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Eight Principles of Finger Pressing on the Left Hand of the Violin

When playing the violin, no matter what the bowing method, the pronunciation must be clean and clear and the tones and tones should be distinguishable. Especially fast playing can not be sloppy. Failing this, there may be problems with the left hand.


To improve left-handed skills, the following left-handed principles should be paid attention to. Use these principles to check and practice the violin, and guide the learning of the violin methodologically. Everyone's situation is different. We hope these views and methods of mine will be helpful to violinists.


1. The principle of violin reservation


Reservation of fingers is important for pitch, hand shape, assisting weak fingers, simple movements and convenient performance during performance. Beginners should pay attention to the principle of reservation.


2. Violin holder type


Finger shape and palm shape adjustment principle: Since each finger on the handle can have three different phonemes, when you come into contact with these phonemes, the hand shape, finger shape, and palm shape should also be different. You can't be the same and find it hard to suffer.


3. The principle of not retaining the same finger in different positions of violin instruments


This should be used when there is a change in the sound before and after the same finger, that is, the finger is the same, but the sound is different. In the melody progression, when the same finger is in different positions before and after the sound, after we have played the note, we must immediately lift the finger in order to prepare to press it again later.


Although the reference is the same, the front and back are two different phonemes, so it cannot be preserved. Otherwise, negligence will be caused, or the fiddle instrument will be inaccurate, the two tones will be unclear, and the performance will be slow.


4. The principle of overall linkage of violin finger lift


The lift of the reserved fingers is sometimes single, sometimes multi-fingered. When the note goes up, there are small bounces that can reduce confusion if not all retained.


But a more effective method is to use the reserved finger to lift the whole linkage action, that is, when a certain finger is lifted, one of the lower positions is reserved, or several are lifted at the same time. The lifting of the fingers of the fiddle instrument is powerful and decisive in the overall linkage, and there must be no time difference.


The split-bow section in the middle of Kaisai Etude NO.15 is the overall linkage exercise of raising the fingers in the whole piece. Usually, the stumbling of some fast melody performances is caused by not paying enough attention to this type of practice and failing to pass the skills.


5. The principle of contact adjustment between two parts of the violin


This is very important, that is, the contact point between the left hand and the piano is always kept in two parts, and the rest are detached. Choose between the thumb, the base of the index finger, the tip of the finger, and the left palm. This choice is free at any time. Do not force several parts into contact with the force. It is also not possible for several parts to touch or not touch at all.


6. The principle of vertical and horizontal violin


The so-called vertical is stretching and tightening fingering. Stretch requires holding the handlebars, while crunching can be done without the handlebars. The so-called horizontal is to press the double strings with the same finger or to move between the four strings by pressing the finger. The requirement of the horizontal is that the rudder-like action of the left elbow can be practiced to be accurate and not offset horizontally, and it can be freely pressed between the fingers and strings.


7. The principle of relaxation for the violin


Relaxation is relative. When you are completely relaxed, nothing can be done. We need to use the moment of performance to relax in varying degrees. In this way, the whole hand can always be in a flexible and maneuverable state.


Relaxation in playing is by no means resting in violin practice. It means far more than rest. People often say: If you don't rest, you won't work. If you don't relax, you won't play the violin.


8. The principle of violin strength level


This is the best indication that relaxation is actionable. Tried and tested. In each part of the left hand, only the pressing finger is the first power level in their respective movements. The rest of the thumb, the base of the index finger, the wrist, and the palm should feel a low level of strength.


We should feel that the finger pads are much stronger than the rest of the hand. This principle is applied to the right hand, that is, the contact point between the bowed ponytail and the string is the first power level, and other parts of the fiddle instrument must not surpass it.


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