How to put your fingers in the violin? First place
Fingers attached to semitone, separate for tone: so we organize the left hand at first place, with the note and exercise map to tuning without anything.
At the first place of the violin, the first finger (the index) goes a tone above the string to the air and the others are situated as a scale: separate as between two notes there's a tone and glued as there's a semitone. At the string La, within the scale of Re mayor, fingers 1, 2, 3 and 4 give Si, Do), Ree and Mi and that My of the fourth finger should sound just as the string My into the air.
Since the violin doesn't have anything to do with anything, his hand learns the distances and his ear fixes them. Here's the note map of the first place, the four finger patterns that are most widely used, how to use the guide tapes and exercises so that his hand finds his note by itself.
To sum up
- Fingers are numbered from 1 (index) to 4 (pinique) and 0 is an air string.
- First place, finger 1 remains a tone above the rope to the air and finger 4 sounds just as the string to the next air.
- Fingers glued mean semitone, separate fingers, tone. The armor tells you what pattern to wear on each string.
- The third finger can be checked with a string to the bottom air: when it's tuned, that string vibrates only by MRI.
- The guide tapes help at first, but the tuning will be decided by the ear, and not by the vision.
The finger numbers and the shape of the hand
At the violin scores, the number on the notes indicates the finger of the left hand: 1 is the index, 2 the mean, 3 the ring and 4 the pinique. The 0 means air string. The thumb does not have number because it does not step: it goes after the mast.
- Push: loose, more or less with the first or second finger. Do not tighten: the violin holds his minion and his shoulder.
- Fairy: straight, in line with his forearm. If his back bends and his palm sticks to his mast, his fingers lose strength and reach.
- Fingers: Curves, falling at his end, as small hammers, so they don't scrape his neighbor's string.
- Index base: Rozo the face of the mast, close to the cebula, and serve as a reference point.
- Retirement: He moves a little to his right to reach the Sun and to his left for the My string.
Keep your fingernails cut from your left hand: if the fingernail touches the diapason before the yolk, the finger falls apound and the note remains insecure. Press only what's necessary for the string to touch the diapason and sound clear and more force doesn't improve the sound and tire your hand.
The note map of the first place
Before you put your fingers, sharps the violin: if the air strings are broken, no reference will be useful. The table shows what note each finger gives to each string. The second finger has two possible locations: "low," attached to the first and "high," attached to the third.
| Rog | 0 (to air) | 1 | 2 low | 2 high | 3 | 4 |
|---|---|---|---|---|---|---|
| Sol | Sol | La | Si♭ | Si | Do | Re |
| Re | Re | Mi | Fa | Fa♯ | Sol | La |
| La | La | Si | Do | Do♯ | Re | Mi |
| Mi | Mi | Fa♯ | Sol | Sol♯ | La | Si |
There are two regularities that help guide you. finger 4 of each string gives the same note as string to the following air (re, la and mi) and finger 3 gives the octave of string to the earlier air: Sun to string re, re to string La and la to string Mi.
The four finger patterns
Instead of memorizing note by note, violinists think about patterns: how they get their hands with how the semitone goes down. Each method means them different numer, so here we name them by their fingers that are glued.
| Master | Where's the semitone | Example in the A string | That's where she appears. |
|---|---|---|---|
| 2 and 3 together | Between fingers 2 and 3 | La, Si, Do Reg, Mi | Reg greater at the Reg and La ropes; The greater at the Reg and Me strings |
| 1 and 2 together | Between fingers 1 and 2 | La, Si, Do, re, Mi | The bigger Sun at the La and Mi and the bigger Do at the Ree and La |
| 3 and 4 together | Between fingers 3 and 4 | La, Si, Do por, Reg, Mi | The largest in the Ree string and the largest Ree in the Sun string |
| 1 low | Between the rope and finger 1 | The, If, Do, re, Mi | Fa major at the La string; Do bigger at Mi string |
How to figure out what to wear? Look at the armor. If the work has Do), on the string The second finger goes high and if it has Natural Do, goes low, glued to the first. The same goes with the Fa on the re string and with the Sun on the Mi string. Before playing a new piece, go through the strap with a string and decide where every second finger will go: you save a good share of the false notes.
Guide tapes: how to use them without depending on them
Many teachers stick thin ribbons onto the diapason at first so that the hand has a visual reference. The most common thing is to mark finger 1, high 2 and 3 and some add a second low or 4. They are put by a teacher, note by note and with an interminer, because each violin and each size have different distances.
- Look at the tapes to place his hand but listen to them to correct. If with his finger on his tape his note sounds low, his finger moves: his tape is an area, and his face isn't an exact point.
