Blog Archives

5 Technicals for Left Hand (Violin)

10/1/2022

Playing music is one of the ultimate experiences because we merge all 3 parts of our being. We use our mind to control our body to express our soul.

What is a technical?

A "technical" is termed as such because it works on technique, extracting just the mind-body connection involved in playing music. They are fun to do in themselves, and anyone serious about pedagogy knows how important it is to break things down into their smallest component, using technicals for step-by-step mastery.

I like to use the metaphor that technicals give us more colors in our palette to paint with, leading to more personalized expressions when we then apply them to our music-making.

#1- FINGER PATTERNS:
1 & 2
2 & 3
3 & 4
1 & 2 + 3 & 4
1-2-3
2-3-4

How to teach?

Start with the violin hand and use the right hand to manipulate the fingers into position (start on the floor or leg to begin training).
Work up to doing both hands and increasing speed.
Below and on the website FREEBIES page are 3 pages of worksheets for this, and one is blank for students to write in.
Watch this video where I go into more depth with ways to pace this in teaching, and you can send it to students as a reference to work within their home practice.

Why teach?
Finger patterns help make music theory applicable to violin playing and aid in learning repertoire faster.

#2- BASE JOINTS:
The anatomical term for these finger bones is proximal phalanges, but we will refrain from Latin terms and call them the base joints.

The base word is familiar in the word "basement," and etymologically, this refers to the foundation, which is appropriate since utilizing this portion of our body provides a solid foundation for playing the violin and, when mastered, creates highly articulate playing and fingers capable of fast playing. We will use this concept in the next technical presented here in this series, and it can also be taught independently.

How to teach?

I like to draw this on the left hand (show) and then have the student use their right hand to manipulate the fingers to understand the mechanics of the fingers.
Below and on the website FREEBIES page is a correlating PDF chart to help explain the anatomy involved with learning base joints.

Why teach?
The eye sees the hand covered in skin, does not identify the proximal phalanges bones, and then tends only to use what it sees, not taking advantage of the power the base joints offer. Using base joints to deliver the fingers on the instrument leads to clean, articulate playing.

#3- HOOK BACK FINGER:
How often does a violinist contort the entire hand to get the 1st finger into what we often refer to as a "low" position? (or flat), because we have not isolated the finger from procuring this motion

How to teach?

Identify the base joint (draw, explain and use the other hand to manipulate to experience how the finger moves from here.
With the bow hand (right hand), hold 2,3,4 fingers and start to move this finger. If this is not easy, do not add to the instrument yet.
In guitar position, place 2-3-4 on the fingerboard (anywhere is fine, I like the IV position) and master sliding this to the extreme. The "guitar" position helps the student see what they are doing so they can best control the outcome.
Practice with the violin, still not using the bow. Test with a pencil (see video for an example).
Translate easy, memorized pieces with this before adding to the repertoire (i.e., play A Major Twinkle with low 1st fingers).

Why teach?
Students will be able to find notes requiring this, but in my decades of teaching experience, I find that they are not likely to use a hook back and will contort their hands. While improper hand shape is usable with beginning-intermediate level repertoire, ultimately, it will prevent from playing more advanced and fast-paced repertoire.

#4- VIBRATO:
Two key concepts can be implemented to start learning vibrato ergonomically and easily. By removing the asymmetry and gravity-defying elements of violin playing and replacing these with "cello position." Once we take out these 2 elements, vibrato is clear to understand and easy to learn.

How to teach?

Do without the instrument; not only does this help isolate and comprehend what is involved with this technique, it helps the student establish a positive framework for how simple vibrato is, which is beneficial because many students struggle with learning vibrato, and they do not need to. If enough foundation is laid for them to understand/feel and establish a relationship with this technique, then it's really easy to learn.
Arm (large shifts)
Wrist (knocks)
Watch an in-depth video titled How to Learn Vibrato on Violin (an Easier Way) that shares a more detailed breakdown of how I recommend approaching this technique.

Why teach?
Not only will this approach streamline learning vibrato, but it helps both the player and teacher hone in on the elements of violin playing (asymmetry and going against gravity) that tend to make learning many new techniques difficult, providing a learning template for moving forward.

#5- SHIFTING:
Shifting is simple: the arm abducts and adducts. This is all that shifting is:

Moving the arm up closer to the body by adducting it and moving the arm farther from the body by abducting it.

How to teach?

Student needs to understand this concept above and do it in front of a mirror.
Next, use gross motors skills again (meaning no pitches) up/down neck violin

Why teach?
Anyone who has ever worked on an advanced repertoire may feel this because shifting can feel difficult, but it is a very simple motion. Identifying this, feeling the arm (so the hand shape does not overcompensate).