StoneDog is now in possession of the TRAVELING FIDDLE in Warrendale, Pennsylvania. :-)
1. increasing bow pressure induces a rise in the fingering pressure of the left hand, and vice versa
2. during change of position the movement of the right hand is also accelerated because of the rapidity of left-arm movement
3. increased left hand activity in performing fast passages includes increased tension in the joints and muscles of the right hand.
If so, then you suffer from "The Trend for Bilateral Symmetry". Effective coordination in violin playing requires a certain degree of bilateral isolation and a definite sequence of movements. I bet the poster child for this disease is noisy bow changes which are a result of a neglect of movement sequence.
The easiest movements in violin playing are repeated stoppings of the same finger for the left hand and repeated simple bow strokes for the right hand. Both of these must be kept as cyclical motions. For example, if in the beginning you keep the finger down for long notes, it will tend to adhere to the string and already technique will be impaired. Similarly, the most essential technical requirement of violin performance, namely the fluency in changing bow, is jeopardized if breaks are allowed between strokes. The reason is that we have begun with an acyclical form of motion instead of a cyclical one.
My lifelong training as a martial artist has always focused on independent motion of the left side if the body compared to the RHS. Interesting parody because the hours of constant repetition of basic techniques in order to acheive subconscious actions dependant on outside influence has done its best to make this kind of independant LH/RH movement as difficult as possible if not impossible.
Most Users Ever Online: 231
Currently Online: Robyn.fnq, ewalllong, Ferret, RosinedUp, Briant
Currently Browsing this Page:
Kevin M.: 1893
Guest Posters: 1
Newest Members: MacUniResearcher, purplebirky, firstname.lastname@example.org, Briant, taylortea, jakop
Administrators: Fiddlerman (7449)