Topic I: Getting Ready to Move
Note: Before continuing on in this section, the reader might find it helpful to review the beginning set-up described on our website in Volume One.
Playing in balance is crucial to the freedom of movement necessary in violin playing. This topic reviews the principles of balance and suggests ways to find the ideal, dynamic relationship between body and violin. Our goals are:
Playing comfortably with a relaxed and natural physical set-up involves:
The principles of physical set-up remain the same as in the first lessons. The following sequence will create a relaxed and natural physical set-up.
All of the motions involved in the set-up are influenced by our understanding of the relationship between the head, neck and back. Continual awareness of the alignment of the body is vital for balance and freedom of movement. Aligning also includes centering and lengthening. The backbone is composed of vertebrae; space between these vertebrae allows the back to lengthen. Since the neck is an extension of the backbone, this feeling of lengthening continues through to the head that then balances on top of the neck. Useful exercises for observing and feeling the head, neck and back relationship include the Hitchhiking Duck Clock, IU, and Finding the Violin Position. The primary purpose of each exercise is also included in the listing below.
Clip Title:
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Alignment Hitchhiking Duck Clock |
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Description: |
An exercise to help align the head, neck and back |
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Channel: |
201 | |
Duration: |
2'13" |
Clip Title:
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Lengthening: IU |
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Description: |
Another exercise to help find a good alignment for the head, neck and back |
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Channel: |
202 | |
Duration: |
2'01" |
Clip Title:
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Centering: Finding the Violin Position |
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Description: |
Centering: Finding the Violin Position |
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Channel: |
203 |
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Duration: |
2'56" |
Clip Title:
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Balancing the Left Hand: Elevator Fingers |
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Description: |
Finding the least amount of pressure necessary to press down the strings |
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Channel: |
204 |
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Duration: |
3'26" |
Clip Title:
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Balancing the Right Hand: |
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Description: |
Finding a comfortable bow position, tapping the bow fingers, the right hand balance |
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Channel: |
205 |
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Duration: |
2'52" |
Clip Title:
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From Tip to Frog: The Train Story |
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Description: |
Explaining how to draw the bow from tip to frog - a whole bow |
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Channel: |
255 |
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Duration: |
2'41" |
The principles of balancing the left hand efficiently also remain the same as in the first lessons. The following concepts and motions shape the ever-evolving left hand. Rather than trying to find one particular shape, these principles help develop a mobile left hand and arm that is in balance for the needs of the moment. The larger goal is to establish the essential balance of the whole left arm.
Together, the fingers and thumb of an efficiently balanced right hand move in three directions.
Incorporating these motions gives the bow arm added flexibility.
Clip Title:
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Motions of the Right Hand |
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Description: |
Bow fingers can move vertically, horizontally, and can roll the stick back and forth |
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Channel: |
207 |
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Duration: |
1'56" |
Positive
learning environment
Establishing a positive learning environment is an essential part of this
approach. The following explanation is from the opening of Volume One.
Violin performance engages the physical, the psychological, and the musical abilities of the player. Mimi Zweig's fundamental principle of violin teaching, based on natural physical motions nurtured in a non-judgmental environment, embodies all three of these elements of performance. The development of a facile and secure technique begins with physical freedom. This then gives the performer the freedom to play with musical sensitivity and confidence. The teaching/learning environment is also critical. From the first lesson a non-judgmental atmosphere is established. This means that mistakes are viewed as an opportunity to learn. Much of what one does in life is learned through experimentation. Mistakes should not be used as negative experiences. Instead, they can be seen as neutral information that will be used to solve problems. Another goal is to reduce anxiety. Anxiety can be a primary source of tension. Tension is also a physical issue. It is wise for teachers to be aware of the students' physical approach to the violin for many years. As young students become older students, their bodies are constantly changing. Overnight, what seemed comfortable to a child can feel awkward to the growing gangly young person. The natural reaction is to hang on for dear life, but this only exacerbates the tension problems. Training students to be aware of their own bodies is a life long quest. The more one tries to control specific motions, the tighter one can become. By returning to the basic physical motions of playing, restoring and refining the natural balance of movement, unnecessary tension can be avoided.
More information about creating a positive learning environment is found in the Non-judgmental information page. Check out the principles of The Inner Game of Tennis and The Inner Game of Music. In the quote below, Pedro DeAlcantara describes the challenges of modern life. These challenges also provide an eloquent description of the performance moment.
The challenges of modern life are best met with poise, alertness, and nimbleness of mind and body. These attributes are our birthright, as demonstrated by every child at play. As adults, however, we tend instead to be hurried, inattentive, and stiff of mind and body. The Alexander Technique is an effective way of re-discovering our natural freedom, which is characterized not so much by what we do but by what we refrain from doing, and its resulting health and well-being.
Surely musical performance requires that same “poise, alertness, and nimbleness of mind and body” to perform one's best no matter what the circumstance.
On to Topic II: Moving Right Along
Now that you are feeling comfortable with your violin and bow, we will forge ahead to tackle the remaining principles.
The best way to accomplish this is by using Kreutzer Etudes, scales, Schradieck’s School of Violin Technique and appropriate repertoire. If a student has not yet arrived at the Kreutzer Etude level, the same principles are applicable to Wohlfhart Etudes and Preparing for Kreutzer by Harvey Whistler.