Principles of Violin Playing (II)

Pattern number 2/1:

Points on the left hand:

2/1/1- Hand’s twist

While standing, human being’s palms are in a parallel position to his body.

Since for playing violin, it’s necessary that the player’s palms and fingers be inclined toward the fingerboard, therefore, the player, while bringing up his hand, should turn it toward the fingerboard.

2/1/2- the place of hand on the fingerboard

Normally, the player’s hand on the instrument neck is in accordance with the first position of the left hand. In such a condition it is necessary that the thumb be placed just across the first finger’s place on the fingerboard, and it’s better to keep the thumb in the same position, neither before nor after the first finger’s position (on the other side of the neck).

NB 1:The touch point of the first finger with the fingerboard in the above case is supposed to be Whole-tone far from the nut. This does not, however, mean the placing of the first finger while it is drawn back with a Half-step distance from the nut.

To place his hand on the first position, while bending his hand from elbow, the player should hold his left arm a little farther from the body, in this position, the elbow also stands farther (so the arm moves up). Firstly, this makes the palm stay at a distance from the player’s body, move forward and acquire the first position.  Secondly, the instrument and its neck remain in a horizontal direction compared with the ground. (See 1/1/2)

NB 2:The important point to be taken into account is that there is no need for the player to move the left shoulder forward in order to move the left arm and “set it into motion”. Some, mistakenly, when holding the instrument, in order to incline the violin toward the chest, twist their left shoulder to right and in fact bend the shoulder toward the chest. Applying any of these positions is wrong making the left shoulder move out of the line of the neck and the shoulder.

Indeed, for better understanding of this point, “articular role” of the shoulder should be considered. The shoulder joint, makes the twisting of the arm possible without the need to move the whole shoulder area and a part of the left side of the chest.

2/1/3- wrist

Naturally, when dropped, the wrist is in line with the forearm. While bringing up the hand and holding the instrument, it should not be twisted outwards or inwards or moved out of the direction of the forearm (in the first condition, the hand is idiomatically in the form of begging and in the second condition the wrist is protruded) or be bended sideways or twisted to the left or the right either.

NB 3: While playing it is only in the lower position of the left hand that the wrist and the forearm can remain in line with each other. It is necessary that the player does his best to maintain this position.

NB 4:In the general conditions of playing, keeping the wrist and forearm in line is desired. But, sometimes, in order to have a better performance, especially in playing some four string chords or trills, the wrist can be moved out of this position and bend inwards or outwards.

NB 5:If the player’s wrist is twisted inward, despite from being in trouble when changing the position, his fingers may collide with each other and be stuck. On the other hand, the player cannot place his fingers on the fingerboard with dominance.

NB 6:If the wrist is twisted outward, it is necessary that the player move it out of the usual form and shape in order to get to the desired note. Moreover, noting to the player’s fingers moving further than the instrument’s (supposed) fret (because of the pulled back form of fingers as a result of the moved back wrist), there is the possibility that the fingers don’t reach to the desired note which causes playing out of tune. Also the permanent twist of the wrist outwards, is painful in the long run.

The correct placement of the left hand on the fingerboard 

 Wrong Inward Twist of the Wrist 


Wrong Rightward Twist of the Wrist  


Wrong Outward Twist of the Wrist 


Correct Position

Post a Comment

Required fields are marked *
*
*
Your email is never shared.

Nasser Masoudi: The Voice of Gilan and a Legacy of Iranian Music

In Iranian music, certain singers have become emblematic of their homelands through their distinctive voices. Historical figures such as Eghbal Sultan, who epitomized the grandeur of Azerbaijani music, and Taj Isfahani, who conveyed the authentic essence of Isfahan, serve as notable examples from the Qajar era. Nasser Masoudi occupies a similar position; his voice emerged as a symbol of Gilan while also achieving national acclaim. Before him, Master Ahmad Ashurpur represented Gilan’s musical landscape, but his extended residence outside Iran limited his continuous engagement in the music scene. In contrast, Masoudi’s consistent presence allowed him to introduce the voice of Gilan to audiences across Iran.

Farhad Poupel: The Voice of the Shahnameh in the Orchestras Around the World

In an era when almost no trace of contemporary Iranian music can be heard in international concert halls, except (so-called!) avant-garde works that owe their existence solely to the fashionable slogans of the “pseudo-intellectual” crowd who have seized the already meager resources for performing classical music from the true artists of the field, the numerous performances of Farhad Poupel’s works shine as a ray of hope for lovers of sincere musical art. Without resorting to trendy slogans, he has kept the flame of Iranian classical music alive purely through the power of his artistry.

