I get tired when playing higher tension strings
So I've been experimenting with different strings. Lately I've been using Peter Infeld with Gold Label, I really like their sound and feel under the fingers, but I found that I get less relaxed when playing and also (probably as a consequence) physically tired. Switching back to Dominants makes it all a lot easier.
Can this mean that I don't know how to play on relatively high tension strings? Maybe it takes time to get used to, or is this only related to my violin?
Too bad if I "can't" use strings which the sound I quite like.
I used Dominants from age 7 to 21 and Obligatos from 22 to 28, which are relatively low tension.
So is the the string tension really that much higher that it's wearing out your hands? Or is there something else?
If you like PI, try using PI with aluminum d and an optima brass plates medium 26 e. They feel almost the same tension as dominants. If you're feeling tired, then you should have the string heights at the end of fingerboard, nut height, fingerboard scoop checked by a luthier. Too much scoop of the fingerboard will tire out the hand in any position.
David, are you referring to left hand or right hand? I assume you are talking about bowing - I know what you mean. PI strings are noticeably higher tension than Dominant (especially if using the PI silver D and the Dom alum D). For bowing at an equivalent contact point, you'll need more weight, which might cause you to instinctively tighten all your bow hand and arm muscles.
Paul, it's not the hands, it's my entire muscles involved in playing
The bridge curve can be lowered or new lower heart bridge can be cut, as low as 4.5-5mm on g, and 3-3.5mm on e if there is room without buzzing, and neck projection will help it. It will also change the sound, and a discussion should be had with the luthier doing the work. Definitely lowering string height will help your tiredness, along with the previous string recommendation.
Thomas, I need to travel by plane to go to a luthier, until this virus situation calms down I won't be visiting him. After I come back I would be forced to a 6 days quarantine that would make me miss work. When I do, I will be getting a new bridge, slightly shorter, also because mine is slightly bent on the E-string edge.
Hello David, you are correct about that website. I think that chart was created before the manufacturers listed string tension on their websites. Some of it is inaccurate.
The pi set with aluminum d is 10.3 g, 9.9 d aluminum, 12.1 a, and with the optima e, its very likely 17.6, which puts the tension at 49.9 lbs. I've done a lot of these calculations, and the Evah golds are a few lbs tenser, evah regular even more.
I have a second, lower bridge for my viola, in case I "need" to use steel-cored strings.
Considering this information, my bridge should be almost on point
Are you saying that those measures aren't good?
"Henry, how do you shave it down keeping the exact curve?"
David, pay attention to the end of the video, after 3 minute 30 seconds. This is what we are talking about. The English text on the web page is a bit mangled unfortunately, but I believe what he is saying is that many violinists and makers believe that a higher bridge increases sound and response (in other words, increasing the down force exerted on the bridge) while he believes that usually a lower bridge will have that effect (in his opinion, it allows the bridge to vibrate more freely).
Pressing the string down onto the fingerboard all the time is bound to be tiring for the fingers, especially when using high tension strings. About the only times you actually need to press the string into contact with the fingerboard are when playing pizzicato, playing stopped harmonics, and when playing a trill on a stopped note (and perhaps not always then). At other times you are using unnecessary energy in pressing the string onto the finger board.
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