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Found 5 results

  1. There are many ways of holding the violin without the left hand, do you agree with these 2 points that any violin hold should follow them? Artist in Balance: http://www.artistinbalance.org/adjustments/ 1)Shoulder rest should not press on acromion, as it restricts the movement of the shoulder joint. Violin Secrets: 101 Strategies for the Advanced Violinist: 2)strings are parallel to the ground, to maximize the force of gravity for bowing the best sounding point *I personally am struggling between freedom and security, even though my should rest fits my shoulder line, seems like I can't have both of them on the same posture...
  2. Hi guys I have learned playing the violin for 10 years but never investigate deeply until last week: I use the Franco-Belgian bow hold but I am confused which standing style is the most suitable, generally considered "correct"? A. Some YouTuber: 1)Stand together 2)V Position 3)Left foot moves slightly forward & Left B. Some YouTuber: -feet to be on the same plane to shoulder width apart -weight evenly distributed between the two feet C. Baillot, Pierre: -the body straight and supported by the left side -so that the right side is left unconstrained -the arm can act with greater freedom without giving any motion to the body -the right foot pointing at approximately an 45 degree angle to the left foot -facing straight ahead at the music D. Spohr, Louis: -the body straight and supported by the left side -so that the right side is left unconstrained -the arm can act with greater freedom without giving any motion to the body -the right foot pointing at approximately an 80 degree angle to the left foot -turn the face towards the music stand so that the view falls onto the music over the bridge and the left hand *I will test each of them after dinner
  3. The Placement of Violin is generally similar: -"Violin" is horizontal -E string's side tilted to right a bit (Correct me if I'm wrong) But I observe that the definition of a "horizontal violin" varies, is the BODY OF THE VIOLIN or the FINGERBOARD parallel to the floor (without left hand, with whole body relaxed)?
  4. Should we keep using full hair when bowing from tip to frog (for basic full bows)? Because the book I learn at first said "when bowing near the frog, the bow should be slightly tilted outwards (hair towards bridge), as the hair hear frog is tighter, which makes sound harder to produce" ??????????????????
  5. Ayke Agus, a student of Heifetz, wrote in her book that Heifetz cared more about how you looked than how you played. I never thought much of that statement until watching the video from the post labeled "Paganini with an Operatic Vibrato". Her main flaw seemed to be her posture. Therefore the video got me wondering on how posture affects ones sound, and I thought that I had better do some experimenting. I found that both when sitting and standing, different facets of my playing changed, as I assumed different postures. The factors included the height, and position of the instrument on my collarbone, and the position of my feet and how I distributed my weight. It was surprising to me how different not only my tone was as I changed my balance, but the control of my vibrato and shifting. From the "Paganini with an Operatic Vibrato" post, I now understand why her vibrato was so vapid. I was never taught how to stand or sit, when playing the instrument, and I wonder why. Is there any opinion on the correct way to sit/stand? I guess this mainly applies to the flexibility allowed without a shoulder rest.