|
|
|
|
|
|
|
|
|
 Posted: Thu May 05, 2005 1:59 pm
The following post has been edited by TarienQuestWelcome to the GGV Tip Thread!To prevent repeated tips and useless clutter please read through the entire first page of this thread before posting. This thread is intended to be a gathering point for tips and hints for violin and viola technique. It was created by Milady Raven, and edited slightly (*cough*) by TarienQuest. Any GGV member may suggest a tip for any of the listed categories. If you think of a category that has not been previously adressed please submit it as a suggestion. When submitting a tip please do not quote the tip post. It takes up way too much space and makes it difficult to navigate. Should this occur TarienQuest or a mod will edit your post. To submit a suggestion or tip please create a post containing the category of your tip and a detailed explaination of your tip. Please read through your post to make sure that it is easy for others to understand. A tip that no one understands really isn''t very helpful. Full credit will be given to any member submitting a tip. If you find a tip in the forums feel free to quote it here. If you disagree with any of the tips submitted in this thread please post your comments or concerns and the discrepancy will be investigated.
Directory
Post 1 ~ Introduction You are Here
Post 2 ~ Position Tips
Post 3 ~ Open String Tips
Post 4 ~ Closed String Tips
Post 5 ~ Other Tips
Post 6 ~ Scale Tips
Post 7 ~ Tone and Intonation Tips
Post 8 ~ Bow Technique Tips - Run By Kalile Alako
Posts 9-15 ~ Reserved For Later Use
|
 |
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: Thu May 05, 2005 2:03 pm
Position Tips Directory:
Post 1 ~ Introduction
Post 2 ~ Position Tips ~ You are Here
Post 3 ~ Open String Tips
Post 4 ~ Closed String Tips
Post 5 ~ Other Tips
Post 6 ~ Scale Tips
Post 7 ~ Tone and Intonation Tips
Post 8 ~ Bow Technique Tips - Run By Kalile Alako
Posts 9-15 ~ Reserved For Later Use
Quote: For shifting into the third postition"]When shifting into third position, sometimes your wrist will hit under the fingerboard of the violin. Where I'm talking about is the area not far below the fourth finger note. What I was told to do when shifting into third position is to keep shifting upwards until my wrist hits that area underneath my fingerboard. Once my wrist hits that area, I know I"m in the third position. I will get the 'offical' name of the area that I am talking about later.
thexfiddler Tips for Tuning your Third Position: When shifting into 3rd position, check the 1st finger (in the 3rd finger place) with the open string that corresponds to that note (except for c on the g-string for violins and f on the c-string for violas) to make sure its in tune.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: Thu May 05, 2005 2:20 pm
Open String Tips Directory:
Post 1 ~ Introduction
Post 2 ~ Position Tips
Post 3 ~ Open String Tips ~ You Are Here
Post 4 ~ Closed String Tips
Post 5 ~ Other Tips
Post 6 ~ Scale Tips
Post 7 ~ Tone and Intonation Tips
Post 8 ~ Bow Technique Tips - Run By Kalile Alako
Posts 9-15 ~ Reserved For Later UseKalile Alako If there is ever a long note on an open string, I used to wince a little because it sounded bad next to all of the notes I applied vibrato to. But my teacher taught me that if you vibrato on the same note, but an octave higher, than the open string will resonate. What I mean is, if you have a half note on open G, put your third finger on G on the D string. Vibrato that note, but play the open string. It should sound better.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: Thu May 05, 2005 2:25 pm
Closed String Tips Directory:
Post 1 ~ Introduction
Post 2 ~ Position Tips
Post 3 ~ Open String Tips
Post 4 ~ Closed String Tips ~ You Are Here
Post 5 ~ Other Tips
Post 6 ~ Scale Tips
Post 7 ~ Tone and Intonation Tips
Post 8 ~ Bow Technique Tips - Run By Kalile Alako
Posts 9-15 ~ Reserved For Later UseKeep short nails My teacher said it's easier to play closed notes when the nails are short. WHat short nails help prevent is calapsing knuckles which causes the sound not to be as clear as it could be. I had long nails about an inch from the tip of the finger which made playing difficult. Since cutting my nails, it's easier to play. Another thing short nails help is viberating. Having short nails allows you to use the very tip of your finger to help viberate. I recently just started viberating due to short nails. :3 Short nails help a lot.
