Methodology for strings 2 Left hand

- Upbeat
- Stretching
- Potpourri
- Intonation
- Vibrato
- Shifting

Upbeat

In this part of the methodology series we concentrate on the left hand technique. Especially those
aspects that are important for the future teacher will be death with. As we already saw in Part A and
B the teacher has to prevent bad positioning of the left hand right from the start.

That therefore in the beginning the pupil pull his thumb slightly towards him and also a bit under
the neck of the violin.
Intensive training can develop every left hand optimally. This is necessary for a solid technical
basis. Besides each pupil will develop a comfortable way of playing for its own disposition.

“I don’t want to advocate to use one particular method. I just want to point out the relativity of
choosing a method. Even when using a well-written method, you can still be thought badly.
However a good teacher still teaches excellently even when using a bad book. There is plenty of
choice in books. However, it is still the teacher’s vision and analytical abilities that fully completes
a method used by a pupil. A method is not a guide to how to play the instrument independently, the
teacher remains indispensable.”
“If you want to develop the left hand maximally and do the necessary training without unnecessary
straining, it is advisable to use as many different ways as possible when teaching beginners.”

Only with the more advanced player who’s left hand is already developed sufficiently, there is room
for discussion whether a shoulder rest should be used.

“During the Baroque, a different left hand technique was used because they did not have rests.”

History:
- Geminiani played a long time in one position and then made a large shift. For instance: from first
to fifth position.

- Later Leopold Mozart used mixed applications. With that he meant playing in several positions
without moving the hand.

“The use of shoulder rest: use it when it helps the posture of the student. The instrument rests
without perceptible stress or strains, so left can be move very freely. In case of an extremely long
neck, it is best to use an elevated chin rest to divide the difference in height. This way you prevent a
too high bowing arm.”
There are many different types of rests, and choosing one is very personal, by experimenting you
may find your rest that gives you more ease of playing. However there are also complains that
cannot been solved by using one.

“We are going to look at a development line of strict training to achieve a well suited individual
way of playing. Continually making distinction between development exercises and the individual
way of playing is good. You must be consequent with basic information. This refers both to
teaching beginners and to development exercises, or physical training.”

For a teacher it is important to know when to demand the perfect basic position consequently and
when to allow finding a comfortable way of playing through various dispositions.

Stretching

Attention to stretching at a basic stage enables advanced players play difficult passages with large
grips.

“Much knowledge from the past fell into disuse. Still, contemporary visions and methods are often
based on the past, so actually nothing changed.”
The intentional guitar position in the education of starters from part one, takes us to Niccolo
Paganini’s guitar play of the first half of the 19th century. Paganini was an excellent guitar player
and projected his guitar technique on the violin.

Stretching the left hand in particular is a must for guitar players. They pay attention to the place and
contra of the thumb. Already a century before Paganini, Geminiani took a similar view on
development of the left hand in his ‘The Art of Playing the Violin’. He only gave brief instructions.
This grip is very strenuous and clearly not the line of the least resistance. Leopold Mozart and
others too founded their methods on this basic grip:

In Campagnoli’s ‘method per violino’ we find various exercises based on Geminiani’s grip. In these
exercises certain fingers has to stay fixed in their position while training the others one by one.
Campagnoli shows when using these development exercises and extreme wide widths-like fingered
octaves and tenths- the consequences for the thumb are: nearer to your body and more under the
neck.

He illustrates with dots of varnish on the neck.”

This hand position should be seen in relation to stretching, obviously the ultimate way of playing
will be less extreme.

Fingered octaves
“Starting point of the development exercises is the physical training to obtain an individual and
comfortable way of playing.”

Development exercises:
- fingered octaves
- against sticking
These exercises fit in every normal development. They are also to be used for pupils who are
blocked technically. This basic training is the starting point for techniques with extreme large
grips.”

“The first way of fingering octaves, so stretching can already be done after about 3 months
- first finger: A on the D-string
- third finger: octave on the A-string, move the hand nicely around the violin body. Thumb under
the violin.
Find support for the hand so that the thumb can relax.
- second finger: on the D-string: lift up high and drop loosely. This is the exercise.

