VIOLIN TECHNIQUE/VIOLA TECHNIQUE: Left Hand / No Bow

Question:  

“Dear mr. Lecher

I hope you are fine. I have a new question for you...in the library i ran into Gaylord Yost's "Principles of violin playing", where I strongly advocates practicing "percussion" with left hand's finger to acquire more and more strength.

I was wandering if it makes sense for you to practice Repetition Hits just with the left hand, hitting the strings enough to clearly hear tone and resonance  (which means intonation also), and if this could be a good mean to practice accuracy and strength (which I sometime miss on the double bass) at the same time.

Thank you as always for your commitment.

Best regards, M. P. 

Hello M,

Yes, that is valid to a large extent, but do not use extraordinary force. Also, do some work with weights for strength and flexibility. Stretches are most important along with strength training. Work every part of your body, not just hands, wrists and arms.

You can also use a slow-motion squeeze of the note, concentrating on the shape, form, balance and energy flow into and through the finger. Pay particular attention to any pulling or pushing of the string—an indication of tension and poor balance. The string should go straight toward the fingerboard, allowing for the arch of the board.

Many years ago, I learned a Beethoven Sonata in the middle of the night without use of the bow. It was 2 or 3 in the morning and I couldn't sleep—a habit of mine:-) Though I was not working the left hand hard, with the stillness of the hour the fingers sent the notes out like cannons. I actually put a heavy practice mute on so I would not disturb anyone. 

In addition, there was a tremendous sense of musical phrasing via the left hand action, whether legato or staccato—technically and artistically, balance and timing became amazingly keen. 

I performed it the next day in a master class with wonderful success. Having sorted out the left hand in all its detailing, the bow went together almost instantly shortly before the performance. 

When doing the above practice, I was very mindful of the bow though I was not using it—thinking through string crossings, rhythms and styles of strokes, etc.

This practice caused me to be aware of unwanted tension that was in other parts of my body, especially the shoulders and bow arm, but really throughout the body. These became areas I would focus on freeing totally.

Try it, and I think you will discover many wonderful technical and artistic benefits.

Hope this helps…

Take care and God bless, 

Drew

Author of

"Violin Technique, the Manual"

"Viola Technique, the Manual"

”These two volumes offer a comprehensive practice methodology that addresses the full gamut of fundamental technical issues on the violin and viola;…these books certainly chart a course towards the acquisition of an in-depth technical understanding…whether used to build one from scratch or to hone individual aspects.”— the Strad, London, September 2008 www.thestrad.com