Violin playing can become easy by choosing what I call The Path of Least Resistance. This means that all technical complications and physical tensions can be reduced to a minimum by applying an organic technique in holding the violin and bow. The way in which the following aspects of technique are taught can be tailored to cater for all ages and stages. For children, it is important that a good technique is built up at the outset in order to create a good foundation; for adults that are further along the path, these techniques can extinguish bad habits and frustration, enabling them to reach a higher level.

 

Use of the Violin’s Natural Resonance

There is a limitation to the sound intensity of every violin. The dynamic level is directly proportional to the size of the vibrations produced by the strings. By setting the vibrations free, using only the weight of the arm and no unnecessary pressure, it will produce a natural resonance where the strings are allowed to vibrate at maximum amplitude. This mindset should serve as a basis for all aspects of violin playing. In realising this you will achieve:

• Physical relaxation
• Full purity of sound
• A greater awareness of intonation

 

An Introduction to Right Arm Technique

It is important to make a dissection of the right arm movements for a student to gain complete understanding of bowing technique. Identify which parts of the arm are involved in moving the bow from heel to tip and how they are used. By putting action into words you can pin-point what is happening at every position along the bow. This can be practised with the aid of a mirror. From this you will achieve:

• A straight, controlled bow

• Even distribution of sound and good sound production

• Full confidence and freedom in the right arm

 

An Introduction to Left Arm Technique

Also in the left hand, everything can be related back to The Path of Least Resistance. The shape of the hand should remain the same in all positions, allowing ease and effortless playing. The fingers will be strengthened through exercises (eg. Hans Sitt, School of Velocity for the Violin Op. 135) which are designed to ensure that the hand maintains that shape, also allowing for reliable intonation. Specific double-stop, shifting and vibrato exercises will help towards achieving this concept of effortless left-hand action.