Principles of Violin Playing (VIII)

5.1.3.Points on playing chromatic scales

1.5.1.3.sometimes, a player, due to different reasons, may decisively want to play continuously two notes with a half-step by means of the same finger, in such a case, it’s necessary to open the interior curve of the finger like a spring. Naturally coming back, the curve of finger should be closed and the finger should become curved shape again (see paragraph 3.1.2.1).

Just like playing Fa-natural immediately after playing Mi-natural by forth finger, at Do major scale and first position of the second string.

2.5.1.3. Considering the way of playing this scale and using the same finger continuously for playing interval, beware not to apply extra vertical force on fingerboard by your fingers.
Because, the more is the applied force on the fingerboard by fingers, the more difficult it would be to open or close the interior curve of fingers and consequently the performance speed would decrease.
In such a case, in order to play the interval, the player inevitably needs to move her hand’s position forward or backward, and the role of finger gets weaker.

3.5.1.3. When changing the position or shape of finger for playing the interval of chromatic scales, player should avoid changing the position of left thumb.

Also playing the chromatic scale, sometimes the player may mistakenly flex the part of palm that is joined thumb. The player should avoid such a flex that may cause her feel cramps in her hand.

4.5.1.3. Since playing chromatic step always involves shifting fingers, it is necessary to be careful about playing the exact tempo (see notification 15).

Pattern number 4/1

Playing the doubles

There are some points that must be considered when playing doubles of the notes. They must be practiced step by step so that you find mastery over these doubles.

1.1.4. The first point is to be skilled at bowing on two open strings simultaneously and creating harmonious and perfect sound with the instrument. Hence, the practice of playing the double of open strings can be performed for the independent right and left bows that are played thoroughly (from frog to point).

Here, acquiring dominance and skill at creating perfect and harmonious sound with bow is achieved by practicing in a slow tempo. (such as playing three Whole note play on open string doubles at tempo 60 Bpm during a whole bow length).

Notification 18: the technique of bowing for playing doubles by right hand and the direction of different parts of right hand to each other and to body will be discussed later in the section on the techniques of right hand. Here, from now on, we only discuss the points related to left hand.

2.1.4. The next point is to find mastery over playing a double involving a finger and the neighboring open string. In fact, this is at this state that left hand makes its first attempt at playing the double.

To do this, the player should place each of the fingers at different distances from the nut(for playing different intervals) and practice double finger placing with the neighboring open string. It should be mentioned that here it is also needed to practice at slow tempo and with separate bows for each double.


Fourth finger at its natural state and with curved shape

Forth finger with opened curve and being straightened for

Post a Comment

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

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.

Negation of Changes in Iranian Music: Embracing Tradition

The perspective that denies any alteration or innovation beneath the realm of Iranian music, and more broadly, the performance and even the structure of Iranian music instruments, stems from the discourse of “tradition-oriented”* and the “return to self” movement in Iranian music. Given that some educators still adhere to this discourse and emphasize the necessity of preserving tradition, a perception is formed among art students that Iranian music, including Radif, lacks dynamism and is confined within a rigid framework.

From Past Days…

“Symphonic Poems from Persia” Released in Germany

While the name “Persia” (Western historical name of Iran) has attracted tens of thousands of people from around the world to London’s British Museum to visit ancient Persian artifacts, the Nuremberg-based music company, Colosseum, invites Europeans to listen to eight masterpieces of Persian symphonic music.

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.

Layla Ramezan, Iranian Pianist

Iranian pianist Layla Ramezan has always sought to create a connection between her Persian origin and the contemporary music which she encounters daily. Sound, phrasing, a particular sense of rhythm and a refined understanding of the “time of musical development” are the foremost qualities of her interpretations. Her musical and pianistic education began in Tehran at the age of 8 with Mostafa-Kamal Poortorab. Having moved to Paris and received a scholarship from Albert Roussel Foundation, she integrated the classes of Jean Micault and Devi Erlih at the Ecole Normale de Musique de Paris Alfred Cortot, where she received a Diplôme de Virtuosité in piano performance and chamber music.

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.

A few steps on the “Road to Bach”

The world of music has unparalleled respect for Bach. Bach is considered the spiritual father of classical music; Bach’s great position is due not only to his great achievements in the fields of harmony, counterpoint, and compositional sciences but also to his respect for and adherence to the artistic principles of classical music. In the history of classical music, it is recorded that Bach walked about fifty kilometers to listen to the music played by the great German organist Dieterich Buxtehude, and this is the path that every idealistic classical music student should walk.

Polyphony in Iranian Music (VI)

Torqeh or jal is the same bird (Bimaculated lark) and is the name of a muqam which is well-known in Torbate Jam and those areas. Jal muqam is called Torqeh in Esfarayen and Bojnourd. This muqam which was used to be played by Bakhshis/Bagşies (dutar-players) in the past is seldom performed today.

Principles of Violin Playing (X)

Creating sound continuity between two notes in the source and destination positions when left hand position changes and “two different finger numbers” are involved is called portamento. Portamento can be performed on single string or two neighboring strings and with hand moving on fingerboard either upward or downward.

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.

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.

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.