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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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…

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.

Maestro Hassan Nahid’s Role in Promoting the Ney

Maestro Hassan Nahid is one of the most prominent and distinctive artists who values high morals, discipline and hard work. His music activities include playing the Ney as both soloist and an accompaniment in the most important Iranian music orchestras and ensembles during the last fifty years, including the Orchestra of Iranian Instruments (Nusratullah Golpayegani), the Orchestra of National Instrumentalists of the Ministry of Culture and Arts (Payvar Orchestra), the Orchestra of Iranian Instruments (Morteza Hananeh) , Darvish Orchestra, Samaie Orchestra, Roudaki Orchestra, Maestros’ Ensemble, Aref Ensemble, as well as performances in various radio programs, many concerts in different countries, as well as a long teaching experience in the National Conservatory of Music, music universities and other music institutions to name but a few.

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.

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].

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.

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.

Principles of Violin Playing (VII)

4.3.1.3 Regarding the great linear distance and the unusual distance between the first and forth fingers, the first finger while playing the doubles of ninth and tenth interval, can be twisted in the knuckle area and the point mentioned in 3.1.2.5 paragraph in relation to the way first finger is placed indicating that the first joint of this finger in back of hand must be in line with the direction of forearm and left hand is not true here.

Persian Music: “Mahour the Great” in Austria

In 1990  an Austria-based Persian musician Khosro Soltani, in cooperation with Hossein Alizadeh, put out an album entitled, Ancient Call A New (Nobang-e Kohan). After many years, a few ancient Persian instruments such as Sorna, Karna, Naghareh,etc. have been used, instruments which have been left out of the circle of Persian classical musical instruments for centuries.

Polyphony in Iranian Music (II)

With regard to each polyphonic form, only one specific and distinguished example is analyzed. These polyphonic forms are as follows:

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.