Principles of Violin Playing (III)

Continuation of Pattern 2/1

Points Regarding Left Hand

4/1/2 Left Thumb:
Violin players should always pay attention to the proper position of the left thumb and other points related to it and to its joining point to the palm.

Normally, the left thumb is stretched and is not bended in first and last knuckles (last knuckle is the one which joins the thumb to the hand), there is no need to bend the left thumb while holding the instrument or playing it.

NB 7: Knuckles are rows of connecting joints where the last phalange joins the palm. The order of counting finger joints in these series of articles has been selected from finger tip toward knuckles arbitrarily.

NB 8: There are two possible bending forms for the thumb in the first phalange: The first one is bending inward which causes the fingertip to be inclined toward the fingerboard. The second is bending outward in which the finger tip is diverted toward the left side of player or outside the fingerboard.

As the thumb is not used in general state of playing violin, it should be noticed that in the first manner of bending, digression of the tip of thumb toward fingerboard makes the thumb disturb other fingers through finger placement. This disturbance increases to the most when the player places his finger on G string.

On the other hand, bending thumb inward causes a kind of pluck in thumb and also in part of left palm which is near the thumb. Not only this may cause early tiredness during exercise, it decreases the speed of playing.

In the second state of bending, digression of thumb outward decreases skill in playing. Thumb and edge of first finger of left hand play the main role in holding the instrument. Outward digression of thumb decreases hand’s reliance on the neck as well as the player’s energy while holding the instrument.

NB 9: Usually, only inward bending occurs in the last phalange of the thumb. This kind of false bending, which causes a sort of outgrowth in internal part of palm which is joined to thumb, decreases the movement of other left hand fingers.

NB 10: After this introduction we will attend to the most common mistake of players related to bending the left thumb, i.e. a state that occurs due to the mixture of the above-mentioned mistakes. In this position the thumb is bent inward simultaneously at first and last phalanges. Occurrence of this position causes the player to suffer from all of the above-mentioned errors resulting from false bending which leads to deficiencies in playing.

NB 11: In general, it is better to raise the left thumb, form the fingerboard, about the distance between the finger tip and the first phalange (or central point of the first phalange). Doing this makes the necessary “central gap” between player’s left hand and the back of violin neck balanced (it is worth mentioning that the amount of the gap varies according to the form and size of players’ hand.)*

2/1/5 Left Elbow:

When the left hand lands on lower positions of the fingerboard it is better to keep the elbow exactly under the central part of the violin or in line with the fingerboard. It is better to prevent the left elbow from excessive bending to the left or to the right.

NB 12: If the elbow inclines excessively toward left, player will encounter problems in landing his finger on G string. Moreover, he will face difficulties reaching the last string of the violin.

This critical state in the fourth finger of the left hand is problematic even for players who have long and slim fingers.

NB 13: If elbow inclines more toward right, the player will encounter problems in correctly landing his finger on E string.**

*If the left hand is raised excessively upper or lower than the neck, in both above mentioned states, central distance (gap) is lost and causes some problems in manner and form of finger placement on the fingerboard which will be discussed in finger placement section.

** It will be discussed in finger placement section.


Wrong Rightward Elbow Bending


Bending of Thumb Toward the Fingerboard by Mistake


False Outward Bending of Thumb


False Simultaneous Bending of Thumb


Correct Position of Thumb


False Method in inclining Elbow to the Left

Viol.ir

Post a Comment

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

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.

From Past Days…

The Structure of Kurdistan Daf (I)

Today, percussion instruments have such a high place in music that are an essential element of orchestras. This has attracted many people to this type of instrument with roots as old as the first humans. A historical study of music, shows that humans used the sound of these instruments to defend themselves against wild animals and, over time, for alerting each other, signaling their readiness and encouraging people for war, ritual ceremonies, dances, etc. in a manner that is still clearly visible in music and some ritual ceremonies.

“The Art of Silence” Project Will be Released

Shaahin Mohajeri, the award-winning Iranian microtonal compose, has contributed to The Art of Silence is an international project which features unpublished pieces by microtonal composers from Iran, Japan, the United States, and other countries.

The Structure of Kurdistan Daf (VII)

Conclusion

“Daf” is one of type of percussion instruments that has a long history and is commonly known as circular instruments (with a rim). In some tribes, Daf was used as the main instrument in festivity and joy ceremonies; in another tribe it was used as the main instrument for war and campaign ceremonies and some others used it for ritual and religious ceremonies.

 Ahmad Pejman Passed Away!

Composer and music teacher Ahmad Pejman (1935–2025) passed away on August 29 in Los Angeles, USA, after several weeks of illness. His most recent symphonic work performed in Iran was Land of the Brave (“Sarzameen-e Delavaran”), which was staged in 2017 with the Tehran Symphony Orchestra. According to the family’s decision, his body will be laid to rest in the United States.

Developments in Iranian Music Since Qajar Era (I)

At the end of the Qajar era and as Iran entered the power transition period, known as the constitutional era, the Iranian music went through a lot of changes. These changes gained momentum as the students and followers of Ali Naqi Vaziri’s entered the musical scene. These changes greatly influenced designs of instruments, playing methods, singing, composing, etc.

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.”

Women Musicians in Large Iranian Orchestras

It is more than a century now that the sociologists consider the presence of women in different social domains as a benchmark for a society’s progress. They analyze the presence of women in society by the means of available statistics. Unfortunately, as with regard to the Iranian society, statistics related to women’s engagement, has not been available to the researchers, if they existed at all.

A Look at Ali Tajvidi’s Manifold Musical Activities (II)

Tajvidi thought of studying harmony and orchestration with Houshang Ostvar (who was eight years younger than him) at a time when he had gained a reputation among musicians. His humbleness, making him willing to kneel before the scholars at any age and position, became the key to his scientific success. After this period, Tajvidi made some of his works polyphonic, the most prominent of which is “Burn” set to a poem by Abdullah Ulfat. However, his ability to make his works polyphonic was not so great to make him self-sufficient; so he depended on musicians such as Farhad Fakhreddini, Fereydoun Naseri, Kambiz Roshanravan, Fereydoun Shahbazian and Morteza Hananeh for the arrangement of his compositions.

Jamshid Andalibi passed away!

Jamshid Andalibi, one of the most famous ney players in Iran, passed away on the fifteenth of Esfand, 1402, at the age of 66 due to a heart attack at his private residence. Andalibi was a member of a family that had a significant presence in the field of Iranian music in the sixties and…
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.