Rest No More?
(The shoulder rest, that is)

Jonathan Swartz
Professor of Violin
Arizona State University
Jonathan Swartz shares his exploration of playing the violin without a shoulder rest, after almost 40 years of playing exclusively with one.
Fundamental principles of violin set-up, efficiencies of technique, and general physical health are discussed.

      
Common Habits with a Shoulder Rest: InefficientàDetrimental

• Fill in the extra space between shoulder and jaw entirely with a shoulder rest – pushes the violin away from body, forcing arms into an unhealthy and difficult position to play
• Squeeze the instrument between shoulder and jaw – constant downward force (neck/jaw)
• One-sided, leftward leaning playing – bringing both arms to the violin: unsupported – shoulder rest providing “fake” support
• Locked in place: immovable – unhealthy for neck and shoulder; removes the possibility of slight adjustments in set up while playing (ie. playing at the tip of the bow – extending the bow arm vs. bringing violin in front a bit)
• Left hand moves freely “around” the instrument – removes contact with the neck prematurely; affects support, efficiency of motion, and geography of the violin relative to hand/finger posture

VIDEO 1

Goals

• Support the violin with the left hand: counter-pressure for more balanced playing – “meet in the middle.” Support requires the left arm underneath the violin – physically healthier
• Freedom and release in your neck and shoulder
• Move “through” the instrument with the left hand, rather than around it – more efficient path for shifting, and creates information for understanding the geography of the violin
• Use finger posture and arm alignment to understand geography of the violin

VIDEO 2

Forces

• Upward: left hand supports the violin, and arm lifts upwards – develop a bridge with “zipper closed” between thumb and first finger (from the bottom upwards)
• Inward: pulling the violin in towards your body against your neck, like a bicep curl; in the upper positions, leaning the hand against the violin; ascending shifts can incorporate this force naturally
• Downward: with your jaw on the chinrest or with the bow on the string; works against the collarbone, or against the left hand “bridge” – only needed for descending shifting

VIDEO 3

Shoulder Rest or No Shoulder Rest, These Remain the Same

• Set up: violin rests on your collarbone
• Forces: manipulation of forces for minimal effort and a healthy approach
• Efficiency of shifting: a straight path working “through” the instrument, rather than around it
• Geography of the violin: finger posture and arm alignment are keys to understanding positions

VIDEO 4

Exercises (practice without a shoulder rest)

• “Finding the Spot” (collarbone/neck) – inward force
• “Violin Yoga” – upward, inward, and downward forces
• “Closing the Zipper” – upward force
• Ascending Shifting (“through” the instrument) – upward and inward forces
• Descending Shifting – upward and downward forces; downward force can be practiced with right hand on the chinrest, then jaw on the chinrest, then bow and arm-weight on the violin
• Open-string shifting – upward, inward, and downward forces; ensures contact with hand “bridge”

VIDEO 5/6

Q&A: Chinrests
VIDEO 7A

Q&A: Position of left thumb and relationship to the right hand index finger
VIDEO 7B

Q&A: Vibrating without a shoulder rest
VIDEO 7C

Q&A: Concept of sound before and after the shoulder rest
VIDEO 7D

Q&A: What if anything are the negatives of playing without a shoulder rest
VIDEO 7E