violin basico

8/6/2019 Violin Basico

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The Violin & Bow


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Instrument Care

Tighten your bow before playing by gently turning the tension screw.

Avoid making the bow hairs too taut---the separation between the bowstick and hair should be about the width of a pencil.

Put a small amount of rosin on your bow before playing. Hold the rosin

in your left hand, place the bow hairs flat on the rosin and slowly movethe bow back and forth on the rosin.

After playing the violin, gently clean it with a soft cloth to remove rosin

build-up on the strings.

Polish is rarely needed, and when necessary, only a commercial violin

polish should be used. Cleaning the violin with furniture polish and/orwater could damage the varnish and acoustics of the violin (water couldalso cause the violin seams to open).

Loosen the hair on your bow before putting it back in the case. Do not store your violin in extreme hot or cold locations.

If you live in a dry climate, you may want to consider using a humidifier

made for violins (excessive dryness can cause cracking or the seams ofyour violin to open).

Tuning

The four strings on the violin are tuned in perfect fifths.

An "A" tuning fork, digital tuner, pitch pipe or a piano may be used toassist with tuning.

The violin is tuned to the following pitches: G - D - A - E.

Fine tuners or pegs may be used to tune the violin. If the string

sounds lower than the correct pitch, gently turn the fine tuner or pegto the right until it reaches the correct pitch. If the string soundshigher than the correct pitch, gently turn the peg or tuner to the left.

Many beginning violinists find it helpful to use a digital tuner to tune

their violin, and some models detect and display when the notebeing tuned matches the desired pitch.


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Rosin & Sound

Why Rosin?

New violin bows often do not produce any sound because they need

rosin.

Rosin is extremely important because it provides the bow hair with

friction in order to produce a sound when the bow is pulled across theviolin strings.

Without rosin, the bow will slide across the violin strings and produce a

faint whispery sound (or no sound at all).

Rosin comes in hard, round or oblong "cakes" of resin.

Rosin instructions:

Before applying rosin, tighten the bow hairs by gently turning the

tension screw (avoid over tightening).

Place the bow hairs flat on the rosin at the "frog" of the bow (near the

bottom where the tension screw is), and gently rub the bow hairs upand down a few times (as if scrubbing a small spot on the floor).

Then, draw the bow hairs straight across the rosin until the tip of the

bow is reached. Repeat the same gentle scrubbing motion at the tip ofthe bow, and pull the flat bow hairs back to the frog again.

Repeat this process across the full length of the bow several times.

After each playing session, use a soft, dry cloth to remove rosin dust

from the strings and body of the instrument.Rosin test:

There aren't specific requirements for how often or how long to rosin abow, but there is a simple test to determine if the bow has enough rosin:using the back of your thumbnail, pull it sideways across the hair of thebow (under the bow hair, near the frog).

If a small puff of rosin can be seen, the bow has enough rosin. Never

use your fingers to test if the bow has enough rosin or the natural oilfrom your fingers will get on the hair of the bow and cause the bow toslide even more.

Too much rosin can produce a raspy, scratching sound, and can result

in rosin caking the strings.

Additional sound guidelines:


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Key elements in producing a good, solid tone on the violin are:

Sufficient pressure while drawing the bow across the string.

Proper placement of the bow in relation to the bridge.

Speed of the bow.

A violin teacher is the best person to help violinists know how to

produce a good sound when beginning the violin.

Changing Strings

Changing Strings Tips: When replacing all of the strings, violinists generally replace one string at a

time. Do not remove all of the strings on a violin at the same time, or thesoundpost and/or fingerboard could collapse.

Although the order you replace strings isn't critical, many violinists start with

the G string, and work their way up to the E string.

If the string youre installing has a fine tuner, insert the ball or loop end of the

string over the tuner cartridge in the tailpiece, and pull the string toward thebridge.

If the string does not have a fine tuner, insert the ball or knotted end of the

string through the tailpiece string hole, tug firmly to make sure the knot or ballis securely in the slot, and pull the string toward the bridge. You may need tohold the ball or knot in place with your finger while increasing the tension of thestring as you turn the peg.