kalile alako You use different parts of your finger for fast and slow passages. For fast sixteenth note runs, you want to be dancing on the tip of your fingers. But for slower, richer, longer note passages, you want vibrato on the pad of your finger; it's richer and fuller than just the tips.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: Thu May 05, 2005 2:27 pm
Other Tips Directory:
Post 1 ~ Introduction
Post 2 ~ Position Tips
Post 3 ~ Open String Tips
Post 4 ~ Closed String Tips
Post 5 ~ Other Tips ~ You Are Here
Post 6 ~ Scale Tips
Post 7 ~ Tone and Intonation Tips
Post 8 ~ Bow Technique Tips - Run By Kalile Alako
Posts 9-15 ~ Reserved For Later UseAmaya Tokemi maya has a tip for when changing a string... <--like if it breaks or you just need to put a new one on... okies... when putting a new string on, first, take a cloth and clean the fingerboard very very good! ~cuz chances are it's all icky-like... 3nodding ... next, take a pencil and scribble (for lack of a better word) in graphite where the string would be placed on the nut ... this makes the string able to "slide" better when tuning (i think)... then you put the string in ^^ yay
Kirusuchinu For example, try doing open strings of that part first. Then, when you have that down, add the finger that's giving you the trouble. When you get really good at that, add the rest, but play slowly. Then speed it up as you get better ^_^
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: Thu May 05, 2005 2:28 pm
Scale Tips Directory:
Post 1 ~ Introduction
Post 2 ~ Position Tips
Post 3 ~ Open String Tips
Post 4 ~ Closed String Tips
Post 5 ~ Other Tips
Post 6 ~ Scale Tips ~ You Are here
Post 7 ~ Tone and Intonation Tips
Post 8 ~ Bow Technique Tips - Run By Kalile Alako
Posts 9-15 ~ Reserved For Later UseBr7son Well, my one tip and major advice bit is to practice shifts and scales as often as you can. Nothing is more fundmental than scales, and shifting can make or break solos. Every time you go to practice, start out with a 1-3 octave scale... and be sure that you pay attention to intonation! Rushing through scales doesn''t help anything, and it only wastes time. Even if you need to play the scales ridiculously slow in order to get your intonation, it does more good than running through it sloppily.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: Thu May 05, 2005 2:29 pm
Tone And Intonation Tips Directory:
Post 1 ~ Introduction
Post 2 ~ Position Tips
Post 3 ~ Open String Tips
Post 4 ~ Closed String Tips
Post 5 ~ Other Tips
Post 6 ~ Scale Tips
Post 7 ~ Tone and Intonation Tips ~ You Are Here
Post 8 ~ Bow Technique Tips - Run By Kalile Alako
Post 9-15 ~ Reserved For Later Usethexfiddler Tone Tip: Always play at your sounding point. It sounds quite icky if you play too close to the bridge, or too far away from the bridge over the finger board. To keep your bow on the sounding point when you're playing, open up you're arm REALLY far when you're close to the end of the bow, so it wont slide out of tone. Intonation Tip: (Open String) If you're playing a note that corresponds to one of your open strings (violin: g d a e viola: c g d a) check the third finger along with the open string as a double stop. If it sounds sour, fix it! If it doesn't, congratz. smile Intonation Tip: (Tuner) Play the note you're having trouble tuning, then match it to a tuner. If you have a really nice one, you can check any note, but if you have some kind of meteocre one, you can only check the notes that correspond with your open strings. (Nice tuners make GREAT christmas presents ^,^) edic-reborn
TIP FOR VOLUME: If you play closer to the bridge, you will get a louder sound when playing forte but farther away will get a softer sound when playing piano. Not that informative but it works for me smile
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: Thu May 05, 2005 2:30 pm
Bow Technique Tips Directory
Post 1 ~ Introduction
Post 2 ~ Position Tips
Post 3 ~ Open String Tips
Post 4 ~ Closed String Tips
Post 5 ~ Other Tips
Post 6 ~ Scale Tips
Post 7 ~ Tone and Intonation Tips
Post 8 ~ Bow Technique Tips - Run By Kalile Alako ~ You Are Here
Post 9-15 ~ Reserved For Later Use
Edit: I steal this post. Rar.
-Kalile Alako
Spicatto: Mitsy_Kathleen sometimes the type of bow you have can make a huge difference. I still have a bit of trouble with spiccato, but when my teacher lets me use her ( very nice) bow, i seem to have little trouble. Also, make sure that the bow isn't too tight. try to stay in the bottom 3rd of the bow for the best sound, and also look at where your bow is coming in contact with the string. For me, it helps for the contact to be almost above the fingerboard, because the strings get a better sound there, and the bow seems to do a natural bounce there. If your bow grip isn't wonderful, that can make matters worse. Make sure your thumb and pinkie are bent and your wrist has a little give. I hope I was able to give you a few tips to try.. I hope they work for you! Khalaron Spiccato is quite difficult to grasp at first. If you've been having trouble with it, you need to check a few things. First, bow holds. The way you hold your bow is really the foundation for any bowing technique. Your right hand needs to be relaxed. If it is hunched over the bow like a spider (you may need to look in the mirror) you need to relax your wrist more. Spiccato is also easier if you're fairly close to the frog. If you're closer to the middle of the bow or (dare I say it) the tip of the bow, you'll notice that you have less control over your bowing. Or even better, if you can manage to play over the balance point, but I find that this is more difficult for more inexperienced players. (I'd say younger, but there are people younger than I am that play far better.) Also, notice if the bow is too tight or too loose. That can also be part of the problem. If you're going to practice this technique, I would recommend that you do not practice it mindlessly. Incorporate it with your normal practice. Audd Something on bow holds... My teacher said that if god gave us bow holders, they would replace our wrists, not our hands. wink Kalile Alako Just before she passed away, my school orchestra teacher gave me a task to do; play a certain piece with the correct bow stroke. I was unable to do so at first, and one day she reached over and began stroking the back of my hand, "tickling my wrist," as she put it. And I was able to do as she requested. Basically, it involved rethinking my idea of the wrist. Intellectually I know that the wrist is not what we normally think, but I had not really realized that until she showed me. The wrist is composed of the many bones at the base of the hand; not the joint, where we usually think of. Just making that shift in thinking helped me to concentrate better on my bow hand and on moving my wrist correctly.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