- He lays his finger on his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face and his and his face and his face and his face and his face and his face and his and his face and his face and his face and his face and his face and his face and his face and his face and his face and his face's all his face and his face and his face and his face and his face and his and his face and his face and his face and his face and his face and his face and his face and his and his face and his face and his face and his face and his face and his and his face all his face and his face and his and his face and his face and his and his face and his face and his and his and his face and his face and his face and his face and his and his face and his face and his face and his face and his
- Check them every once in a while that they haven't been run, especially after cleaning the diapason.
- When a note's been tuned without looking at them, that tape can leave. They're usually retreated from one to another.
A trick to let them go: touch the scale with his eyes closed and at the end of every note, see if his finger fell on his tape. If his best best will be, his hand has already learned that distance.
How to check tuning with the air ropes
Your best reference is within the violin: the ropes to the air. Several notes from the first place coincide with them at once or at eighth place, and when they are tuned, the string to the neighbor air vibrates by resonance only. The violin "sounds more" with a glow that can be felt even if they do not touch that string.
| Stretch note | Compare with | What to look for |
|---|---|---|
| Fold 4 at Sun, Ree or La | The next air string (re, la or mi) | Unison: The two sound as one, with no wavelengths |
| Fold 3 at re, la or mi | The earlier air string (Sun, Ree or La) | Clean octava and air string vibrating with sympathy |
| Fold 1 at Sun or Ree | The air string two more strings (The or Me) | Eighth: The rope with air resounds without touching it |
To practice it, touch the note with an arch and then, without lifting his finger, his rope into the air, or his and his and his and his with his and his double string. violin tuner.
Exercises to get his hand to find his notes
Do them slow with the [methonomer]](/herramientas/metronomo) at 60 and a note by pulse. Five minutes at the start of practice are sufficient.
- Unarch titiletous. With the violin in place, drop every finger onto the La string from a couple of centimeters and get them up, one by one. He looks for them to fall and a small blow to be heard.
- pizzicate staircase. Touch 0-1-3-3-3-3-1-0 with a string, pizzicate. Without the bow, all your attention goes to tuning. At 4, share with the string to the next air.
- Fingers that stay. When they come up, they put their earlier fingers on: to play 3, 1 and 2 they are still on the string. The hand gain stability. When they come down, they put up only the finger that ends.
- Second finger low and high. At the La string, it modifies 1-2-1-2 first with Do and then with Do). That's the most confusing move at first.
- Just as bad as that, another string. Touch the pattern of 2 and 3 together with the A string and then, without changing the shape of his hand, onto the re string. He moves his elbow, and his fingers are not.
- Scale with a pedal note. Touch the re scale greater than an octave while a continuous re of a keyboard or an application sounds. Each note has an anti-re color and once an untuning, an attrition can be felt.
Common errors of the left hand
| Error | What's that about? | Corrigendum |
|---|---|---|
| Filling the mast with the thumb | Tired hand, slow fingers, nuisance at the thumb base | He moves his thumb while you play: if he can move, he's not squeezing |
| Fold to Mast | Fingers flattened and with no range for 4 | It leaves a space between his palm and his mast |
| Fingers, flat | Roast the neighbor's string and an extra note or an off note | Fingers tiptoe and pits |
| Keep your fingers up high | Notes that are late at fast passages | Just get them up close to the rope. |
| Avoid the fourth finger | It's all been with an air string. | Stretch with pizzicate with 4 against an air string |
| Play by looking at the tapes | Thawed necks and ears distracted | Look once, and then listen and fix |
Almost all these mistakes are seen from the outside before they are heard, and that's why [violin classes]](/clases/violin) The teacher checks his left hand at every session during the first few months and sets his position at the size of his and his instrument. When his first place is stable, his next expressive step is [vibrate].](/blog/como-hacer-vibrato-en-el-violin).
Frequently asked questions
How much do we have to press the violin's string?
Just so that the string touches the diapason and the note sounds clear. A useful exercise: it supports the finger so soft that a whistling sounds and sees the pressure increasing till the note gets clear. That point, with a little more weight, is sufficient.
What's with his scattering his finger on his tape?
Because the tape sets an area and the finger can fall later, back or bowed. Also, the tapes run with use. The ear always has the last word: listen and fix by moving his finger just a few millimeters.
When's the fourth finger been used instead of an air string?
The air string sounds more bright and does not admit vibration. The fourth finger gives a more matching sound with its neighboring notes and prevents them from changing their string into quick passages. The score usually indicates and if not, your teacher will tell you what's right. The important thing is to train the fourth finger to choose.
What's second and third?
They are locations of the hand above at the diapason. In third place, for example, the first finger paces the note that at first place you play with the third. They are learned when the first place is already stable, because they use the same hand forms elsewhere.