Slightly pull out the peg the string will go in until the peg hole is just inside of

the pegbox. Thread the end of the string through the peg hole (let the stringslightly protrude), and evenly begin winding it.

Push the peg in as you're turning the string to keep the peg from slipping.

Generally, fine tuners are used only on the E string, but beginning violinists

often find it useful to have tuners for each string.

When replacing all of the strings, violinists often tune all of the strings to anapproximate correct pitch, then do the fine tuning to get each pitch precisely intune.

Be aware that when you put on all new strings, it will take more adjusting than

usual to tune the violin.

If your pegs are slipping or are too tight to securely adjust the strings, you may

want to purchase peg compound (also called peg dope), an inexpensivecommercial product.

If you dont have peg compound and need a temporary quick fix for slipping or

tight pegs, you may want to try tips some violin teachers use: for sticking pegs,pull the peg partially out, and rub pencil graphite on the sticking part of the

peg. For loose pegs, pull the peg partially out, and rub birthday candle wax on


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the peg to help it stick (some teachers recommend chalk to help pegs stick,but it's abrasive).

Bridge Adjustment

Bridge Placement Tips:

The violin bridge is held in place by pressure and proper placement, not glue

(tension from the violin strings holds it in place).

The bridge is evenly lined up with the fingerboard, and stands straight up,

perpendicular to the violin.

The feet of the bridge should be aligned with the interior notches of the F-

holes. The lower side of the bridge should be placed under the E string (thestring with the highest pitch).

When adjusting or putting a bridge on the violin, it's very important to slightly

loosen the violin strings before the bridge is placed, centered, and keptperfectly straight (perpendicular to the violin).

To adjust a tilting bridge, first slightly loosen the violin strings, then grasp the

top of the bridge at its upper corners with the thumb and index fingers of eachhand and gently pull or push the top of the bridge until a 90 angle is achieved.

If your bridge has become warped (or you feel uncomfortable adjusting it), take

your violin to your local violin shop or instrument dealer for professionalassistance.


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Choosing a Violin

By Dr. Robin Kay Deverich

Should I rent or buy?Renting or purchasing are both good options for those who are beginning theviolin. If youre buying a violin, it is essential to find and use a reputable dealer,music store or violin maker. It is strongly recommended that you enlist the helpof your violin teacher or an advanced violinist to help you choose a violin thatis well-made, has a good tone and is worth buying. There are many poorlymade violins out there, and price isn't the best way to determine the quality orsound of an instrument.Before purchasing an instrument, it's a good idea to test and compare several

violins before making a final decision. If you do decide to purchase online orthrough mail order, carefully investigate the companys return policy to makesure you're able to return the instrument if you aren't satisfied with it.

What size violin should I get?Violins are available in many sizes, and a knowledgeable violin maker, musicdealer or violin teacher will be able to help you find the right size for you oryour child. Generally, the smaller sizes (1/16; 1/8; 1/4; 1/2; 3/4) are forchildren, and most adults and teenagers use full size (4/4) violins.

As a general sizing guideline, when you hold the violin (placing the chin rest

under your left jaw), you should be able to extend your left arm under the violinand be able to curve the tips of your left fingers around the end of the scroll,including a slight bend in your left elbow. If your fingers can't reach the end ofthe scroll, a smaller sized violin might be appropriate. Again, a violinist orknowledgeable music dealer should be able to assist you in finding the correctsize.

I have an old violin. Whats my violin worth?The best (and only) way to really determine the value of a violin is to take it toone or more reputable violin makers (or violin dealers) and have an expert lookat it in person. They should be able to tell you in a matter of moments if it's

worth much. Many inexpensive, machine made instruments have fakeStradivarius labels inserted in them, so a label often has little meaning.

Just a few of the many factors used in determining the value of an instrumentinclude: whether or not the instrument is machine or handmade; who made theinstrument (if it's handmade); the country or region the violin was made in; ageof the instrument; sound quality, condition of the instrument; and previousrepair jobs. Numerous other factors are also utilized, but again, only an expertcan properly evaluate the worth of your instrument.