- fourth finger: on the A-string.

- 2 and 4 together
- also alternating.

First let the pupil learn distinguish the octave from other intervals. Use your instrument to train the
hearing of the pupil:
“Now we are going to do the octave exercise. Violin in front of your belly, guitar position. We try
and find the ‘a’ with the first finger on the D-string.

Check with the open A-string. Move the violin to the

shoulder, the hand can rest against the body.

Now make the octave with the third finger on the A-

string. Now we practice the second finger. Lift up high...drop loosely...fourth finger on the A-
string...lift up...4x. Alternating second finger...fourth finger...2 and 4...now simultaneously up and
down...high and back.”

Extending these exercises takes several years. Two steps from the fifth position. Stretching wider
and wider. Do this on the two lowest strings as well. The minor third is less of a physical burden
with the intonation of the 2nd and 4th finger. Off course pizzicato in this stage. Then on the two
lowest strings for strengthening. The next step: go back to the first position. Also with the last two
grips the thumb stays in the high corner. Do this on the highest and the two lowest strings. Bowing
is the extension here. These exercises can be done by every pupil. In this vital condition training,
the individual way of playing will of course never be this extreme.
“All training must be well-balanced out and offered at the right moment. The teacher has a great
responsibility here too.”
These exercises can be extended over the years with a major third, a major second and a minor
second. Mime, pizzicato and arco.

Exercises against sticking

Two exercises to prevent sticking of the first and second finger.

Exercise 1:
- lift the first and second finger high and rounded

- spread
- drop loosely. Mime, pizzicato and arco.

Exercise 2:
- drop the first finger
- drop the second
- lift both fingers high and rounded
- spread the fingers
- drop both fingers very loosely
- lift the second finger
- lift the first finger

Stretching from 2nd position

A stretching exercise: “start this exercise from the second position. Take the instrument. Get a ‘d’
with the second finger on the A-string in the second position (still guitar position). Now the most
important:
- place the thumb right opposite that second finger
- put the third and the fourth next to it on the E-string, put down nicely rounded and your first finger
on the D-string: now you have a bunch of fingers!
- place the instrument on the shoulder
- slide your first finger on the |D-string. Flat is allowed.
- now lift, put down, lower and lower.
- pizzicato: d-f#, d-f, d-e, d-e flat.
- arco: bowing makes this exercise more complex.

Application of Geminiani’s grip

The following exercise is based on Geminiani’s grip. And is especially tailored to the education of
beginners…
“We start this exercise on the A-string. Pluck a ‘b’ with the first finger. Pull your thumb towards you
and now train your second finer on the D-string. Lift high, drop loosely. 2nd stays on the string now.
Train the third finger. Train 2 and 3 simultaneously. You can put your first slightly flat. Now train
the 4th. Now 2,3 and 4 together, the first remains fixed and we now do the exercise on the G-string,
which is physically more strenuous.” (mime, pizzicato and arco)
The same exercises with the low second finger is more difficult. Mime all development exercises
first, pizzicato and at last arco.

Potpourri

1. Left hand pizzicato

2. Finger drop after open string
3. Tonal understanding
4. Sequences
5. String crossing
6. Fifths
7. Octaves
8. Harmonics

1. Left hand pizzicato:

-just like many other techniques you can introduce the left hand pizzicato at a very early stage. The
first exercise can already be done after a few months. With the bend lifting of the fingers the finger
muscles get extra training. Practice on all strings of course. With this application the left hand
pizzicato can even support the intonation (open string support). The left hand pizzicato will be
developed further at a later stage. Special exercises by for instance: Dounis, Fischer, Sevcik, could
be done after that. Training the left hand pizzicato right from the start actually leads to a more
effortless way of playing it at an advanced level.

2. Finger drop after open string:

“there are two possible placements of the fingers: finger-orientated, or thumb-orientated.” The
orientation is from the thumb. This needs specific training. “D-string first, because of the resonance
of the E-string. Always position the filler fingers. Pizzicato and arco. First with a high second
finger, then with a low second finger. Practice on all strings. With different grips too, at a later
stage.

