Can a violin be tuned up a half step?

I've been working on a solo piece for violin which is in the key of G sharp minor. I've written in parts where the violin plays the G string open while playing a melody on the D string, but today I realized that the actual note that the open string would be playing is actually a G#, so I'd have to tune the violin up a half step in order for it to actually be playable. I know that if this were attempted on guitar there's a very good chance that strings would be snapping, or I guess I could compromise and have it played a half step lower. Any help would be appreciated. Thanks! :)

Jackson

You can tune it up. Just be sure to notate the piece as if it was an instrument in D-flat. (Write it all down a 1/2 step if your tuning up 1/2 step.)

See Mahler's Symphony No. 4, Mov. 2. He uses a solo violin with the strings tuned up a whole step. It makes the timbre much more strained. Sounds cool!

Forgive me for the obvious question, but why not just transpose the work into G minor and save yourself and the violinist a headache?

See Mahler's Symphony No. 4, Mov. 2.

See Paganini's Moses Variations: he tunes the G string up to Bb (!). It's really quite awesome.

Yes, but it's kind of annoying.

Forgive me for the obvious question, but why not just transpose the work into G minor and save yourself and the violinist a headache?

I'm writing a series of variations and I haven't decided yet if I want them all to be in the same key or to use different keys. I think it might be a little strange if all but one of the variations were in the same key.

Also keep in mind that to include a work with scordatura in a program, the instrument is going to have to been re-tuned after the work, and 'mis-tuned' before it, which some string players are loathe to do... and which takes time that could be used for playing. ;)

Yeah, quick retuning is a bit problematic. If you change the tuning between two pieces in the same concert, the tuning might not be stable, so many violinists will actually bring two violins to such a concert, if they have two. At least it's violins and not double basses though - the latter would really hate you for having to bring two instruments to a concert :P

I think using a scordatura is perfectly fine and makes sense for certain things. But it does make things more complicated and might make violinists more unwilling to play it under some circumstances, so I'd only use it if it's really important for you.

Ya, it is important to me. I tried transposing it to G minor and it totally lost the feel of the piece. It's likely that it won't be played live, at least for a long time, but if I ever do get it performed I guess having two violins on hand is the best option. Thanks for your replies! :)

Jackson

Oh, by the way, if it's just about the G string I see no reason to apply the scordatura to all strings (except that it makes it a bit easier for you). The less strings you are retuning, the less problems it will cause. Except for the fact that you then need to be aware on which strings the violinist plays what and transpose everything that is to be played on the G string, while keeping the other parts as they are. (So the violinist can play it as if the instrument was tuned normally and doesn't have to think about different fingerings.)

This can get rather tricky though, as it may not be entirely clear on which string to play certain notes of a passage for example and thus there can be ambiguity concerning the transposed notation. In doubt, I'd clearly indicate which string should be used in such passages, and I'd definitely get in touch with a violinist to discuss the whole notation.

Adding a little additional note system in such difficult passages that shows the resulting sound might also be helpful.

The G string was one example, I also had an open D string as well, and just added open A. As I see it, wouldn't the simplest answer be to write it as if it were in standard tuning and just say that it should actually sound a half step up? I know if I were playing something a half step down on guitar it would make my life a lot easier if it was all written as if in standard tuning, but maybe that's just me.

Yeah, that's what I mean. But this is only so simple when you're retuning all four strings. The problem I spoke of arises when you're only retuning one string.

In one of Paganini's concertos he instructs the soloist to tune his violin up a half step so that it sounds as if he's playing in E flat major when he's using the fingering for D major.

So yes, it is possible and has been done before.

That's what I'm trying to say the whole time! Just saying that it can be problematic in passages where it's not entirely clear on which string to play.

P.S. Paganini is hardly the first example of this. Using scordature was extremely common in baroque.