If the instrument does appear to be valuable, you may want to get several

opinions (there are unscrupulous dealers out there). Music dealers generally


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charge for written appraisals (often used for insurance purposes), but theyshould be able to give you a rough verbal estimate if you're interested inselling or "trading up" (similar to buying a car---the value of your violin isapplied to the purchase price of one of their violins).

How to Hold the Violin

Violin Placement:

The violin is held horizontally (parallel with the floor) and is angled to

the left of a straight forward position.

Place the violin on your left collar bone (some violinists prefer the soft

spot just behind the collar bone), and rest the left side of your jaw on

the chin rest. Many violinists find shoulder rests helpful to hold up the violin, and there

are a variety of shoulder rests available. Some violinists use roundmake-up sponges (attached with rubber bands), and others useshoulder rests that feel most comfortable to them.

Left Hand Tips:

The elbow should be under the center of the violin.

Keep the wrist gently rounded.

Avoid resting the wrist against the violin neck.

The thumb should be opposite the first or second finger. Maintain a curved, open space between the thumb and index finger (a

backwards "C").

Posture:

When standing, stand straight with feet shoulder width apart, and with

relaxed knees. Some violinists recommend sliding the left foot slightlyforward.

When seated, use a chair with a firm base, and sit up straight (soft

sofas arent recommended). Some violinists sit towards the front of the

chair, and prefer placing the left foot slightly forward.


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Bow Hold

Bow Hold Tips:

Relax hand, slightly turn wrist to the left, and let the fingers drop into place.

The tip of the bent thumb touches the frog contact point.

Fingers gently curve over the top of the bow stick.

The middle finger is opposite from the thumb.

Bow Placement


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Bow Placement Tips:

Good tone quality is achieved through proper bow placement, bow speed and

bow pressure.

Slightly tilt the wood of the bow towards the fingerboard.

Place the bow on the string at the middle point between the bridge and thefingerboard.

Draw the bow in a straight line so the bow remains parallel to the bridge.

Loud sounds can be achieved with heavy bow pressure and by drawing the

bow close to the bridge.

Soft sounds can be achieved with light bow pressure and by drawing the bow

close to the fingerboard.

Keep the level of the arm and bow constant while playing on different strings.

Finger PlacementFINGERING TAPE

To assist beginning violinists, some violin teachers use thin strips of colored

tape( e.g. book binding or scrapbook tape), to mark where to place their fingers onthe violin fingerboard. Once beginners know where to place their fingers, thetape is removed.

Rather than use precise measurements to place fingering tapes, it's best to

place them by ear. This is due to the fact that variations in the width and shapeof each person's finger may affect where each tape should be placed.

The tape is used to mark a regular 1st finger (such as the note B on the Astring), high 2nd finger ( e.g. C# on the A string), third finger ( e.g. the noteD on the A string), and 4th finger ( e.g. the note E on the A string --sounds the same as open E).

FINGERBOARD CHART

A chart of the violin fingerboard is provided. Fingering for notes played in the

1st position can be found to the right of the fingerboard. Most violin music forbeginners uses only the 1st position.

Fingering for notes played in the 3rd position can be found to the left of the

fingerboard. These notes require the violinist to shift the position of their


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hand to a higher position on the keyboard in order to play these notes.

The fingerboard chart shows many instances of two musical letters being

placed on the same space. This indicates those two notes are enharmonic,meaning, even though they are named or spelled differently, they sound the

same pitch. For example, in the first position on the A string, D# and Eb havethe same sound (and are enharmonic notes). This note could be fingeredusing either a high 3rd finger, or a low 4th finger. The pitch would be thesame.

All variations of notes and fingerings in higher positions were not labeled and

shown (the entire length of the fingerboard can be used to finger and playnotes).

Shifting & Positions

When violin music is written in 1st position or 3rd position, this refers

to where the hand is located when fingers are placed on the violinfingerboard.