3. Tonal understanding:
The semitone system is the point of departure for the contemporary methods for beginners.
“What is the semitone system? It means that the same finger pattern is used on all strings. First we
look back into history.” Old methods departed from the C-key. Probably for beginners the finger
pattern L’abbe en fils used the G-key, so he used two finger patterns. Hiller was a violinist and
cantor in Leipzig. Using the opening of a Bach-choral, he had his pupils play this on all strings. He
introduced the semitone system. To be able to play in various keys with understanding several
bricks are needed:
- first comes adding a sharp or flat to a note and visualising this
- then learning to hear the difference between full and semitones
- finally remembering that e-f and b-c are semitones, this seems illogical to a child for though it is
still a semitone, there is no addition to it.
Application: the pupil puts small lines above the semitones, then plays them pizzicato or arco.
Distinguishing full and semitones is the first step to consciously playing scales at any random
starting note.

4. Sequences:
“These are exercises for furthering understanding and intonation and playing in different keys. We
start with the familiar basic grip of the semitone system. Repeated continuously and in different
ways. Actively lift the fingers and drop the loosely. Each time, put the fingers together in the grip
you are using. Use the repeating element for intonation improvement. Stay focussed on the basic
hand positioning.”
Before doing the exercises on all strings let the pupil first write down the names of the notes, as
reading music notation may influence the intonation adversely, finger arrangement notation is to be
preferred.

5. String crossing:
- Playing several strings is complex, it is therefore sensible to practice movements first separately
from sound and intonation. The basic feeling is walking the fingers in all possible finger
combinations without using the instrument.

“Now walk the strings, mime the movement first. Pay attention to the elbow movement. Intonation
in pizzicato is the new element. Arco is the most complex way.”
Practice in a set finger pattern first, in various keys at a later stage. Then the actual application.

6. Fifths:
- The pupil must be able to play fifths in double stopping in tune. This also prevents unwanted
moving of fingers.
“You need a set way of playing a perfect fifth. The pupil has to find out for himself which suits him
the best. Try it on the lower string with a bit upper string... if this is not optimal try now the upper
string with a bit of lower string... if this is not optimal fingers exact in the middle.”
Choose the most satisfactory way, this may differ per two strings, the best way depends on
disposition, thickness of the string and measure.
Tips: little pressure enables better correction, slightly flatten the fingers does create a wider grip.

7. Octaves:
The intonation of octaves with 1-4 creates problems if the pupil does not hear whether the lower or
higher note needs correction, therefore stick to the following steps:
- Play with hooked bowing (kettingstreek), grip as a double stopping but make it sound single: 1)
just the lower, then 2) just the top ones. 3) lower again, for that is the foundation. 4) double but
don’t correct the top ones, 5) correct if necessary.
This way you train the pitch of the lower notes in particular. Any possible correction will only be
needed for the top ones.

8. Harmonics:
- notation: sometimes just the sound, sometimes just the grip, sometimes both grip and sound. It is
important to know what the sound will be like when making an octave, a fifth, a fourth, a major
sixth and major third or minor third. Advise on on choice a fingering, the major third and sixth
produce a note that sound the same, the major sixth has more appeal. It is of course also possible to
play it as an artificial harmonic with 1-4.
Intonation

1. systems
2. tuning
3. basic correction
4. training

1. systems of intonation:
Most pupils intonate fairly well naturally, background knowledge on tuning is essential for a
teacher, only then he will be able to guide and polish the intonation.
“We know three systems of intonation:
- linear intonation: you could call it the melodic system
- chordal intonation: double stopping/ harmonic
- the compromise/ equal floating intonation: the way the piano is tuned.
We now compare the first with the second. The melodic...obviously refers to melody. That is
without a real harmonic bonding, like playing a scale. The leading up notes are extra high. |so it
affects the minor second, which will then be extra small. You automatically discover that with the
chordal intonation the minor second is larger...and that it also greatly affects the thirds and sixths.
Furthermore, you could say that in the harmonic system the sharps are supposed to be extra low and
the flats extra high, while that is exactly the opposite in the melodic system: sharps extra high and
flats extra low. This is particularly so for the less complex keys.

