When you play the violin, when do you move your forearms and when do you move your wrists

Three ways to knead strings: There are usually three ways to knead strings that we are exposed to: arm kneading, wrist kneading, and finger kneading.

The effect of these three different kneading strings is naturally different. The kneading of the arm mainly relies on the trembling of the forearm, which sounds enthusiastic. Wrist kneading mainly relies on wrist trembling, which sounds euphemistic.

The finger kneading relies on the finger joints to tremble, which sounds soft and soft. Mastering these three different methods of kneading the strings and being able to use them freely will naturally lead to a change in the timbre of the performance, and enter an extraordinary and wonderful realm. Unfortunately, many players are accustomed to a certain method of kneading strings from the very beginning.

As a result, the timbre of the performance is poor and monotonous.

Special note: It is important to point out here that many children do not have the correct way to knead the strings when they first learn to knead. So there are usually two drawbacks:

One is that the tremor action is too fast and cannot be controlled, forming a spasmodic trembling sound like a little goat bleating. The other is too slow, with irregular twisting of the wrist, and its sound is like the sound of a gramophone without a full winding.

Learn the correct way to knead strings: First of all, you should learn to knead the strings with your wrists. The method is to first place the arm on the thigh or chair arm, then relax the wrist and shake it back and forth, striving to be even, and then put it on the fretboard to practice after the movement is comfortable.

Note: Do not pinch between the big finger and the tiger's mouth, and it is important to emphasize the wrist back when rubbing the fingers back and forth in the position of the fretboard notes, and then move forward back to the original position. And never blindly rub forward, without leaning back.

At the same time, it should be noted that when kneading the wrist back and forth, the joints of the fingers should be driven, and the touch points of the fingers should not be displaced with the kneading of the wrist. When practicing kneading the strings at your wrist, start with three fingers.

Because rubbing with three fingers can make the movement more relaxed, then practice two and one fingers. And when practicing four fingers, you can also put three fingers close to the four fingers to help knead. This practice will make the effect of the flutter more free.

On the basis of wrist kneading exercises, you can gradually learn and become familiar with arm kneading and finger kneading. The purpose is to better enrich the expressiveness of the performance and adapt to the needs of various dynamics and emotional changes.

Of course, there are also some musicians who are used to kneading the strings with their arms in the first place. He can control the amplitude and speed of his arm tremors very freely, and he is also very expressive, which is really valuable.

The kneading of the strings in the violin is like the vibrato of a singer singing, and one can feel the changes in his breath and mood. A good kneading of the strings and a good bow are skillfully combined, and the performance is bound to be as refreshing and beautiful as the beautiful singing. I think you should focus on the wrist kneading the strings first, because the violin is generally played with the wrist kneading the strings, and when you knead the strings, you move the wrist to knead the strings, and you rely on the swing of the wrist so that the fingers swing in the direction of the strings. Come on.

You're talking about the hand that carries the bow. Pumping down and sending up are all active in the forearm to drive the wrist. There is no absolute division of labor between the forearm and the wrist, and they cannot be independent, they are all continuous, natural and stable in one go.

Playing the violin must be relaxed, this is a common problem mentioned by teachers, what is relaxed, but it needs to be painstakingly understood, to master it is extremely difficult. How to learn to relax, be sure to do it for a long time, and pay attention to continuous training and learning.

Why relax; My understanding is that there is only relaxation. Each part of the body can effectively and perfectly complete the various movements required for the performance. Interpret the content of the repertoire.

What is relaxed, relaxation is not a light pronunciation. On the contrary, the pronunciation is light and fluttering, but it is caused by a part of the body using too much force, but the direction of force is reversed. Only with a good understanding of relaxation can you learn it better.

Strictly speaking, when the fingers are completely relaxed, there is no way to hold the bow, and the different angles required to pull the strings require strength to do so. Nothing can be done with complete relaxation. The key to the problem is which part of the force, how much force is used, and how the force is distributed among the parts, and the direction of the force.

Those areas should be as loose as possible. Those parts are supported and transmitted by the forces of other parts of the body. And it has to be as loose as it can be.