Shifting refers to the hand smoothly moving up or down the fingerboard

in order to play notes with the hand in a different position on the

fingerboard. The concept of positions and shifting is somewhat similar to an elevator

traveling to different floors in a building. Most music for violin beginnersis written with the hand in 1st position, where the hand remains closerto the scroll of the violin. Using the elevator analogy, music forbeginning violinists generally requires the hand to remain on the 1stfloor in 1st position to finger all of the musical notes.

For some of the higher notes in intermediate and advanced violin

music, it's necessary to move the hand up to a higher position on thefingerboard to play them. This requires the hand to shift to a higher

hand position such as the 3rd position. Using the elevator analogy


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again, its similar to the hand moving up in an elevator to the 3rd floor.

Although 1st and 3rd positions are the two most commonly used

positions in beginning and intermediate violin music, there are sevenregular positions utilized in violin playing, and for very advanced violin

music, 8th and higher positions (note: advanced violinists are usuallyless concerned with positions, and more focused on selecting fingeringthat works well with particular passages of music).

Bow Strokes & Additional Skills

Additional SkillsPIZZICATO (pizz.) indicates notes should be plucked rather than bowed.Pizzicato is usually played by the right hand. Generally, the right forefinger isused with the thumb placed against the corner or side of the fingerboard tosupport the hand. A return to bowing is indicated by the term arco.Left hand pizzicato is indicated by the + sign placed over or under the note,and is sometimes used while the right hand continues to use the bow (itgenerally is played by plucking with the 4th finger of the left hand).VIBRATO - Violin vibrato is similar to vocal vibrato -- it's a slight and rapidfluctuation in pitch, and is used to add warmth and expression to music. Thereare three types of vibrato: finger, hand, arm or combination of all three. Manyviolinists use a combination of finger/hand vibrato. This type of vibrato isproduced by a back and forth rolling motion of the finger and hand on the

string, resulting in the pitch being lowered and raised. Variations in the widthand speed of the vibrato can produce a wide range of expression.The following definitions are excerpts from the great violin pedagogue IvanGalamian's book Principles of Violin Playing and Teaching, and explain thethree types of vibrato in more detail:Hand Vibrato: "In this type of vibrato, the hand swings from a more-or-lessimmobilized arm...the finger elongates itself as the hand swings backwardstoward the scroll and then resumes its original curved position as the handreturns to its starting point."Arm Vibrato: "The impulse, instead of coming from the hand, now comes fromthe forearm, and, in this case also, the finger has to yield passively. The finger

should be firm enough to hold the string down and to retain its place on thestring, but flexible enough to submit to the motion of the arm. It must stretchand recurve with the backward and forward swing of the vibrato cycle."Finger Vibrato: "The impulse comes from the finger itself, which swings fromits base knuckle with the hand slightly yielding and moving passively in flexibleresponse to the finger action. This vibrato is smaller in width than the othertypes."


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Practice Tips

Practice Makes Perfector Does It?

By Dr. Robin Kay Deverich

Why is it so hard to improve on your instrument, even though you know you'vepracticed? Unfortunately, the adage "practice makes perfect" isnt always true.Instead, improper practice often leads to poor results, not perfect playing.Why? Many of us simply don't know how to practice productively. The followingoverview of the fundamentals of practicing will provide you with useful waysyou can create your own productive practice sessions.

Practice Time

When is your "prime time"? If you feel freshest in the morning, early morning


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practice may be for you. If you feel your energy peak in the afternoon or at night,practice then. Do you tire easily when you practice? Divide your practice time intotwo segments instead of having one long practice session. Whatever time you dochoose, be consistent and try to practice at the same time five or six days a week.

LocationWhen you practice, find a quiet room where you won't be disturbed. Turn off theTV, put away your CD player, and turn on the answering machine.

Music AccessoriesBefore timing every nanosecond of your practice time, gather together all of thepractice materials you'll need. Music, a pencil to note difficult passages andfingerings, and a music stand are basic necessities. If you do practice sitting down(some teachers prefer that you stand while practicing), make sure you use a chairthat isn't too soft, or it will be difficult to use proper playing position.

