What should I do if the violinist is small? 5. What should I do if the violinist is small?

...Congenital problems, just talk about it, change the position of the four fingers to the next three fingers, and I have to do it this way, it's been 8 or 9 years.

It would be nice to change the violin to a smaller one.

There was a student in my class who was like that.

The teacher sold him a small one.

After that, it's fine.

Maybe you're a little bigger.

I practiced in front of the mirror, and I also studied the violin. It's about the same as you.

You should switch to a smaller one.

It's been 8,9 years, how did you find out? Find an expert to see if it's time to give up?

Very common 1Most of the bows are far away from the piano horse, where the strings are soft and not easy to control, and your upper or lower bow is a bit off.

So it will make a sound similar to an overtone or a very sharp sound, no big problem, you play the piano slowly, it is best to face the mirror, don't rush to play the whole piece at first, I think your teacher also asked you to pull the longbow, when you pull the longbow, pay attention to the bow to the mirror, pay attention to the bow to the end, remind me, you can put the bow slightly at an angle (outward) so that the bow will be carried by you, so that it is better to grasp

2.The use of rosin is not as much as possible, if it is excessive, it will be difficult to clean up, if it is too little, it will not be able to pull and slip, when you rub the rosin, don't rub it back and forth, after you wipe it, gently scratch it on your hand, if there is a powder, it will be almost

3.There are several reasons why the single note touches the other strings, first, your string spacing is too small (how many fractions do you use?). It's easy to knock down the other strings.

Second, your fingering is wrong, your index finger should not be horizontal, your fingertips should be pointed at your face, do you understand, many people don't pay much attention to it, this is not easy to practice, you must form a habit, and you can adapt to it later.

Thirdly, there is something wrong with your piano horse.

Fourth, there is a problem with your bowing, you may be too hard and you are pressing the bow hairs, which are very dense and thick, so it is very likely to touch other strings

Regarding whether the hand avoids or does not avoid other strings that do not be pulled, it depends on personal habits, some scores must be kept by the hand to achieve the effect, if you are used to avoiding it, or your technique is flexible to a certain extent, it is also possible to avoid it

Dear, I hope it can help you!

Hello! The big god upstairs is very detailed, and I don't have the same thoughts as me, but I just want to say something different, let's talk about it together.

Regarding the question that you have higher octave overtones, my feeling is that your bow is too close to the saddle and not too far away, because you say that the upper bow is more likely to have this problem, because beginners tend to get farther and farther away from the saddle when the bow is lowered. When learning to move the bow, it is important to keep it halfway between the fretboard and the saddle, and always run perpendicular to the strings.

Personally, I don't think it's necessary to avoid every note, because if you try to avoid every note, it's a bit difficult, and it's a bit of a big loss, which can seriously affect your concentration in other aspects of the game.

There is also the left finger to press the string, in addition to the nail to the direction of the face, the position of the finger meat is also very particular, it is best to press the string print in the case you turn over to see the left half of the finger meat, and it is oblique upwards... It's so hard to put into words, I don't know if you can understand it.

The above are some of my personal opinions, right, only you can think about your own situation.

Itemized Ha 1Playing an empty string can sometimes produce a sharp, overtone-like sound that is an octave higher than the empty string, especially when the upper bow is more likely than the lower one.

This problem is very common for beginners, even after learning it for a while, sometimes it will be like this, I think it is good that the bow and the strings are not in contact, and you can practice more empty strings.

2.Then I would like to ask about the frequency and dosage of rosin. Rub it back and forth about a few times at a time.

This is not very easy to quantify, you think that the bow is not slippery, and the sound is relatively full.

3.Playing a single note sometimes touches a different string.

Practice more, find out the feeling, and in addition, see if the curvature of the piano horse is appropriate.

4.If I can avoid the side string, do the fingers of the left hand still have to avoid the string that is not pulled?

It depends on the situation, and you can do it as you like.

1.The upper bow is more likely to appear than the lower bow, indicating that the ability to control the bow is not good. When moving the bow, pay attention to the tail of the bow, and have a little bow lifting action in the right hand.

When walking towards the tip of the bow (especially to the upper half of the bow), there is a pressure on the index finger. These are all things that need to be practiced non-stop, and if you practice more, you will naturally get better. When practicing, pay attention to the right hand must be in a relaxed state, and alternate the action of lifting and pressing the bow.

It also looks good.

2.Don't rub the rosin too often, practice for 2 or two hours a day, and wipe it once every 3 days. When wiping and pulling, a small amount of loose powder can be used.

Also, it is best not to touch the strings, because the strings will not be very dirty until they are used and replaced with new ones, but if you clean them every time, the strings will become sticky and cause damage to the strings.

3.Press the strings and ask for an elastic. Affirmation requires the production of skilled, aesthetically pleasing visual embodiments.

It is definitely required to avoid strings that do not be pulled. Therefore, the whole palm of the left hand is relaxed, so it is recommended to practice first, use the chin to hold the holder, support the whole piano, and the left hand does not touch the headstock. Practice shoulder and arm strength.

After that, when pressing the strings with your left hand, lean back on your neck and never hold the headstock left and right. When pressing the strings, the fingers are basically upright, but be sure not to be completely upright, as this will be stiff. Be sure not to touch a string that doesn't pull.

Practice more empty strings, look at the bow when practicing, slow down, and pull it near the piano horse. Don't rub too much rosin, just rub it once a week, and rub the heel and tip of the bow more. Just practice more, look at your hands when you practice.

It's good to practice too much, and I used to be like this, hehe.

Hello, the size of the hand is not the determining factor, there are precedents of small hands in the past, they often rely on flexible knob changes and outstanding finger independence and dexterity to make up for the innate shortcomings, the most famous violinist Sarasati is typical, in his repertoire is known for his light and dexterous technique. Of course, the spacing between the four fingers can be gradually increased through continuous finger stretching exercises, and this effect can be achieved. You can care about people who have played the violin for many years, and the distance between the left hand is generally greater than that of the right hand.

So you don't have to worry too much.

If you don't follow the path of professional violin, there's no need to care about the size of your hands. However, if you are a professional, I personally think that if the hands are small, especially the little fingers are relatively short, there may indeed be some pieces that are difficult to play or even impossible to play, the most typical such as tenths or more two-tone performances. Of course, this is not often the case in the amateur repertoire, and you can also practice it over and over again with some special etudes.

I hope it will help you, and most importantly, you can succeed with confidence.

Small hands, you can buy a small size of the piano according to the specific situation of the hand and arm to use, the size of the hand is not available, of course, the hand is larger and more advantageous, but the small hand can also be mastered through training, which requires scientific methods, training and perseverance to achieve. The hands of the masters may not be very large, but through training, the function of the fingers has been developed, and the operation is very free, which is equivalent to the "long" fingers.

The hand in front of the camera must look bigger, don't worry about the problem of the hand, practice more, the main thing is the problem of finger dexterity.