to provide a method of understanding chordal harmony directly from an idiomatic, manual mirroring of it, and the ability to use those tactile cues to facilitate the hand’s physical approach in producing chords. J.S. Bach’s three solo fugues for violin were the resources used for collecting, cataloguing, and analyzing his idiomatic chord construction. The methods outlined in this study are then used to define his chords by way of finger configurations and their representations, which point to the recognition of chord type and position of each primary chordal tone. This system can then be used for the study of harmony in the context of the violin or as a guide in the concurrent understanding of harmonic activity in performance practices.


Data is provided by the student.

Library Comment

Dissertation or thesis originally submitted to ProQuest


Open Access