Principles of Playing Violin (VI)

B. applying force: the force needed for putting finger on finger board is applied through finger tips and using the rest of hand set especially wrist is not allowed. To practice this, it is possible to hold violin without the bow and throw the fingers on the finger board from 1-2cm distance; apply force only through finger tips.

Practicing this exercise, it is necessary to consider the following facts:
1.While practicing with each finger, avoid any unnecessary movement of the other fingers (neither as putting a finger or removing a finger); each finger is required to act independently from the other fingers.

2.To remove a finger from the finger board do not hold the finger too much above it and do not take finger very far from it (also it is necessary that the distance of finger as it is about to be put on the finger board or when it is removed must be the same.)

3.Removing the finger should not be simultaneous with throwing it up, that is removing a finger should not involve any additional force and it should be avoided any mental or physical focus on putting or removing finger.

4.every finger should achieve the ability to transfer force to finger board only through finger tips.

3/1/3: putting finger on neighboring strings:

The best way of putting finger when changing string is the process that involves the most comfortable shape of hand and the least additional movement of the other parts of hand, however, it is often observed that some people make too many unnecessary movements with their “set of left hand” while practicing a musical note, that is more than the whole number of the notes of the phrase.

It should be mentioned that to learn better and have more effective control over the different states of playing on a string and between the neighboring strings and the non-neighboring strings considered in these collection of articles, one can exploit a mirror.

3/1/3/1: putting finger at positions one to four is performed considering paragraph 2/1/5 about the place of left elbow. Thus, shifting finger from E string to G string involves moving left elbow too much toward right.

3/1/3/2: at this state the player should avoid any twisting of wrist to either sides when putting finger on neighboring strings mentioned in paragraph 3/1/2. (Especially twisting to right during the process of shifting finger from G string to E string.)

Notification 16: direction of the line of wrist to elbow and the place of elbow change while putting finger in position five and those after it. This will be discussed in the section on practicing the positions of left hand.

3/1/3/3: to perform fifth intervals(Quinte), finger should not be shifted from a string to the neighboring string. Instead, the player considering this state from the very beginning, should keep finger on two neighboring strings at the same time so that when shifting string quickly no sound interruption appear due to shifting finger .

Notification 17: to learn about using free string while shifting to the neighboring string you can see the section on free string in edit articles in violin II and III.

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Is the Iranian National Anthem a Copy? (II)

In response, it should be said that it is better for the national anthem of a country to use the musical material exclusive to that country; however, some problems might come up in doing so the most important of which include: lack of familiarity of other countries’ music performer with the concerned country’s specific music intervals and special musical technique; and secondly, the strangeness of that music to the foreign listener.

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.

From Past Days…

Principles of Violin Playing (II)

Since for playing violin, it’s necessary that the player’s palms and fingers be inclined toward the fingerboard, therefore, the player, while bringing up his hand, should turn it toward the fingerboard.

Ashoura Opera

Ashura Opera was composed by Behzad Abdi, the Iranian composer, in 2008 based on librettos compiled by Behrouz Gharib. The main source for the libretto is poems by Mohtasham Kashani, a sixteenth century Iranian poet.

“Pledge of Love”

The “Pledge of Love” is the first album in a series composed based on the tasnifs by the renowned Iranian tasnif-maker Mohammad Ali Amir Jahed and recorded by Sahba Kohan Ensemble with Ramin Bahiraie as signer.

A Note on the Occasion of Houshang Zarif’s Demise

No introduction is needed when talking about the position of the late Houshang Zarif (1938-2020) in the Iranian music. His character and personality are so well-known among musicians that his name per se is a symbol and role model for the Iranian youth. “Becoming Houshang Zarif” is the dream of many young people who enter the world of music in Iran and many of whom retire regretting the realisation of this dream.

New Technique for Playing Classical Guitar (II)

When the author was working on the piece “Playing Love” by Ennio Morricone (from the legend of 1900), he realized a failure of the Lip Technique. Needing to play a chord in the 14th position of the guitar and in order to complete the harmony, it is necessary to play a harmonic note on the 7th or 5th position; it was not possible to touch the string to play this harmonic note, because the Lip Technique is used for getting the notes and not to touch the string and producing harmonic notes. Naturally, the only possible way to touch the string was to use the nose at the required position and playing the note with the right hand, and this was the best option the author found to how to play such harmonic notes, and where the Nose Technique was generated.

Polyphony in Iranian Music (III)

In heterophonic variant, two performers perform a single melody simultaneously and change it. Performing and changing a single melody simultaneously by two performers leads to the coincidence of different voices.

Farhad Poupel’s piece, Road to Bach, performed at Suntory Hall

On June 19, 2021 , young Iranian composer and pianist, Farhad Poupel’s piece, Road to Bach, was performed at the prestigious Suntory Hall by the great Japanese pianist, Kotaro Fukuma. The piece was commissioned by Kotaro Fukuma to have its world premiere in Suntory Hall during a concert by the same name.

Principles of Playing Violin (VI)

B. applying force: the force needed for putting finger on finger board is applied through finger tips and using the rest of hand set especially wrist is not allowed. To practice this, it is possible to hold violin without the bow and throw the fingers on the finger board from 1-2cm distance; apply force only through finger tips.

A Promising Concert by National Instruments Orchestra

The National Instruments Orchestra of Iran performed its first concert amid much hope and anxiety on July 18, 2015. The Orchestra is founded by Roudaki Cultural and Arts Foundation which is a semi-private foundation in Iran. The Arts Director for the National Instruments Orchestra of Iran is cand the Orchestra Executive Director is Sadjad Pourghand.

“Guitar Memories” Released

The album “Guitar Memories” consists of the performance of baroque to recent era masterpieces, by Mehrdad Mahdavi, and is published by Tanin-e Honar Publication.

In this album there are pieces composed and arranged by artists such as: Sylvius Leopold Weiss, Johann Anton Logy, Fernando Sor, Yuquijiro Yocoh, Leo Brouwer.