Physical NeedsBefore you even begin to practice, drink some water, have some fruit or a healthy

snack to rev up your blood sugar level, and change into something comfortable. Ifyou prepare yourself physically before you start to practice, you'll find you canconcentrate easily, and you won't be quite so tempted to interrupt your practicingfor kitchen or bathroom breaks. Playing a musical instrument is not a passiveexperience. You need physical strength and energy to practice with proper playingposition. If you practice while you're tired, you may run the risk of slipping intopoor playing habits

Length of Practice SessionHow long you practice every day is irrelevant. How much you accomplish whenyou practice is what counts. It's great to follow a scheduled practice time, but ifyour daily practice ritual consists of playing straight through pieces over and overwhile you daydream, you might be better off not practicing at all. It's easy toreinforce mistakes when you don't concentrate while playing or when you practicewithout purpose or focus. Strive for quality practice, not quantity mediocre results.

Productive Practice SessionsStructured practice sessions are the key to productive practicing. The followingsuggestions will help you progress, instead of regress, when you practice.

Warm-up. Each practice session should begin by limbering up and strengtheningyour fingers through scales, exercises, arpeggios, or trills.

Practice with Purpose. Have one or more focused goals each time you practice. Atthe beginning of practice sessions, ask yourself, "What do I want to accomplishtoday? Do I want to polish a piece? Slowly learn part of a new piece, play withheightened musicality, or fix some problem spots?" As you practice, your focusmay change as you continue to analyze your playing with questions such as: "AmI playing in tune? Is the rhythm correct? What parts of the piece need work?"

Problem-solving. One of the most effective ways to make a piece sound better is topinpoint the difficult passages in the piece and then work on one small section at

a time. Dont reinforce mistakes by repeating them. Identify what the problem is,


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then determine how you will fix it. Play the notes of a problem spot very slowly,one note at a time, until you are playing with the proper rhythm, fingering, andnotes. Once it sounds correct, play that small section over and over, graduallypicking up speed until that segment of music is up to tempo. It's always simpler to

begin at a slow tempo and increase your speed rather than go back and correctnew errors.

Problem spot tips. At times, it may be useful to record yourself (tape or video) topinpoint problem spots. If youre having difficulty with a fast passage, playing asmall section first very slowly, then experimenting with rhythmic variations, oftenhelps. For example, if the small section youve identified as a problem spotcontains four measures of sixteenth notes, instead of playing them all at the sametempo, try: long-short-long-short-long-short-long etc. Then, reverse the sequenceand play the passage: short-long-short-long-short-long-short etc. Another practice

technique for fast passages is to to quickly repeat each note two, three or fourtimes (e.g. d-d-d-d-a-a-a-a-c-c-c-calmost as if you were playing a bowedtremolo on the same note).

Musicality. Are you expressing yourself through your music, or are you mechanicallyrepeating notes from a printed page? Musicality, the ability to interpret a piecewith feeling, is what distinguishes the performance of a fine musician from that ofan automated, boring performer. Need ideas? First, try following printed directionssuch as dynamics, style of playing, and the tempo or speed at which the musicshould be played. You can gain additional interpretive insight by listening torecordings of the same piece played by different performers and by researchingthe history of the composer or the era in which the music was composed. Then,experiment! Try different phrasing or explore variations in tone production, style,and intensity. Memorizing a piece also may assist you in achieving freedom ofexpression. Once you know a piece so well that you are "free" from the music,you may find it easier to interpret music on your own.

Fun time. At the end of each practice session, it's always fun to sit back, relax, andenjoy playing straight through the piece. The progress made during "problem

spot" practicing can be reinforced, and youll feel a sense of accomplishmenthearing changes youve made in the full context of the piece.

So let the music-making begin! You CAN make the adage "practice makesperfect" come true for you. All it takes is a little hard work and a lot ofconcentration. You'll soon find just how rewarding productive practicing can be.

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