2. Tuning:
“A few tips for learning how to tune”
For beginners, it is best to learn it while seated. It has to be pizzicato, because they cannot do any
bowing yet. Always start with teaching to tune one string. Keep plucking with one hand. Adjust the
peg with the other hand. Always turn loose first, in order to feel the tension.”
Use fine tuners for beginners. Ask if they have a key instrument at home, if not use a tuner or App
on mobile phone. Find well known songs with a fifth up or down. Ask a member of the family to
help with the tuning. For more advanced players it is important to tune in narrow fifths. Especially
with piano ensemble, check the G-string for it is often too low. Tune string quartets also in narrow
fifths. Check the proportion of thirds of the C-strings and E-strings.

3. Basic correction:
Intonation correction when teaching beginners:
- sound notation improvement by singing
- the auditive approach of play and replay
Changing role with the teacher makes the pupil more aware. This stimulates the self criticism. It is
the start of self guidance. Working with stickers for a while gives pupils with intonation problems a
better notion of sound.

4. Intonation training:
Teach the pupil to hear the open string resonance.
“It is important to make clear to the pupil that he needs to lift the bow in order to hear the resonance
optimally.”
Let the pupil mark the notes with an open string resonance. This furthers the pupils attentiveness
while playing. Complexity may influence the intonation very negatively. This goes for all levels.
“Suggestions for simplification:
- first play all notes pizzicato evenly, so only intervals
- then play them arco without slurs and rhythm. Longer at one tone for improvement of intonation.
- play the intervals faster
- add the rhythm and slurs.

Not just linear melodic hearing should be developed, the fining chords, so harmonic hearing needs
attention too.
“Let the pupil discover that it is necessary to adjust to open strings when playing double stopping.
For example:
- play an ‘e’ on the D-string together with the open A-string, a perfect fourth.
- try this finger as a major sixth with the open G-string, it is far too high and has to be intonated
lower.”
“A good exercise for training harmonic intonation at an early stage:
- play each chord twice 0-1-2-3-4 and back.
- first with the upper string
- then with the lower string.
With both a high and lower second finger.”
With harmonic intonation the minor second is large. So, even the leading note must be intonated
low. With melodic intonation the minor second is extra small. Let the pupil discover this by a
process of trail and error.
“Intonate the broken third particularly melodically. Intonate the double stopped thirds harmonically
and build up with fourths.”
Making set patterns is a good way of connecting motoric intelligence with auditive perception:
- play the fourth finger on the A-string
- drop your hand
- the same note now with the third
- drop your hand
- the same note with the second
- drop your hand
- now with the first.

“To orientate from a set point you could, for example, play the ‘g’ on the D-string after playing the
A-string with the third.
- now the same note with the second
- now with the third
- and also with the fourth”
In Simon Fischer Basics are exercises for advanced players that are based on this principle.
Elements from previous exercises can be applied and extended at all levels. As a teacher you may
consider beginning shifting a bit sooner than usual in order to improve intonation by a rigid way of
playing. Playing duets usually results in a better intonation than playing with the piano. Also the
musical expression is stimulated more by playing duets than in combination of violin and piano.

Vibrato

Important knowledge: Vibrato is the most personal component of tone production. The traditional
subdivision in ‘finger-wrist-or arm-vibrato has become absolute. Research has shown that all
muscles, even those in he shoulders, are actively involved. Using more arm or wrist is a matter of
main impulse. Some singing teachers use the diaphragmatic staccato as an element of teaching
vocal vibrato. For the violin this vertical influence deserves attention too. The change in pitch with
vibrato is particularly below the core to the core of the tone. Exercises for learning how to play
vibrato can also be used for improvement and correction. The final result still depends on the
musically expressive temperament and the physical abilities of the player.

Basic stage
The start of the actual teaching: a stable basic position and an intonation in first position that is
reasonably in tune.

“As a teacher you need to have a

lot of exercises at the hand. Sometimes it is good to try several exercises during the lesson and then
choose which one you’ll give for homework.
Exercising the main impulse of the hand:

- place the fingertips lightly on the thumb

- swing the hand from the wrist forwards and backwards
- pay particular attention to the backwards movement.