Comprehensively; Relaxation is the rational decomposition of the force and the distribution of it so that the force accomplishes its task to a minimum.

It is important to note that if you exert yourself too much force in one part of your body, it will cause stiffness in other parts of the body, causing tension in the whole body.

In fact, I think you must not shake your wrist aimlessly, most of which is passive, a manifestation of natural relaxation, not a superfluous action.

How to learn to relax, of course, is taught by people, and the right limb is generally spoken;

1；The five fingers of the bow are comprehensively distributed to make the bow as close and balanced as possible without force, so that the bow can be held stably and the bow can be stabilized when the fingers are adjusted. Cherish even the smallest force. Relaxation is achieved by attaching to the firm and corresponding directions.

2；Right wrist. Not only do you not use force, but also prevent the conduction of force from other parts to make it stiff.

3；The lower arm, unless the bow is in motion, it should be completely relaxed,4;The elbow is just a joint, which plays an indirect role in the force.

5；In the upper arm, it is not possible to do without force, but the strength of the macrocephalic muscles is only to erect the entire right arm so that other parts can move better. I'll take care of some of your relaxation.

6；Shoulders, adjust the angle of the bow up and down. The force of the longitudinal shoulder is superfluous. Natural relaxation downward.

7；The little finger, when needed, should be firmly pressed against the bow shaft, and of course it will be necessary to exert its strength at this time. Other times, just stick it with your ring finger. Sometimes almost leaving the post.

When moving the bow, the lower arm and the weight of the hand are placed on the bowstring. As for the momentary strength, the posture does not affect the overall relaxation.

That's when you're exerting your whole arm, and the simple understanding of wrist exertion is that you're only using your wrist part. One is the whole hand swinging, and the second is mainly the wrist movement.

The big brother on the second floor made a mistake with his left and right hands, right? Tell the landlord the basic essentials, the said shaking wrist, haha, how to say, your teacher has changed the concept for you, according to my more than 20 years of violin learning experience, the right hand is easy to hold the bow, it seems that the wrist is moving, in fact, the force is on the fingers, upward exercise, the wrist is concave, the fingers are parallel to the upward, down the opposite, you now pick up a pencil, as a bow, you try it, the fingers exert force. In addition, if you move the bow upwards, the five fingers of the right hand will naturally bend, and if you go downward, you will naturally straighten it, and see.

Hello! In fact, the wrist movement is not a complete wrist movement, but the wrist movement is the main one, and the forearm must be cooperated, but the movement is very small.

You can practice wrist movement without a bow at first, and then you can practice with a chopstick, and it is easier to use a bow after practice.

The key is that after the wrist moves, the other fingers must follow to keep the bow straight, and the fingers cannot be moved after the wrist moves, causing the bow to be crooked.

Shaking the wrist is actually a jumping bow, jumping the bow is also a course to learn the violin, but learning to jump the bow is about the level of 4 or above, I am learning the bow of level 4 jumping, and now I am learning to level 6, the jumping bow is already very ordinary, as for the jumping bow, the above 3 brothers are very good, and they may not be able to learn it if they ask it, and they must find a good teacher to learn the violin. Remember that the hand holding the bow must be pressed tightly, not let the bow fall, the posture must be correct, the wrist should be relaxed but the fingers should not be loosened when pulling, the speed of pulling is getting faster and faster, the bow should not be misaligned when pulling the curve, and it is necessary to keep walking in a straight line. Practice like this for a while and you'll be successful, hehe!

This is my realization, and I hope you can refer to it.

It is similar to the trills of the classical guitar, which is mainly based on shaking the wrist, and the difference is mainly that the violin is kneading the strings with the help of the shoulder and elbow, combined with the skill of the wrist and fingers.

Break down and start the exercise, first practice the vibrato of the left hand, and then add the right hand after proficiency.

Even if you ask this question online, you still won't.

It is better to suggest that you find someone who can pull and show you how to do it.

It is best to find a professional teacher, as this skill is very important and should be taken seriously.

The feeling of being there is important.

This feeling will not come all at once, you need to practice slowly, the right arm must be relaxed, and the wrist can be flexible.

I'm having this issue as well.

