The three main elements of violin playing are sound quality, pitch, and rhythm.
Sound quality, pitch, and rhythm of music are three main elements of musical expression. Violin playing must be based on these three basic elements in order to convey excellent sound quality to audience and to share accurate pitch and harmonious rhythm. If you want to get that sense of music, pitch and rhythm, how do you get that kind of musical performance? I think there are three determining factors:
1. Physiological factors. It includes player's anatomy, especially shape of hand, arm and fingers, and flexibility of arm musculature. Secondly, physiological function of player's action when playing, strength of activity and range of performance of player when using muscles.
2. mental factors. It refers to influence of performer's psychological influence on range of preparation and action setting before muscular action.
3. aesthetic factors. Refers to a performer's perceptual understanding of musical works, cognitive abilities and degree of aesthetics achieved through his own artistic achievements, to a deep understanding of work and conveying main spirit of work to audience so that it can show its own innate performance and expressiveness.
If above three factors can be well expressed through performance, then no matter what works are performed at any time, effect of playing violin will satisfy listeners.
Therefore, when we use violin to play, we first of all pay attention to basic skills of playing violin, such as interaction of left and right hands. Pay attention to posture and position of grip with left hand, accuracy of pressing sound, force of kneading, speed of changing handle. The right hand is perfect combination of shape and strength of hand holding bow. In this way, we can get sound quality protection.
Other factors need to be taken into account during exercise to ensure sound quality, for example:
a) The sense of position and distance for development of height of scales, touch of fingers.
b) Guidance and regulation of fingers by ear.
c) Proper and dexterous use of frame, which is basic shape of fingers when playing octave.
d) The ability to quickly adjust sound quality to required pitch of piece of music in accordance with requirements of scale.
If we master these four basic points, we can again guarantee quality of sound in performance.
Secondly, kneading is also a decisive condition for reliable quality. The best kneading is based on combined skill of hand, wrist and fingers. With perfect harmony and combination of these three elements, player can play better and more personalized music in terms of sound quality and timbre.
The handling of kneading is then skillful. Vibrato can forcesbut vary in speed, amplitude and intensity. For example, when kneading fingers, player will control speed, amplitude and strength of each kneading; slow down, speed up or completely stop kneading so that kneading action can be expanded or narrowed; finger pressure change Switch from one vibrato to another with chord angles for a seamless feel, then mix multiple vibratos for complete control over vibrato effects. If player performs in this manner, player's perception of music may be strongly expressed in player's rehearsal.
In addition to perfect combination of finger and hand movements, it must also match strength of arm's flexion. When force is strong, swing should be large and strong; when force is light, kneading should be narrow, slow and soft. Hand rubbing is strongest. Finger kneading is softer. If you use hand rub with a strong bow, then soft phrases are easily limited by range of rubbing fingers and hands, and strong phrases can be handled by rubbing wrist.
Because of different types of kneading and varying strength of bow when holding bow, this can add color to a performance and make audience feel that pieces he plays have a wonderful artistic life.
Changing steering wheel is also a special technical issue related to sound quality. The coordination of movements of entire left hand, wrist, fingers and thumb determines quality of sound. The flexibility of thumb cannot be ignored when using left hand skills. The quality of bow plays an important role in process of changing positions. When changing position, if speed of bow is slowed down a bit to reduce its movement pressure, unnecessary portamento can be removed. Therefore, changing position is not only a technical necessity, but also a means of ensuring sound quality.
At same time, auditory function of player's ears is especially sensitive during process of changing handle. If hearing is not correct, accurate and perfect sound quality will also be impaired, so sound quality cannot be guaranteed.
To get accurate and perfect sound quality, shape and strength of bow hand must match perfectly with right hand holding bow, so how right hand controls sound quality is equally important. When a performer wants to express connotation of a piece, this is expressed through form of a bow with right hand. Through bow, deepest feelings of performer can be accurately expressed, and emotional content is expressed in bowing of hands, so that various changes in sound quality and layering can be correctly interpreted. Regardless of upper bow, lower bow, bow root, bow middle and bow tip, power of hand is used to produce very slight musical changes of crescendo or decrescendo, that is, a better understanding of sound quality, pitch and rhythm by player. Ideal expression skills do not only come fromfrom left hand, but also from strength of bow hand, as well as from a sensitive, meticulous and deft understanding of musical works.
When violinist Menuhin played first eight bars of "Baja Chaconne", last note chord in each bar played only one note above bar. He thinks whole chord has been played in each dotted quarter note. At this time, chord is set and only needs to be played one note above eighth to express sense of rhythm more powerfully.
Master Menuhin's amazing bowing skills deliver superior sound quality thanks to ingenious bowing skills that other violinists respect and learn.