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Perhaps someone could answer a very newby question...When in the 1st position on the "D" string my fourth finger (pinky is on the "A"). I then test (or try) to test the the "A" note with the open A string...Only problem it will be muted or partially depressed by the 1 - 2 or 3rd finger..Never happens when testing against a higher string..Say testing the G note from the D string to the open G....I hope this is making sense..I am both a mandolin player and guitar player..But the violin fingerboard is kinda narrow for my sausages...IS there hope !!!
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One thing that might help would be to change the nut and bridge so that the strings are farther apart.
But it sounds like maybe you aren't adjusting your hand position enough when crossing strings. I think the orthodox view is that the left elbow should swing left or right somewhat when crossing strings. That changes the hand's relation to the fingerboard, the goal being to treat the played string the same whether G, D, A, or E.
Things have a way of falling into place when you are using the right form. You might try Galamian's Principles for some basics of left-hand form.
http://archive.org/download/pr.....00gala.pdf
Whoops, I find that I understated that. You have a good chance of a very large gain if you read Galamian and try to follow it.
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When using the fourth finger on any string you are further with the string than the strings that are closer to the nut for two reasons. The bridge side is higher than the nut side plus there is a little scoop on the fingerboard (concave).
If you press real hard you'll probably see the difference. Also, the pinky is the weakest finger. Open strings are usually stronger sounding.
"The richest person is not the one who has the most,
but the one who needs the least."
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RosinedUp said
One thing that might help would be to change the nut and bridge so that the strings are farther apart.But it sounds like maybe you aren't adjusting your hand position enough when crossing strings. I think the orthodox view is that the left elbow should swing left or right somewhat when crossing strings. That changes the hand's relation to the fingerboard, the goal being to treat the played string the same whether G, D, A, or E.
Things have a way of falling into place when you are using the right form. You might try Galamian's Principles for some basics of left-hand form.
http://archive.org/download/pr.....00gala.pdf
Whoops, I find that I understated that. You have a good chance of a very large gain if you read Galamian and try to follow it.
Thank-You for an excellent resource . Printed it out and will have it binded tomorrow at staples..!! ...I apparently have form issue's as my fingers are perpendicular to the board, but my flat fingertips (heavily callused) are hitting two strings. I will have to seek out a pro for visual assistance. I am swinging the elbow in all sorts of contortions attempting to get a clean sound closer to the G side with no real luck...But im not a quitter.....Thank you both...
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Ok, one more....If your fingers (any) are on the "A" string, (anywhere)..Should both the D and E strings ring clear....?? I have studied a ton of Google Images and it does not appear so, unless the image is taken to illustrate a certain position and not actual playing..appears the finger tip will be touching one string or another, just barely, but enough to mute or make a wrong sound/pitch...
I find that with my rather large fingers, not long, that if I know I have to play say an open D and another note on the A string that I have to put my finger more toward the E string side as to not touch the D string. Don't get into the habit of pulling the string and your finger over as this changes the pitch slightly and then you have to correst by moving either up or down on the string.
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BarryR said
Ok, one more....If your fingers (any) are on the "A" string, (anywhere)..Should both the D and E strings ring clear....?? I have studied a ton of Google Images and it does not appear so, unless the image is taken to illustrate a certain position and not actual playing..appears the finger tip will be touching one string or another, just barely, but enough to mute or make a wrong sound/pitch...
No. Great question.
The only time you need to keep the fingers clear of the other strings is when you play chords, or patterns that require those strings to resonate differently from a fifth. Obviously if you need to play a perfect fifth you need to cover two strings with the same finger and even hit the angle so that it's in tune.
"The richest person is not the one who has the most,
but the one who needs the least."
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Fiddlerman said
BarryR said
Ok, one more....If your fingers (any) are on the "A" string, (anywhere)..Should both the D and E strings ring clear....?? I have studied a ton of Google Images and it does not appear so, unless the image is taken to illustrate a certain position and not actual playing..appears the finger tip will be touching one string or another, just barely, but enough to mute or make a wrong sound/pitch...No. Great question.
The only time you need to keep the fingers clear of the other strings is when you play chords, or patterns that require those strings to resonate differently from a fifth. Obviously if you need to play a perfect fifth you need to cover two strings with the same finger and even hit the angle so that it's in tune.
Thanks Fiddleman....there is hope !!!!
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Fiddlerman said
When using the fourth finger on any string you are further with the string than the strings that are closer to the nut for two reasons. The bridge side is higher than the nut side plus there is a little scoop on the fingerboard (concave).
If you press real hard you'll probably see the difference. Also, the pinky is the weakest finger. Open strings are usually stronger sounding.
@Fiddlerman I think there is something important in there, but I wasn't able to understand it. IDK what you mean by "further with the string" or "strings that are closer to the nut".
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