At first, the teacher always grabbed my hand, and after practicing for a long time, it was fine!

Let's make a transition, and I was too. When practicing, then slow down the wrist movement, and practice more.

Then you can use your arms to knead the strings, you can do it.

Children, I have been studying the violin for decades and tell you that any performance of the violin is a movement of the whole arm, even if you see the master playing very quickly, as if it is the movement of the fingers and the wrist, in fact it is the movement of the whole arm,。。 Even the bow must be changed over the whole arm,,, so the whole arm must be relaxed, starting from the shoulders, elbows, wrists, and fingers must have good elasticity, flexibility, stretchability, and flexibility,。。 That's the secret to playing the violin,,, kids.

The big arm should move, but not stiffly, be soft and natural, and practice more if there is noise.

Relaxation does not mean not moving, the big arm is very natural to drive the little arm to move is the best effect, I mention the professional, practice more by yourself, feel the feeling.

If you don't move, you play the arpeggio and try it... Tired or not? Ugly isn't it? Nature is important!! I'm afraid of competing when I play the violin...

When I went home and practiced desperately in front of the mirror, I used to do exercises where the teacher's hands and feet were uncoordinated, and the teacher criticized me in public, so I did it. Hehe..

My teacher said that my arms were too tense when I played the fast bow, and I didn't use my wrists, especially when I played the natural jump bow, didn't you just play the violin? Ask your mom or your dad to reach out to you while you're playing.

That's right, yes.

The big arm can't move, my violin level 5, when I took the level 3 exam, it was because the big arm moved, and the judges gave a reluctant pass (**** college), but my concerto was okay Just barely passed, how harmful do you think the big arm moves! The lower arm moves, but the big arm does not move!!

The right big arm moves up and down because of the string change, and it is not allowed to move back and forth.

Use your wrist strength to drive the bow.

How can you not move? The position of the G string is not the same as that of the E string, and the position of the tip of the bow is not the same as that of the bow root.

Adjust the height when playing different strings

When pulling the same string, it mainly depends on the movement of the forearm.

The violin is very hard o( o

It is recommended to relax your wrists from the second string first, so that your fingers are close to the strings. You can first use only the fingertips you choose to knead the strings next to the fretboard when clamping the piano, and the rest of the fingers are suspended in the air, not too much, and gently shake (but in an uncertain atmosphere, the amplitude can be increased according to the melody and emotional tone). ）。

Feel it yourself, and remember not to let your fingers deviate from the position of the sound when shaking.

To play the violin and knead the strings is to use the left finger to press the strings to mix up and down the fingerboard, and the small kneading is to roll the fingers up and down lightly, and if you knead slowly, use the wrist to knead back and forth. You can usually practice kneading on the back of your right hand, first with your middle and ring fingers, and then with your index and little fingers.

In fact, you don't always think about moving your arms or something, so you will not relax and your posture will be out of shape.

You just need to make sure that the direction of the bow is parallel to the saddle, in fact, the reason is very simple, once you have the bow oblique on the string, the pronunciation of the piano will not be pure, and the bow will move around. As long as you practice the bow parallel to the saddle, you will find that in fact, the upper arm does not need to move significantly, and basically remains still.

The pronunciation of the same string, whether full bow or half bow, mainly relies on the movement of the wrist and elbow to drive the bow.

Focus on the bow, don't think about the arms, and try to relax and practice.

There is a sentence in Mr. Zhang Shixiang's "100 Days" textbook: you should use the natural weight of the arm itself to carry the bow. Generally speaking, starting from the bow root (lower bow), the whole arm is pulled down, to half of the bow, and then pulled by the small arm, in the process, all parts of the arm should be relatively relaxed, it is recommended that you do not study the theory too much, but relax the bow, meet the parallel state of the bow and the piano horse, and slowly adapt to it after practicing more.

At the same time, it is best to ask the teacher to correct it specifically, and it is very clear that words cannot be explained on the Internet. FYI.

It should be said that the amplitude of the big arm movement should be as small as possible, and the general enlightenment teacher requires the student not to move because it can improve the stability of the bow movement and will not let the bow slide on the string. In other words, it's just one way to get there, and hopefully it will help you.