Principles of Violin Playing (II)

violon-dast-(3)

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.

Polyphony in Iranian Music (II)

With regard to each polyphonic form, only one specific and distinguished example is analyzed. These polyphonic forms are as follows:

Polyphony in Iranian Music (I)

Despite the fact that Iranian folk music (regional music of Iran), like the Radif of Iranian traditional music, is monophonic and follows heterophony in principal, we experience polyphonic forms, albeit, majorly unconscious.

From Past Days…

DSC-reza-ziaei-stard-0

The Mystery of Messiah

Antonio Stradivari (1644 – 18 December 1737) was an Italian luthier and is considered the most significant and greatest artisan in this field.

mohsen-ghanebasiri

A year without Mohsen Ghanebasiri

The year 1396 (21 March 2017-20 March 2018) was the most sorrowful year for HarmonyTalk journal. One month after holding HarmonyTalk’s 13th establishment anniversary in Mohsen Ghanebasiri’s house in Tehran in April 2017, he untimely passed away. Mohsen Ghanebasiri was the prominent HarmonyTalk author.

shahin-mohajeri-mohajery

Shaahin Mohajeri Wins UnTwelve Composition Competition

UnTwelve Non-profit Organization announced the results of its 2014/2015 composition competition on January 28, 2015. Shaahin Mohajeri, an Iranian Tonbak player, microtonalist, acoustician and composer, was awarded the second prize for his piece “Castle of Babak.”

National Instruments Orchestra

Developments in Iranian Music Since Qajar Era (II)

Santour:
Nine-bridge and twelve-bridge Sanours were both used until the early Pahlavi dynasty. However, as Faramarz Payvar devised new methods for playing the nine-bridge Sanour, this variety of the instrument which was hammered by felted sticks became popular.

National Instruments Orchestra

Developments in Iranian Music Since Qajar Era (III)

Developments in Composing

Along with developments in the Iranian instruments, composition of the Iranian pieces developed as well. As a matter of fact, the developments of the two, mutually affected each other. In other words, instrumental developments led to developments in composition and vice versa.

PANews_P-d3a3c0fc-2584-4a8e-af71-63547df49ba3_I1

Ennio Morricone’s music for Quentin Tarantino’s The Hateful Eight

After watching Quentin Tarantino’s latest movie, The Hateful Eight, everyone was excited by its novel music besides the beautiful scenes of blood and guts.
The Hateful Eight is the first collaboration between the world-famous film music composer, Ennio Morricone, and Quentin Tarantino as a famous director.

rooholah-khaleghi-rouhollah-rouholah-khaleghy1

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.

arvin-sedaghatkish-motebasem-hamid-190

Simorgh Criticised

Simorgh (Simorq) Orchestra was founded by the renowned Iranian composer, Hamid Motebassem, in 2011. Simorgh Orchestra is the largest orchestra featuring Iranian national instruments. Although the orchestra established by Master Hossein Dehlavi, the great Iranian composer, in 1993 was larger than Simorgh Orchestra, it only featured the Iranian plucked string instruments unlike the latter one. The first album which was recorded by the Orchestra, conducted under Motebassem’s baton, was his Simorq based on Zal story from Shahnameh by Ferdowsi, the great Iranian poet.

Layla-Ramezan

Layla Ramezan, Iranian Pianist

Iranian pianist Layla Ramezan has always sought to create a connection between her Persian origin and the contemporary music which she encounters daily. Sound, phrasing, a particular sense of rhythm and a refined understanding of the “time of musical development” are the foremost qualities of her interpretations. Her musical and pianistic education began in Tehran at the age of 8 with Mostafa-Kamal Poortorab. Having moved to Paris and received a scholarship from Albert Roussel Foundation, she integrated the classes of Jean Micault and Devi Erlih at the Ecole Normale de Musique de Paris Alfred Cortot, where she received a Diplôme de Virtuosité in piano performance and chamber music.

gh-banan

Banan: the Artist of the Age

Gholam Hossein Banan was born in 1911 in Tehran. He was born in an affluent art-loving family who were Naser al-Din Shah Qajar (1848-1896)’s relative. The Qajar King was his mother’s uncle on her father’s side. He learnt his first lessons in music while his father sang Iranian avaz (improvised rhythmic-free singing), he then attended classes by the renowned Iranian composer, Morteza Neydavoud (1900-1990) along with his sisters; the composer is, therefore, considered as his first teacher. He then learnt Iranian avaz under the supervision of Mirza Taher Zia Resaee (Zia-o Zakerin) and Naser Seif in an oral manner.