Principles of Playing Violin (V)

s2

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.

In a position which requires that only the first finger move backward and land next to the nut, we should avoid moving all parts of left hand backward and move backwards only this finger.

It is worth mentioning that this case should not be taken by mistake with the position in which the whole left hand moves backward and is installed in half-position, before the first position (such as playing G b major Scale in first position)

NB 15: In order to transmit a finger between two neighbor finger postions, necessary time for this transmission consumes the time of a note which is to change. For example, in playing G-Sharp immediately after G-Natural with second finger in first position of E string, time utilized for replacement is taken from G-Sharp.

3/1/2/6 : As we need to pressure our fingers against the finger board while playing and this happens permanently while playing, so it is required to pay attention to the amount of finger pressure and the manner of inserting this pressure during finger placement.

A: Amount of finger pressure

Unnecessary pressure on the fingerboard causes pain in hand and early fatigue in player while practicing. On the other hand, given the natural shape of fingers and physical specifications of violin, the amount of this pressure on the fingerboard is not the same.

It is required to consider the following points in finger placement:

1- In normal state of playing on a string, especially on lower positions, it is not required to exert extra and unnecessary force on fingers.

It should be noted that sometimes an apprentice presses his left finger against the fingerboard by mistake instead of exerting vertical pressure on bow in order to get stronger voice from the violin. In this way he wastes his energy through his left hand.

2-Noramlly, this amount of pressure varies with each fingers and depends on the length and physical dimensions of each different finger (for example, the fourth finger is shorter and naturally smaller in comparison to other fingers so it is normal that it is considered as a smaller arm to transmit the force.)

3- Naturally the higher the left hand positions, the more critical becomes finger placement (because of the influence of the shape of the instrument and the mutual relationship between the hand and the fingerboard). Also vertical distance between string and the fingerboard increases (and this distance reaches its highest rate in final left hand positions of violin.)

Therefore necessary pressure for finger placement in higher left hand positions differs from that needed in lower positions.

s1

Proper Placement of First Finger (in distance of Half-step from nut)

s3

False Shape of First Finger Placement (in distance of Half-step from nut)

s2

Proper Placement of First Finger (in distance of Whole-tone from nut)

viol.ir

Post a Comment

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

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.

Behzad Abdi’s opera Rumi was physically released by Naxos

Composing a traditional Iranian opera using the Iranian modal system, dastgāh, has always been my dream. I first approached this by composing an opera called Ashura followed by the operas Rumi and Hafez. I believe that in order to attract an international audience for Iranian opera, it is essential to fuse dastgāh with Western classical forms.

From Past Days…

mehrdad-mahdavi

“Guitar Memories” Released

The album “Guitar Memories” consists of the performance of baroque to recent era masterpieces, by Mehrdad Mahdavi, and is published by Tanin-e Honar Publication.

In this album there are pieces composed and arranged by artists such as: Sylvius Leopold Weiss, Johann Anton Logy, Fernando Sor, Yuquijiro Yocoh, Leo Brouwer.

s2

Principles of Violin Playing (VII)

4.3.1.3 Regarding the great linear distance and the unusual distance between the first and forth fingers, the first finger while playing the doubles of ninth and tenth interval, can be twisted in the knuckle area and the point mentioned in 3.1.2.5 paragraph in relation to the way first finger is placed indicating that the first joint of this finger in back of hand must be in line with the direction of forearm and left hand is not true here.

afsdghm

Illusion or Ingenuity?

Mohsen Renani in the preface of his book entitled “The Political Economy of nuclear conflict; an introduction to traversing the civilizations” writes:

baleshtak1904b

Principles of Violin Playing (I)

The present series of training articles, “Principles of Violin Playing”, seek to help students, to appropriately understand this field, by gradually introducing, categorizing, and teaching the myriad relevant points. One of the principles of playing violin, which must be always kept in mind, is that the selection of the most natural position for the body parts while playing is the best and most appropriate solution. As a matter of fact, any unnatural body part position which requires lots of energy or unusual stretching to maintain, is wrong.

novin-orchestra-rooholah-khaleghi-l

Harmony in the Iranian Music (I)

Translated by Mahboube Khalvati The article you are about to read was written by Rouhollah Khaleqi (1906-1965), composer, and conductor of Golha Orchestra (established in 1956). Khaleqi was one of the most prominent promoters of polyphony for the Iranian music and is one of the best representatives of the school of Ali Naghi Vaziri. In…
Read More »

s2

Principles of Violin Playing (X)

Creating sound continuity between two notes in the source and destination positions when left hand position changes and “two different finger numbers” are involved is called portamento. Portamento can be performed on single string or two neighboring strings and with hand moving on fingerboard either upward or downward.

Hossein hosein Dehlavi

Hossein Dehlavi: the Composer

With Dehlavi it is not all about fame but recognition. Hossein Dehlavi is not a popular musician (like pop singers) whom everybody might know when he is walking on streets of Tehran; however, he is recognized by both amateur and distinguished musicians of the country.

shahin-mohajeri-190

Non-profit “Microtona” Project Released

Microtona is a sixty-eight-page Booklet with personal comments by the contributing microtonal artists. The booklet also includes a DVD which consists of 8 original video tracks and 9 original audio tracks. The project is an international one featuring unpublished pieces by composers from Iran, Japan, U.S., France, Austria, Germany and Belgium.

Principles of Playing Violin (IV)

Principles of Playing Violin (IV)

Pattern No.3/1 Left hand finger Placement: 3/1/1: Landing Fingers on one String: In preliminary stages of training, an apprentice should pay attention to the principle of keeping fingers while placing them on the fingerboard. Professional violinists pay less attention to this principle. Novice player’s complying with this principle, in preliminary stages of training, has several…
Read More »

mirhadi-190

Kayvan Mirhadi and O.R.P Qaurtet

Establishing O.R.P. Quartet is Kayvan Mirhadi’s latest activity as a guitarist, composer and conductor of Kamerata Orchestra. Besides working with this Quartet, Mirhadi is busy these days recording and mixing some of his own works as well as some pieces by 20th century composers. O.R.P Quartet performed a concert in Rasht, Gilan Province in late May 2016 and offered a master class.