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

Post a Comment

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

Iranian Fallacies – Global Performance

One of the most important criteria for measuring the quality of a piece of classical music is number of times the piece has been performance by different ensembles and orchestras in different eras. This belief has become so pervasive in some societies, such as Iranian society, that it is considered the only criterion for measuring the quality of a piece of classical music.

Iranian Fallacies – School of Vaziri

The term “School of Vaziri” is often used in writings on Iranian music, but the exact meaning of the term is not clear; some of the authors have used the term to only refer to the group of Vaziri’s students, including a large group of his conservatory students and his Tar students such as Abolhassan Saba, Rouhollah Khaleghi, Ahmad Foroutan Rad, Hossein Sanjari, Heshmat Sanjari and others. But can we consider all Vaziri’s students as followers of his school of thought? This is definitely a mistake, because we know that some of Vaziri’s students have chosen a completely different path than that of Vaziri.

From Past Days…

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.

Violin’s inner mold, an essential factor in developing the idea of violin

A part of the secrets of the masterpieces from the golden era lies in the special design of the instruments, as a result of a profound insight to and awareness of the significance of the precise calculation of the various components of the object of arts being created, such as making a violin or a bow.

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.

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.

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.

Musical Sense or Technique?

One of the most popular terms used by Iranian instrumentalists is the existence or a lack of musical “sense”. Both musicians and fans of music consider having “sense” while playing music as an important principle to the extent that they use it vis-a-vis having technique.

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.”

Iannis Xenakis’ Persephassa

Shiraz Arts Festival which was held in Shiraz from 1967 to 1977 featured many contemporary renowned artists who were commissioned by the Iranian royalty to compose or create works of art for performance in the arts festival. Iannis Xenakis (1922-2001) participated in Shiraz Arts Festival three times in 1968, 1969 and 1971. The Greek-French composer,…
Read More »

New Technique for Playing Classical Guitar (I)

Joint application of the two techniques of “Lip” and “Nose” could be effectively applied for hearing and playing far-away intervals, by the Classical Guitar. Before this, a Classical Guitar player had to waive playing intervals not possible with the left hand, and had to replace or eliminate some notes, making it possible to play such intervals; specifically the capability of the left hand of the musician, was also a factor in such a selection. These methods are hereby illustrated by photographs and a video-file, in order to provide optimum comprehension of applying these methods, invented by the author; specifically the “Lip” technique, which is considered to be a more significant technique, emphasized by the author.

Three singers in one larynx

Sima Bina (b. 1945) is a unique singer among the singers of Golha radio programmes which were broadcast on Iranian National Radio for 23 years from 1956 to 1979. She received her first lessons in music from her father who was a poet, a musician and the most important supporter of Sima’s cultural activities.