Principles of Playing Violin (IV)

2 August 2016 – 12:03 am Posted in Instrument & Playing

Pattern No.3/1

Left hand finger Placement:

3/1/1: Landing Fingers on one String:

In preliminary stages of training, an apprentice should pay attention to the principle of keeping fingers while placing them on the fingerboard. Professional violinists pay less attention to this principle.

Novice player’s complying with this principle, in preliminary stages of training, has several advantages: firstly, gaining a more accurate understanding of how to land fingers on different positions in finger placement with different distances; secondly, increasing player’s physical ability in simultaneously keeping fingers on uncommon positions; thirdly, developing the ability to place one single finger on the fingerboard independent of other fingers.

Principle of keeping Fingers on a string:

When finger placement on a string starts from the first finger to the rest, besides keeping the last finger, the player should also keep previously landed fingers on the fingerboard. However, if finger placement is done out of order, there is no more need to simultaneously put previous fingers on the fingerboard.

For example if we have to play notes A to E subsequently on A string in first position, we should not raise its corresponding finger from the fingerboard after playing each note of this series. However, if we have to play note D immediately after playing free string, there is no need to put first and second fingers simultaneously with the third finger and the third finger can be put independently on the fingerboard.

It should be noted that performing this principle on a smaller scale is also the same. For example in subsequent playing of C, D and E on A string we should not pick the second and the third fingers up after performing C and D notes. In order to play note E immediately after B we should not put the second and the third fingers on the fingerboard. In this state the fourth finger lands on the fingerboard alone.

NB 14: Performing this principle in one position does not depend on the form of musical distances of fingers in the position in relation to each other.

3/1/2: Finger placement:

In order to reach accurate finger placement, it is better to consider the following points simultaneously:

3/1/2/1: When placed on violin fingerboard, fingers should be in a curved shape.

If a finger bends inward in its first joint, which makes a Λ shape, as it is called, instead of a curved shape, it will lead to pain in the finger in the long run. It also decreases player’s skill in finger placement.

3/1/2/2: Strings should always be touched (kept) through finger tips. Nails should not interfere in finger placement. When landed on the fingerboard, fingers should not be in a position in which player’s nail touches strings. In other words, player should not hold the strings with his nail.

In this false position, inward curved shape of fingers is decreased and an excessive pressure is beard by finger tip while finger placing. Also finger placement ability decreases leaving fingers with less independence in relation to each other while playing the instrument.

3/1/2/3: If we imagine that a line, in continuation of the finger length, divides this length into right and left halves, violin player should put left half of his finger tip on the fingerboard.

Because, firstly, considering the less distances between violin strings if a string is held by right half of the finger, the finger will approximately be placed on more bass string at the vicinity of the intended one.

Therefore, if there is a need to play a note with lower finger on a more bass string simultaneously (double-stop performance) or immediately after that, the player encounters a problem.

Secondly, finger placement using the right half of the finger tip will lead to the bending of the left wrist toward right which is not appropriate (See 2/1/3: Wrist).

3/1/2/4: Except when the performance of fifth Musical Interval (De la Quinte), is intended, the above-mentioned points regarding finger placement should be complied with in a manner so as to leave the neighboring high-toned string free.

NB 15: finger placement is done better when article 2/1/2, related to hand twist, is done in the best way possible.

*Therefore, the violinist should keep his nails as short as possible.

Correct style of placing the first finger in a curved shape:

Correct style of placing the second finger in a curved shape:

False Way of First Finger Placement:

False Position of Nail on String

Accurate Style of Placing the Third Finger in Curved Shape:

Accurate Way of Placing the Fourth Finger in a Curved Shape

viol.ir

This entry was written by Ali Nourbakhsh
Tagged: violin.

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.

Latest posts

From Past Days…

A Persian Nocturne for Piano

A Night in a Persian Garden is the name of a Nocturne composed by the Persian (Iranian) contemporary composer Behzad Ranjbaran. This Nocturne, published recently by the Theodore Presser Company in the US, was performed for the first time in 2002 in New York City by the young Persian pianist Soheil Nasseri and has enjoyed many performances by other pianists.

Is the Iranian National Anthem a Copy? (I)

The alleged similarity between the Iranian and South Korean National Anthems has been a matter of discussion among musicians in Iran for several years. Earlier in 2021, the issue was taken to the media again with not only claims that the anthem is very similar to another song but also the suggestion that its musical content should draw more on the Iranian national music. Some even went to the extent to suggest replacing it with the song “O, Iran” composed by the late Rouhollah Khaleghi. Before delving more into the main issue, it would not go amiss to consider some technical characteristics of the song “O, Iran” composed in 1944.

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (4)

The collaboration between Mozart and Haydn blossomed during the late 18th century in Vienna, a city that served as the epicenter of musical innovation. Amidst this vibrant cultural milieu, the two composers developed a profound friendship that extended beyond mere professional admiration. This connection is reflected in the six string quartets dedicated by Mozart to Haydn, aptly known as the “Haydn Quartets.”

From Tradition to Trend: The Evolution of Decorative Arts in Iranian Dafs

Daf is one of the percussion instruments associated with the Kurdistan region of Iran, which has a special place in Iranian music. In the past, animal skin was used for the drum head, but now most of the tambourines in the market are made with artificial skin, which are designed with various decorations.

Polyphony in Iranian Music (V)

In addition to the above-mentioned, polyphony can be also formed when a melody is performed by several singers in different ambiances or different sound registers according to their physiologic abilities. An example of this has been performed in rituals of Khanqah of Ghaderi darawish of Mahabad[i].

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.

Developments in Iranian Music Since Qajar Era (III)

Developments in Composing

Along with developments in the Iranian instruments, composition of the Iranian pieces developed as well. As a matter of fact, the developments of the two, mutually affected each other. In other words, instrumental developments led to developments in composition and vice versa.