The Violinist S Thumb

Author: Sam Kean
Publisher: Random House
ISBN: 1448127505
Size: 36.94 MB
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His finger joints themselves were also freakishly flexible: he could wrench his
thumb across the back of his hand to touch his pinky (try this), and he could
wriggle his midfinger joints laterally, like tiny metronomes. As a result, Paganini
could dash off intricate riffs and arpeggios that other violinists didn't dare, hitting
many more high and low notes in swift succession—up to a thousand notes per
minute. some claim. He could double- or triple-stop (play multiple notes at once)
with ease, ...

The Cambridge Companion To The Violin

Author: Robin Stowell
Publisher: Cambridge University Press
ISBN: 9780521399234
Size: 36.65 MB
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The prevailing cantabile ideals and the increasing popularity of the sonata and
concerto in France in the mid eighteenth century led to the demise of the thumb-
under-hair 'French' grip in favour of the greater subtleties of tone production
offered by the Italian method. Furthermore, L'abbe le fils implies that the hand
was placed at the frog and not, as Geminiani, Corrette and Leopold Mozart had
advised, slightly above it (c.3-7 cm). The normal bow grip of nineteenth-century
violinists ...

An Index To Articles Published In The Etude Magazine 1883 1957 Title Index Subject Index

Author: Pamela Richardson Dennis
Publisher: A-R Editions, Inc.
ISBN: 9780895797186
Size: 73.99 MB
Format: PDF
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... Shifting Positions in Violin Playing, Aug22:565 Shifting—Sliding—Change of
Position, J un481356 Some Aspects of Modern Left-Hand Technique, Sep56:43,
Dec56:43, Feb57:42 Strengthening Fingers, Aug321586 Technical Evil, J ly0l
1247 That Important Little F inger, Nov39:746 Thinking Fingers, Oct28:783
Thumb Position, May36:324 To Strengthen a Weak Vibrato, Oct53:25 Training
the Violinist 's Fourth F inger, Jan27:70 Two Faulty Finger Habits in String
Instrument Playing, ...

The Russian Violin School

Publisher: Oxford University Press
ISBN: 0190607815
Size: 75.90 MB
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In Leopold Mozart's violin treatise, it is stated that the thumb of the left hand must
be held closer to the second or even the third finger.6 Bartolomeo Campagnoli
advocates that the thumb must be placed opposite the second finger, playing the
note Bnatural on the G string.7 Leopold Auer indicates that the position of the
thumb be determined by the second finger playing the note Fnatural on the D
string (i.e., one halfstep lower).8 Joachim recommends that the thumb be held
opposite ...

Playing The Violin

Author: Mark Rush
Publisher: Routledge
ISBN: 1317721330
Size: 78.55 MB
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Another frequent problem is placing the thumb too far under the neck of the
instrument. This tends to distort the shape of the hand position and also prevents
the thumb from offering sufficient support for the finger pressure. Some violinists
play with a high thumb, which I cannot advocate. A high thumb prevents the
thumb from providing counterpressure to the fingers and encourages a player to
grip the neck. Furthermore, when one shift s, an extra movement is necessary, as
the thumb ...

Violine F R Dummies

Author: Katharine Rapoport
Publisher: John Wiley & Sons
ISBN: 9783527704682
Size: 61.98 MB
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Mit "Violine f'r Dummies" lernen Sie alles Wichtige, um bald kleine Melodien spielen zu k'nnen: von der richtigen Haltung der Violine und des Bogens ?ber die Grundlagen von Harmonielehre und Notenlesen bis zum Spielen von kleineren St'cken.

Violin For Dummies

Author: Katharine Rapoport
Publisher: John Wiley & Sons
ISBN: 1119022916
Size: 51.16 MB
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If you took piano lessons as a kid and remember the way your teacher numbered
each of your fingers, forget those numbers — you're a violinist now! Pianists call
their thumb number 1, and they live their whole lives under the illusion that they
have five fingers. We violinists know that the thumb's not a real finger, just the
opposition (opposing thumbs being the distinguishing characteristic that makes
homo more sapiens than other species). So as Figure 5-5 shows, violinists
number ...

The Suzuki Violinist Revised

Author: William Starr
Publisher: Alfred Music
ISBN: 9781457403668
Size: 24.39 MB
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Suzuki advises the mothers to see that the thumb is not too high or curved toward
the neck, that the hand is not slumped, that the base of the first finger touches the
neck lightly, that the fingers are not flat, and that the elbow is under the violin.
Suzuki likes and uses simple formulae that he can repeat again and again to
impress young students. He often uses these words to sum up the correct
position for the violin and left hand, "Nose, string, elbow, foot ... in a line together.
Nose, string ...

Violins And Violinists Magazine

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For certain violinists, particularly for those whose necks are long, a sup port, such
as a pad or cushion, provides undeniable aid. Otherwise, they would by
necessity^be compelled to raise their shoulders too high, which would tend
toward a cramped position. That, of course, would be tiring, would effect the
vibrato and the free function of the left hand as well." Changing the subject, I
remarked: "Since the left thumb is so often troublesome, I have frequently made it
a point to request ...

The Violinist

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WELL developed fourth finger is of paramount importance in the successful
working of the left hand. The third finger is the trying one for pianists, and the
fourth is similarly so for violinists. For a considerable time after the
commencement of a student's studies, the fourth finger displays in the majority of
cases, the most irritating weakness and helplessness. A pupil is many times
tempted to the conclusion that the little finger is too short or too weak, and that it
will never come right.