Principles of Playing Violin (VI)

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B. applying force: the force needed for putting finger on finger board is applied through finger tips and using the rest of hand set especially wrist is not allowed. To practice this, it is possible to hold violin without the bow and throw the fingers on the finger board from 1-2cm distance; apply force only through finger tips.

Practicing this exercise, it is necessary to consider the following facts:
1.While practicing with each finger, avoid any unnecessary movement of the other fingers (neither as putting a finger or removing a finger); each finger is required to act independently from the other fingers.

2.To remove a finger from the finger board do not hold the finger too much above it and do not take finger very far from it (also it is necessary that the distance of finger as it is about to be put on the finger board or when it is removed must be the same.)

3.Removing the finger should not be simultaneous with throwing it up, that is removing a finger should not involve any additional force and it should be avoided any mental or physical focus on putting or removing finger.

4.every finger should achieve the ability to transfer force to finger board only through finger tips.

3/1/3: putting finger on neighboring strings:

The best way of putting finger when changing string is the process that involves the most comfortable shape of hand and the least additional movement of the other parts of hand, however, it is often observed that some people make too many unnecessary movements with their “set of left hand” while practicing a musical note, that is more than the whole number of the notes of the phrase.

It should be mentioned that to learn better and have more effective control over the different states of playing on a string and between the neighboring strings and the non-neighboring strings considered in these collection of articles, one can exploit a mirror.

3/1/3/1: putting finger at positions one to four is performed considering paragraph 2/1/5 about the place of left elbow. Thus, shifting finger from E string to G string involves moving left elbow too much toward right.

3/1/3/2: at this state the player should avoid any twisting of wrist to either sides when putting finger on neighboring strings mentioned in paragraph 3/1/2. (Especially twisting to right during the process of shifting finger from G string to E string.)

Notification 16: direction of the line of wrist to elbow and the place of elbow change while putting finger in position five and those after it. This will be discussed in the section on practicing the positions of left hand.

3/1/3/3: to perform fifth intervals(Quinte), finger should not be shifted from a string to the neighboring string. Instead, the player considering this state from the very beginning, should keep finger on two neighboring strings at the same time so that when shifting string quickly no sound interruption appear due to shifting finger .

Notification 17: to learn about using free string while shifting to the neighboring string you can see the section on free string in edit articles in violin II and III.

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Iranian Contradictions: 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.

Principles of Violin Playing (IX)

4.3.1. To practice playing of doubles of notes involving two different fingers, each note is played at separate bows with slow tempo, each note is played perfectly regarding its bass and tenor sounds and then the considered double is played at another bow while considering the resulted sound of the double.

From Past Days…

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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.

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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:

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HarmonyTalk Celebrates 11th Anniversary

April 6 marks the anniversary of launching HarmonyTalk.com. Back in 2004, HarmonyTalk was rather a blog dedicated to music. Gradually, however, it found its way to becoming a more sophisticated journal with an intensive but not exclusive concentration on classical music.

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From the Last Instrumentalist to the First Composer (I)

Music as an art has its own special history; emergence of a singer, of an instrumentalist and then the emergence of the strong character of a composer covers three significant phases of the art of music. With the emergence of composer which was simultaneous with the emergence of the language of music, this art managed to offer a domain for criticism for its composer; a procedure which led to a magnificent variety and evolution in musical production. Even though the conflicts between singers and instrumentalists have not met their end in the Iranian society and while singers can achieve high, instrumentalists have yet to play behind curtains . In a special era, with the efforts of musicians such as Ali Naghi Vaziri (1887-1979) and Rouhollah Khaleghi (1906-1965), glimmers of a composing era started to glow bearing fruit in Khaleghi’s achievement as Iran’s first professional composer. Khaleghi made his reputation as a composer while Vaziri deserved to pioneer this path. By then Vaziri was well-known as a Tar player.

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“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.

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Kayvan Mirhadi and O.R.P Qaurtet

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Ashoura Opera

Ashura Opera was composed by Behzad Abdi, the Iranian composer, in 2008 based on librettos compiled by Behrouz Gharib. The main source for the libretto is poems by Mohtasham Kashani, a sixteenth century Iranian poet.

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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.

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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.

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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.