Left Hand Relaxation: Why Footies Matter

June 10th, 2013 | Posted by BaylaK in Body | Goal 01: Sounds | Goal 05: Ease | Left Side - (Comments Off)

Moving from the Shoulderblade:

The left arm works more easily when movement initiates from the back and shoulderblade, rather than from the small muscles between the shoulder and hand.

EXERCISE: Take the left elbow back behind and away from the body; scoop under the violin and forward.     Keep the inside of the arm soft.  Initiate the motion from the back and shoulderblade.

EXERCISE: Swing up and tap the body of the violin to the left of the G string with all four fingers.

EXERCISE: Remember to stabilize the shoulderblade, keeping it near the spine, so that the left arm does not collapse into the side of the body, but instead maintains a lovely relaxed open space. Notice how the inside of the armpit feels soft.

EXERCISE: Hug a tree while keeping the shoulderblades back. Notice how maintaining your shoulderblades’ positions in relation to the spine helps the arms feel lighter and more relaxed.

 

Alignment:

At all times we should strive for the easiest, most natural positions when playing the violin. When muscles stream into each other, the electric nerve signals can pass through unimpeded. Avoid breaking the lines of the wrist and arm; keep roundness, curvature, and openness wherever possible.

EXERCISE: Compare playing with the wrist forward and collapsed, backwards, or neutral and straight.

EXERCISE: Pair up and hang each other’s arms, first in the air and then on the violin. Really relax and let  your arm become dead weight. Does it matter if your finger is arched or flat?

Relaxing the hand to get into position:

We need to be able to get the heel of the hand close to the neck of the violin, so that our 3rd and 4th fingers do not overreach, flatten, or strain. In order to hold the all-important octave frame in comfort, our hand must soften and relax.

EXERCISE: Using the right hand to hold the violin perpendicular to the floor, bring it around into position under your chin, allowing the left hand to follow passively. Do the same thing with a pencil, curving your     left fingers and pushing down while your right hand  turns the pencil into violin position.

EXERCISE: Massage the webbing between the fingers. Visualize the tissues opening and melting.

EXERCISE: Start with the hand perpendicular to fingerboard and the palm facing you. Use your right hand to melt the left knuckles in, ironing them gently into the neck of the violin.  Hold the position and notice how relaxed your arm feels. Repeat several times. Now get into that same position only by turning the     arm. Notice the tension in the forearm. Do the fingers move as freely?

With all stretching exercises, your goal is to allow the hand to open – never force, and never overpress. Think of your hand as relaxing apart, with the 1st and 2nd fingers melting back towards the pegs and the 3rd and 4th energetically reaching forward.  I call this “split hand.”

EXERCISE: Dounis Stretchback from 4th Position – place 3 fingers on the E string; gently slide the 1st finger    as far back as is comfortable on the A string. Repeat, leave in place, and then place 2nd finger on A string. Continue with all fingers. Do NOT allow other fingers to move. Do NOT overpress

EXERCISE: Simon Fischer contrary motion; also slide up and down a half step with each finger. Keep your fingernails facing you.

Keeping the fingernails facing you (this is called pronation) will result in easier manipulation of the spaces between your fingers, improving your intonation and solidifying your finger patterns.

EXERCISE: Simon Fischer Fingertip Placement

EXERCISE: Simon Fischer Thumb Spa – relaxing the thumb. Also try resting scroll gently on a stand.

 

The Footie:

Loosen the 1st joint to broaden the point of contact to aid in the transfer of the weight from the arm.  Do NOT flatten the finger; the 2nd joint should remain higher than the 1st. This is especially important in high positions and while shifting!

Fourth Finger (Left Hand)

June 10th, 2013 | Posted by BaylaK in Goal 01: Sounds | Goal 05: Ease | Left Side - (Comments Off)

Exercises for Strengthening (do just a little each day!)

  • Kreutzer #9 using 2-4 instead of 1-3, every time. Lift and drop cleanly and quickly for maximum articulation. Build speed slowly.
  • Simon Fischer Basics pp. 126-127. You’ll be amazed how quickly your finger gains strength and therefore speed.
  • Sevick Opus 1 Part 4: Numbers 19 and 20. Left-hand pizzicato, with as much 4th finger use as possible.

Exercises for Loosening (be gentle and light!)

  • Practice entire concerto ONLY vibrating on 4th finger. Vibrating makes you connect the finger back into the elbow; thus you are encouraging ONLY the 4th finger to feel its balance and connection.
  • Dounis Artist’s Technique: shifting exercise on pp. 37-40 – the pattern using 123 (4-1-4) – 1234; 423 (1-4-1) -4321.

Do this exercise ppp in both hands at first, so that your shift into  the 4th finger lands softly, lovingly and easily.

  • All the Simon Fischer Basics vibrato exercises are good; pp. 213-226. Especially note Numbers 275, 277, 279, 285, 286, 289, 293, and 299.
  • Place all fingers on string and lightly slide the 4th finger up, keeping the lower fingers still. If you need to help the finger move at first, use the right hand to train it. The more it can separate up from the 3rd finger, the more open the webbing between the fingers will become.

To Do:

  • Keep heel of hand (the fleshy part underneath the fourth finger, on the left side of the palm and hand) as soft as possible, especially while putting pressure on 4th finger.
  • Experiment with where you put the pad of the finger – on my hand, placing the 4th finger with as much flesh lying on the string as possible (ergo, a flat pad and fingertip) automatically softens the heel of my hand; playing on the point, with a strong square shape, hardens it. (You can feel your left hand with your right hand to find out.)
  • Feel the 4th finger going up and over a large soft space (I think cloud) as you put it down for a lyric note. You can shift from each finger in each low position into the 4th finger. Loosen everything and keep the inside of the hand relaxed as you land.
  • Try playing on your right arm with the 4th finger; vibrate, feel the softness of the contact, and feel the connection from the 4th finger all the way up into the elbow.
  • Lift the 1st and 2nd fingers and see if the hand opens up to vibrate more freely.
  • Eventually, see if you can feel the 4th finger all the way back into your freely sliding left shoulder blade!