Principles of Violin Playing (VIII)

5.1.3.Points on playing chromatic scales

1.5.1.3.sometimes, a player, due to different reasons, may decisively want to play continuously two notes with a half-step by means of the same finger, in such a case, it’s necessary to open the interior curve of the finger like a spring. Naturally coming back, the curve of finger should be closed and the finger should become curved shape again (see paragraph 3.1.2.1).

Just like playing Fa-natural immediately after playing Mi-natural by forth finger, at Do major scale and first position of the second string.

2.5.1.3. Considering the way of playing this scale and using the same finger continuously for playing interval, beware not to apply extra vertical force on fingerboard by your fingers.
Because, the more is the applied force on the fingerboard by fingers, the more difficult it would be to open or close the interior curve of fingers and consequently the performance speed would decrease.
In such a case, in order to play the interval, the player inevitably needs to move her hand’s position forward or backward, and the role of finger gets weaker.

3.5.1.3. When changing the position or shape of finger for playing the interval of chromatic scales, player should avoid changing the position of left thumb.

Also playing the chromatic scale, sometimes the player may mistakenly flex the part of palm that is joined thumb. The player should avoid such a flex that may cause her feel cramps in her hand.

4.5.1.3. Since playing chromatic step always involves shifting fingers, it is necessary to be careful about playing the exact tempo (see notification 15).

Pattern number 4/1

Playing the doubles

There are some points that must be considered when playing doubles of the notes. They must be practiced step by step so that you find mastery over these doubles.

1.1.4. The first point is to be skilled at bowing on two open strings simultaneously and creating harmonious and perfect sound with the instrument. Hence, the practice of playing the double of open strings can be performed for the independent right and left bows that are played thoroughly (from frog to point).

Here, acquiring dominance and skill at creating perfect and harmonious sound with bow is achieved by practicing in a slow tempo. (such as playing three Whole note play on open string doubles at tempo 60 Bpm during a whole bow length).

Notification 18: the technique of bowing for playing doubles by right hand and the direction of different parts of right hand to each other and to body will be discussed later in the section on the techniques of right hand. Here, from now on, we only discuss the points related to left hand.

2.1.4. The next point is to find mastery over playing a double involving a finger and the neighboring open string. In fact, this is at this state that left hand makes its first attempt at playing the double.

To do this, the player should place each of the fingers at different distances from the nut(for playing different intervals) and practice double finger placing with the neighboring open string. It should be mentioned that here it is also needed to practice at slow tempo and with separate bows for each double.


Fourth finger at its natural state and with curved shape

Forth finger with opened curve and being straightened for

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The Legacy of Khosrow Jafarzadeh

This year marks the fifth anniversary of the passing of Khosrow Jafarzadeh (Khosrow Djafar-Zadeh), a distinguished architect and pioneering researcher of Iranian music, whose contributions to the magazine “Harmony Talk” have left an indelible mark on the field. The absence of this remarkable individual has significantly impacted the expansion and advancement of his theories, which are heralded as some of the most progressive in the history of Iranian music

Whose dream?! Whose reality?!

(A review of the “So Faraway” album; Tar and Tonbak duet; Siavash Imani, Pedram Khavarzmini)

From Past Days…

The Structure of Kurdistan Daf (III)

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Simorgh Criticised

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Prominent Iranian Musicologist Passes Away in Vienna

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Harmony in the Iranian Music (II)

One of his works was the translation of Harmony, which was carried out with the help of Mozayyan al-Dowleh, and included a pamphlet based on which he used to teach the subject to the students of the school of music; the pamphlet was never published. It was, in fact, a kind of simple harmony for the piano with no quadriads, it rather featured the engagement of both the right hand and the left hand which was being taught at the music school for the first time. Salar-Mo’azez also composed military marches and hymns for schools, which he harmonized to be performed and piano. Likewise, he used to compose for military orchestras.

History’s Impact on Evaluating a Work of Art

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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.

Negation of Changes in Iranian Music: Embracing Tradition

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