Principles of Violin Playing (II)

1 December 2015 – 1:13 am Posted in Instrument & Playing

Pattern number 2/1:

Points on the left hand:

2/1/1- Hand’s twist

While standing, human beingâ€™s palms are in a parallel position to his body.

Since for playing violin, it’s necessary that the playerâ€™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 fingerâ€™s place on the fingerboard, and it’s better to keep the thumb in the same position, neither before nor after the first fingerâ€™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

This entry was written by Ali Nourbakhsh
Tagged: violin.

Farhad Poupel: The Voice of the Shahnameh in the Orchestras Around the World

In an era when almost no trace of contemporary Iranian music can be heard in international concert halls, except (so-called!) avant-garde works that owe their existence solely to the fashionable slogans of the “pseudo-intellectual” crowd who have seized the already meager resources for performing classical music from the true artists of the field, the numerous performances of Farhad Poupel’s works shine as a ray of hope for lovers of sincere musical art. Without resorting to trendy slogans, he has kept the flame of Iranian classical music alive purely through the power of his artistry.

Five Major Myths About Mozart’s Life

Wolfgang Amadeus Mozart, the renowned Austrian composer, is undoubtedly one of the greatest geniuses in the history of classical music. However, his life is surrounded by numerous myths and legends, some of which are not based on facts. This article explores five of the most common misconceptions about Mozart’s life.

Latest posts

From Past Days…

Motherland Orchestra Broke the Spell of the Covid-19 Restrictions

The Motherland Orchestra staged the first concert since the outbreak of the pandemic under the baton of Nezhat Amiri. The orchestra went on stage on December 23-24, 2021 in memory of Rouhollah Khaleghi and Golnoush Khaleghi at Vahdat Hall, Tehran, Iran. Since the pandemic outbreak, concerts were held online and restrictions were imposed on in-person concerts.

Polyphony in Iranian Music (IV)

Two choirs alternatively perform Veŝ Tavaré Na avaz (Transcription 5). The second group starts the avaz before the first group finishes it; consequently, two different voices coincide (Transcription 5, staves 2 and 5).

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.

Five Major Myths About Mozart’s Life

Homayoun Rahimian & Iran’s National Orchestra

The Roudaki Foundation presented the permanent conductor of the National Orchestra (Orchestr Melli), Homayoun Rahimian, in a ceremony, and finally, after four years, the national orchestra found a permanent conductor. Homayoun Rahimian is the fourth permanent conductor of this orchestra after Farhad Fakhreddini, Bardia Kiaras, and Fereidoun Shahbaziyan. He, who has previously had experience of conducting concerts besides being Meister’s concert of this orchestra, performed the concert “Autumns” on the 20th of Tir, performing works by Rouhollah Khaleqi, Javad Ma’roufi, and Hossein Dehlavi.

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.

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.

Principles of Playing Violin (V)

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.

The First Saba Student Music Festival Concluded in Tehran

Preparations for Saba Student Music Festival started in the summer of 2016; the Student Music Festival will be held annually by the students of music at Arts University. The first part of the closing ceremony of the Festival was dedicated to the celebration of the life, work and strives by Maestro Hossein Dehlavi to upgrade the level of music as an academic discipline. The name of the award-winning students and ensembles were announced at the second part of the ceremony.

Interview with the Makers of the New Qeychak (III)

In this project, my specialized responsibility was the basic drawings of the desired instrument with the help of engineering and mechanical software. I have also the carried out phases related to engineering designs, related variables, and volume and weight calculations under Mr. Ziaei’s direct supervision from the very beginning. Regarding the challenges of this work, suffice it to say that the set of designs for the instrument lasted more than 9 months in the final stage of the project only.