- Check for tension in your body. Identify tension in your body by checking if there are any areas that feel “locked up” when you play. For example, does your left shoulder always raise a bit when you get into playing position and then become immovable while you play? Or does the thumb of your bow hand stay in a fixed position no matter where you are in the bow or what technique you are trying to use? Are you locking your legs in place creating a chain of tension that affects your upper body and your balance? Muscles that are not actually engaged in any given moment of playing should be neutral – not floppy but also not contracted.
- Learn to use sounding points. The area of the strings between the bridge and fingerboard can be divided into roughly five sections. You could think of them as traffic lanes for your bow. Each “lane” should receive a particular combination of bow speed and pressure in order to produce the ideal sound. For example, sounding point 1 (closest to the bridge) needs a very slow speed of the bow and heavier pressure in order to produce a beautiful tone. Sounding point 5, closest to the fingerboard, needs a very light bow pressure and fast bow speed to ensure a good tone. Using sound points allows you to expand the type of sounds you use in your interpretation. Learn to move fluidly from one to the next.
- Allow the shape of your bow hand to change as you travel from frog to tip and back. It is a misnomer that the “bow hold” as it is called is an entirely fixed position. While the fingertips stay relatively in the same place, the joints of the fingers and hand should feel springy, constantly adjusting to the position of the bow. For instance, when playing at the tip, the fingers will be slightly straighter and the middle joint of the index finger will rest on the bow. For some people the pinkie may actually lose contact with the bow. But move up towards the frog and the fingers should curve and the contact with the index finger should slide to a position between the first and middle joint of the finger. Every bow full bow stroke involves a multitude of fractional adjustments in the hand and fingers.
- Become aware of bow energy. Playing a Mozart “Minuet and Trio”? The energy is light and dance-like, calling for agility and precision in the bow hold. Playing a Bach “Adagio”? The energy is more mellow, calling for a more relaxed arm that is still relaxed. Playing Bruch’s Violin Concerto No. 1 in g minor? The energy is rich, passionate, and sometimes outright aggressive. You’ll need to grip the bow firmly with the fingertips for the big chords or you’ll lose control, but then you’ll have to be able to quickly adjust the tension to a very supple hold for the rich sections. Becoming aware of the bow energy required for different styles and adjusting your bow hold accordingly will immediately elevate your playing.
- Allow the left thumb to adjust to the left fingers. Again, there is a misnomer that the shape of the left hand must be kept in a “position.” For example, many players would agree that the general placement for the pad of the left thumb would be on the neck opposite the first and second fingers, falling somewhere between them. However, there are moments where the thumb may be closer to the first finger and sometimes closer to the second. The thumb cannot be rigid. It must adjust to the shape of the hand and apply appropriate counter-pressure to the fingers. A stiff thumb joint is one of the biggest problems with left-hand agility.
- Stop “climbing Mount Everest.” Often, violinists get the feeling they have to “climb” into the higher positions. This is due to the fact that the neck of the violin narrows from the bridge towards the nut, and in addition it is pitched so that it is tilted away from the player. These both create a strong illusion to the player’s eye that the hand is “at the bottom of a hill” so to speak. The problem is a psychological one. If left unchecked, the player will subconsciously signal the left arm to engage the muscles for climbing. That is a big overkill in the amount of muscle engagement needed and leads to too much tension in the shift. This results in lack of precision. In order to correct the shift, players often just “try harder,” but it creates the opposite effect, because “trying harder” often means “more muscle engagement.” Overcome this mental obstacle by looking at the violin from the side and visualizing the shift. It is not that far. Keep that mental image as you transition to playing position on your shoulder. Never engage the muscles more than is absolutely necessary.
Play the violin better: 6 tips for immediate improvement
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