From Past Days…

Iranian Fallacies: Iranian Chords

Finding a way to harmonize the Iranian music has been the subject of controversy among Iranian musicians for a long time. Some believe in the creation of harmonies for Iranian music based on a method which is similar to the tierce harmony; while others have either selected or invented some other methods. There are also some musicians who do not basically agree with the harmonization of the Iranian music.

The Structure of Kurdistan Daf (III)

“Our ancestors believe powerful blows upon the Daf scatters evil spirits of disease and distress to create a clean and holy space filled with health and prosperity. Adding tools to Daf increases this instrument’s purification, spreading, and summoning powers of evil forces and goddesses. Daf was mostly depicted by red, color of blood, in ancient times or sometimes it was depicted with green, the color of plants and nature. There were probably some mysterious designs painted upon the wooden body and frames of these instruments just like today” (Pahlavan, 2013: 44).

The Structure of Kurdistan Daf (I)

Today, percussion instruments have such a high place in music that are an essential element of orchestras. This has attracted many people to this type of instrument with roots as old as the first humans. A historical study of music, shows that humans used the sound of these instruments to defend themselves against wild animals and, over time, for alerting each other, signaling their readiness and encouraging people for war, ritual ceremonies, dances, etc. in a manner that is still clearly visible in music and some ritual ceremonies.

A Miracle in the Iranian Music: About Tehran Flute Choir’s Eight-year Tenacity

Tehran Flute Choir is a 40-member orchestra of Iran’s best flutists; Iran’s best flutists? Yes! If you write down the names of the greatest Iranian flute players who participate at concerts and contribute to academic centers in Iran, you will see that most of them are among the choir’s members.

From the Last Instrumentalist to the First Composer (II)

Rouhollah Khaleghi was the master of composing beautiful melodies. He was the premier of the course of history which was first established by Ali Naghi Vaziri and which improved the Iranian music from simply a gathering music to the classical music of the country. First efforts to compose independent and instrumental music can be also traced in Khaleghi’s works.

Principles of Playing Violin (V)

3/1/2/5: When the first finger lands next to the nut, continuation of first phalange of this finger, on back of the hand, should be in line with continuation of the back of the wrist and the left hand; moreover, it should not pass them and bend at knuckles. Otherwise, an uncommon stretch is created in first finger’s knuckle also reducing the freedom of other fingers (especially the fourth finger) in finger placement.

Mohammad Esmaili passes away

Master Mohammad Ismaili, a prominent musician and renowned tombak player, passed away on August 13, 2023, after battling an illness in the ICU of Rasoul Akram Hospital. His funeral will take place on Thursday, August 17, at 10 am in front of Vahdat Hall, and he will be laid to rest in the Artists’ Section of Behesht Zahra Cemetery.

New Technique for Playing Classical Guitar (II)

When the author was working on the piece “Playing Love” by Ennio Morricone (from the legend of 1900), he realized a failure of the Lip Technique. Needing to play a chord in the 14th position of the guitar and in order to complete the harmony, it is necessary to play a harmonic note on the 7th or 5th position; it was not possible to touch the string to play this harmonic note, because the Lip Technique is used for getting the notes and not to touch the string and producing harmonic notes. Naturally, the only possible way to touch the string was to use the nose at the required position and playing the note with the right hand, and this was the best option the author found to how to play such harmonic notes, and where the Nose Technique was generated.

Henry Cowell: “Persian Set”

Persian Set: Four Movements for chamber orchestra: Moderato; Allegretto; Lento; Rondo

Henry Cowell, one of the most innovative American composers of the 20th century, was born in 1897. Cowell and his wife visited Iran in 1956 and stayed there the whole winter, upon the invitation by the Iranian Royal Family, when he composed his album “Persian Set” in four movements for chamber orchestra. His composition is expressive of the characteristic quality of the Persian or the Iranian music.

Gholam Reza Khan Minbashian: a pioneer in Iranian music (I)

Gholam Reza Khan Minbashian, a.k.a Salar-Mo’azez, was a pioneer in several domains in the history of the Iranian music. He is recognized as the first Iranian musician who was educated in classical music. He is also the first Iranian the score of whose works were published in Europe. He is the first Iranian to have launched courses on Western classical music and was also the first Iranian teacher of classical music. Moreover, he is the first founder of a string orchestra in Iran, the first author of the Iranian Radif which was available in oral form. Minbashian is also the first Iranian who studied music in Europe.