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.

Nasser Masoudi: The Voice of Gilan and a Legacy of Iranian Music

In Iranian music, certain singers have become emblematic of their homelands through their distinctive voices. Historical figures such as Eghbal Sultan, who epitomized the grandeur of Azerbaijani music, and Taj Isfahani, who conveyed the authentic essence of Isfahan, serve as notable examples from the Qajar era. Nasser Masoudi occupies a similar position; his voice emerged as a symbol of Gilan while also achieving national acclaim. Before him, Master Ahmad Ashurpur represented Gilan’s musical landscape, but his extended residence outside Iran limited his continuous engagement in the music scene. In contrast, Masoudi’s consistent presence allowed him to introduce the voice of Gilan to audiences across Iran.

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.

From Past Days…

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (2)

Innovation and Creativity The Enlightenment era championed innovation, creativity, and the relentless pursuit of knowledge, values that resonate prominently in Mozart’s string quartets. Mozart, a luminary of the Enlightenment, used the quartet form as a playground for his inventive spirit, pushing the boundaries of traditional structures and harmonic progressions. Mozart’s innovative approach is evident in…
Read More »

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.

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.

The 4th Iranian Festival of Music Websites and Weblogs

The 4th Iranian Festival of Music Websites and Weblogs was held in Niavaran Cultural Center, in Tehran, Iran on Feb. 28th, 2015. The initiator of the festival was Sajjad Pourghanad, Iranian music writer, researcher, founder of the festival and Persian setar and tar player.

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.

The Structure of Kurdistan Daf (IV)

Researcher: Mohammad Tarighat Translator: Fatemeh Alimohammadi Daf Structure The Structure of Daf in different cities of Iran has a great variety in terms of dimensions, components and even appearance; some of which are as follows: – Square Daf, on which the skin was stretched either on one or both sides, with strings installed inside it…
Read More »

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

Ali Tajvidi (1920 – 2004), one of the most prominent Iranian musicians, passed away sixteen years ago. He was one of the most distinguished Iranian artists. To specify one of the fields in which he was unique, one can refer to Tasnif composition. A brief review of his manifold musical activities is presented below.

Rouhollah Khaleghi Artistic Center established in Washington DC

Golnoush Khaleghi (1941-2021), a Washington-based Persian musician and the daughter of the contemporary Persian (Iranian) composer and theoretician Rouhollah Khaleghi (1906-1965) founded a musical center called RKAC to keep the name and the work of her father alive.

Leading the Charge in Censorship

Davoud Pirnia, writer and musicologist was the founder of “Golha” (Flowers of Persian Song and Music) programs on Tehran Radio (1956-1966). He received his early education from his father, Hassan Pirnia (Moshir al-Douleh), and several tutors of the time (Taraghi, interview, July 1989) and continued his studies at Saint Louis School in Tehran and then in Switzerland and graduated in law. While studying law, Pirnia got acquainted with European classical music. Upon returning to Iran, he was employed by the Ministry of Justice and founded the Lawyers’ Guild. Then he was transferred to the Ministry of Finance and established the Department of Statistics in this ministry. Later, he became the head of the state inspection office at the Prime Ministry; he was, then, promoted to the position of the Deputy Prime Minister (Navab Safa, interview, August 1999)

Henry Cowell: “Persian Set”

Persian Set: Four Movements for chamber orchestra: Moderato; Allegretto; Lento; Rondo

Henry Cowell, one of the most innovative American composers of the 20th century, was born in 1897. Cowell and his wife visited Iran in 1956 and stayed there the whole winter, upon the invitation by the Iranian Royal Family, when he composed his album “Persian Set” in four movements for chamber orchestra. His composition is expressive of the characteristic quality of the Persian or the Iranian music.