Supporting the forearm gives a better sense of the wrist movement. Go from slow to faster, in other
words: from large to small movements.

The same movement with the violin:

- slide over the string with each finger in the second position, with the pressure of a harmonic. The
thumb follows. The direction is now determined by the string.

Now with the thumb fixed in one place. Here too, pay special attention to the backward movement.
Increasingly from slow to fast. Like rubbing off a strain.
Practice all fingers separately on all strings. Asking to let the fingertips stand lightly can lead to the
first basic vibrato. Some advice in case when the forearm moves along stick a matchbox between
wrist and violin, or lock the arm by starting in a higher position.
“With the tandem-method, the curl is pushed against the teachers chest. You, the teacher, coordinate
the pressure on the tip with the right index finger. You make the movement with the left thumb and
index finger.

After having made a start, you stimulate the pupil to continue. This way he gets a sense of vibrato.”

Fingertip activation
“Training the fingertips and joints separately strongly influences the final result.’
Straighten each finger and bend again to improve the use of the top failings. Repeatedly pushing the
knuckles sideways increases the movement in the joints. Furthermore a minimal rotating component
with the vibrato will be experienced.

Rivardes exercise is a combination of rolling the tip and stretching the top failings. This also makes
the influence of the tone under the core visible. Making Rivardes exercise audible will be the first
step of learning the basic vibrato. Tempo is not important at this stage. The correct movement is the
starting point for further development.
“You can also activate the fingertip with a kind of hand trill.” The hand trill imperceptibly activates
the tip of the lowest finger. This results in a more natural vibrato.

Intensification
“It is recommended to practice this exercise in the given way: Both with two rhythms and with
triplets.
Increase the tempo with four rhythms on the triplets.”
Practice these exercises for only one minute, but at least three times a day. Only then the vibrato can
be accelerate in a controlled way. A stronger impulse is needed when keeping all fingers on the
finger board.

The one finger vibrato feels freer with the same impulse. First practising the vibrato movement in
double stopping may allow more space and freedom.

A harmonic like exercise by Carl Flesch and particularly useful in case of a to wide and to slow
vibrato.

Practise 3 frequencies for each finger. This vertical influence is related to the vocal diaphragmatic
staccato. Use this exercise from Fischers’ Basics to counterbalance to much tension when
intensifying vibrato.

Removing blocks:
Neck of the instrument in the ball of your hand.

By sliding...and vibrato with relapsed hand to...normal position. This may lift the feeling of being
blocked.
Practising the vibrato movement in cello position may allowed more space and freedom.
Vibrato movement on your right hand gives a natural feeling. You will also feel the necessary
minimal of finger pressure.

Swinging the hand next to the violin via impulses from the forearm.

Experience how the mass of the hand liberate the wrist impulse. This exercise by Menuhin is
practised from the third position. The thumb stays high...slide a minor third with each finger.
Increase the tempo, but the movement remains large, end with a vibrato each time.

Supplementary tips:
- ask for less finger pressure when the movements are correct but the tone leaves a lot to be desired.
- ask for smaller, when you mean faster.
- let them practice for short periods only, but several times a day.
- if a finger is too rounded, practice with a straight fingertip.
- in case of weak little finger vibrate with the third finger for support.
- use martele and portato for a fiercer vibrato
- Rivarde can also be studied with arm impulse.
- for some pupils more arm impulse in higher positions and double stopping
- over practicing to improve the vibrato could lead to a negative result.
- general training of the left hand may improve the vibrato.

Shifting

Why shifting?
1) To increase the reach. To create a certain colour of tone. For technical reasons.
“In the history of playing, the first reason for playing in more positions was to increase the reach.”
Daniel Speeres method, end of 17th century, shows the use of just three fingers. Reach is increased
with a sliding fourth finger on the E-string.

