Uncomfortable with the way my teacher wants me to practice

June 2, 2015 at 03:49 PM · Playing technique comes before varnish. You will not own this violin forever.

June 2, 2015 at 04:13 PM · is there any reason you can't use a cloth?

June 2, 2015 at 05:20 PM · Christina I asked him about gloves he seemed dubious but maybe I'll buy some of those thin lotion/spa like gloves and show him.

And Brian, I actually am most likely going to own this violin forever so I care about it.

June 2, 2015 at 05:22 PM · I don't see any technical advantage in putting one's sweaty or sandpapery fingers on the body of your wooden friend.

There are other ways to achieve the desired result.

Or try silk gloves during the exercsie?

June 2, 2015 at 05:49 PM · Adrian thank you so much for that suggestion. I found a pair of 100% silk glove liners on Amazon so I may buy a pair of those instead!

I don't want to step on my teachers toes so imo gloves would be a great compromise.

June 2, 2015 at 07:06 PM · Wash your hands thoroughly before you do it. It should be fine.

June 3, 2015 at 07:10 AM · Be careful : silk gloves can be very slippery !

June 4, 2015 at 04:12 AM · I cringe when I see people holding it this way and tell my students to not hold the violin anywhere other than by the neck. While I don't know who your teacher is, I will say that teaching at a college is no guarantee of anything. I've had teachers at major conservatories give me total B.S. advice.

Here's the question: given that you know what he wants you to accomplish, can you figure out a way to do it without practicing his way? If you need to release the tension from your chin, then release it, regardless of how you hold it. Because in the end, you are still going to have to hold the neck and use your fingers anyway.

June 4, 2015 at 07:22 AM ·

Overcompensating techniques are quite common, it's much better to address the real issue. Maybe a new chin rest or shoulder rest would work better, or other ways that improve your set up. Placing the thumb on the underbelly to hold up the violin restricts movement to the higher positions, and its not common.

June 4, 2015 at 03:18 PM · When I first started playing I had a fear that the violin would slip off my shoulder at any moment. I tended to clamp down on the chin rest and suffered from the tension in the neck.

What I eventually found is that a properly fitted shoulder rest and a comfortable chin position eliminated any sensation of the violin slipping. I now play with barely any sensation of force between my chin and the violin.

I can easily look straight ahead and side-to-side while playing. So maybe you might want to revisit that part of your setup.

As to fingers on the upper bout: I hold the violin this way when first positioning it on my shoulder. I also use that hold when doing extensive open string practice to focus on certain techniques, like dynamics, crossings, rhythms and staccato. The bottom of the bout is mostly resting on the heel of my hand and it removes all stress from the hand and arm, which are not being used for the practice.

There is no observable wear on the varnish after a couple of years because there is no rubbing going on. Lately, I have been combining techniques with fingering practice so I expect at some point I won't be using that hold much at all.

I don't think your varnish is going to be compromised by using the hold for a year or two.

June 5, 2015 at 06:06 AM · I say do it; I know, OCD and all can make it tough. I used to have the same problem, especially when I was younger. But you know how Strads and old violins have this beautiful antique pattern to them? By wear on varnish.

I say, "wear it out." It's been my policy for my instruments for a long time now; I wipe my instrument down carefully during and after practice sessions, but I realize that no matter how careful I am, I cannot avoid damage and wear. I got over my concern and it's served me well.

I used to have a modern cello; hardly a scratch; no wear; it wasn't even antiqued, as is now the fashion. After several careful months, however, it still had a few scratches, and I could see where my sweat started wearing the varnish down a bit. I sold it in favor of another cello; an old German, circa 1820-40. That thing has quite a lot more wear on it. But it's so much prettier than my other one; and it's because it's worn down and has jagged, super visible cracks on the ribs that it is so pretty. It's like a sweet lady; she has seen life, and come out better nonetheless; a bit wrinkled but still glowing.

I'd say do it. While you may lose a tiny bit of monetary value for a finish that is no longer 1000000% pristine, you add to the history of the instrument if you add wear to it. And history is so much more important.

On slow days, or days I don't want to practice, I look at my cello, run my hands along the cracks, ask her how she got them, make up stories... and suddenly, I get motivated to practice. She still has a lot of energy left in her, and a whole lot of fight; a fight against the dying of the light.

And when I play, I like to think that she is telling me the stories behind each crack and dimple, each scratch and ding.

So I pull my bow, I search my soul, I let her ring, and hear her sing.

#poetic

June 7, 2015 at 11:34 PM · Yes! Respect the varnish. I find this disregard suspect.