Demonteclair/ French only uses a stretched fourth finger on the E-string correct play to the fourth
position and only to the 7th position on the E-string.
‘Back to the present’ you are ready playing the positions if the pupil can play several keys in first
position and does understand the concept of full and semitones.
Playing in positions
Shifting exist of playing in positions and changing off positions. These two elements can be offered
simultaneously.
“First we discuss the playing in positions. The uneven positions show a familiar picture, because the
first is a note on the line. That is why reading the second position feels unfamiliar. Furthermore, the
first finger in the second position has no set place in simple keys.”
“The first finger in the third position makes an octave with the open lower string. Also changing to
the second position is harder than to higher positions. It is such a small movement, that because of
that the thumb often sticks at the first position, which results in a lack of thumb/finger contact.”
The advise is to offer the second and third position simultaneously. Then the perception would be
greater and you prevent thinking in grips only. Use at this stage mainly music from the first position
to sustain the fun of playing.

Basic shift
Give special attention to the shoulder rest and chin rest when introducing shifting to insure the free
movement of the left hand. First introduce a large movement.
“The main movement consists of not just moving towards you, but also to the right. Do this on the
violin. Start with four fingers for the frame feeling. After that with 3...2….1 finger. The fingers like
a harmonic and without pressure. Mime.

Now sliding audibly. Obviously, the octave is the easiest to hear. Without rhythm, simply stop when
you are there. Slowly and without pressure.

Shift with the same finger

“It is best to practice the simplest shift first. Using the same finger. Because of the timing, use three
rhythms in this order:
It is important that the movement is slow.
Play the major scale of the starting finger on all strings. Shifting could be done to the fifth position
but practising to the eight position is recommended. Application from second to third position will
then seem a piece of cake.
The scale starting with the low second finger is easier on ear. Do not disturb the set frame at the
elementary stage of playing.
Do the same exercises at any random key at a later stage.

Main rule:
The introduction of the main rule and the exception to the rule is learned by the audible uses of
guide notes.
“first we look at the main rule: still in the time of the first note, you go to the new position with the
last played finger. Each time the highest note is the next guide note.”
First in the key of the finger yo started of course. The rule of coming with detache is; the new finger
falls into the new bow.

Exception to the rule:

“The exception to the rule, only in upward direction from a higher to a lower finger. In that case, the
guide note with the new finger.”]
With detache also hear new finger, new bow.
“By playing a scale on one string up and down, you consolidate the shifting. Up, so the exception
rule. A light guide note.”
On all strings: first in the key of the starting finger, later any random key. Consolidation of audible
shifting takes a lot of time. The teacher should not initiate the refined inaudible shifting too soon.

Audible to inaudible:
“For the shifting from audible to inaudible, we start from the basic shifting with guide notes. Now
we distract the players attention from the vibrato. Forget the guide note and play only vibrato on the
note before the shift. You can lift the fingers that are not used. Now only vibrato on the note after
the shift. As all the attention goes to the vibrato, the change is smoother.”
Practice with the two rhythms to increase skills.

By decreasing bow pressure guide notes fades as well. An application: Isolate the shift and create an
extra note. Practice the shift back and forth using these three notes attached. First with guide notes.
Then with vibrato, both before and after the shift. Also lifting fingers not in use. Increase the speed
of shift with four rhythms. Then increase the tempo of the rhythms at an advanced stage, the
addition of a minimal wrist-movement may increase the flexibility needed for refined play.

Supplementary items:
- the main rule always applies to a position shift in combination with a string crossing. Prevent
relocation of the hand after an open string. First practice the shift with the last played finger. So
before the open string to ensure relocation of the hand during the open string.
- relocation of the thumb during the note before the shift is a tip for players with small hands, who
have to take the thumb along in higher positions.
- in certain situations advanced players can make use of crawling fingering through extension of the
hand. Think of how a caterpillar moves.
- portamento is using the audible shift as a means of expression. We distinguish two types: 10 the
over slide identical to the main rule and 2) the under slide, that follows the rule of exception even
when the main rule is supposed to be applied.

These are the instructions on the development of the left hand. The material we have dealth with
ought to be seem as a set of basic tools tp support the new teacher. Gained experience and
constantly keeping up to date by studying specialist literature will insure further growth as a
teacher.