The maximum compromise is achieved by combining the full-bodied sound of the fundamental with the attack and partial harmonic brightness. The most effective place to pluck a string along its extension is between one seventh and one sixth of its length. When we play an open E string, we can observe that the string is firm at the edges, with the maximum point of vibration being at the middle. A string’s vibration pattern is altered by the placement of the pickups along it. The string will also produce a sound that is determined by the string’s vibration.Ī sinusoidal wave travels in a nonlinear pattern until it comes to a halt, and when it stops, it produces partials or harmonics. The string will vibrate at a frequency that is determined by the string’s length, mass, and tension. Focus on using the tip and upper half of the bow as often as possible in a first time.A plucked guitar string will vibrate if the plucking force is strong enough and if the string is not held down at any point along its length. Control and variety of the right wrist is a key. This is something easier to do with some help by a teacher. In fact many people are battling against their bow. Experiment to discover the limit points of finger stress, contact point and bow pressure when you can produce a musical sound.įocus a lot on bowing: if your bowing is inadequate, you will have a tendency to press more on the string to make the sound happen. But it must be incorporated in your fingering and intonation exercices. It will require less direct pressure of the finger on the string. Try, when possible, to apply a little transversal shift to the string (as if you were trying to bend it), for the A and D string: toward the G or E string as appropriate to the situation. It can give you more control on the strength of your fingers on the strings and make the point of contact more in line with the end bone of your fingertip. Try to shift your left hand a little higher on the strings by raising slightly the arm and curving the wrist a little more. The most common is nickel intolerance, but you might discover that certain strings allow you to work longer without pain than others. If you do not play in an orchestra, you will have some liberty to test different strings gauges and makes.Īllergy or irritation to one or several components of the string. With smaller width usually comes some ease to bow and start the sound. Certain soft gauge strings, especially A strings can be a good idea. Usually these are of "medium" gauge, but the feel and suppleness can be a little different from one brand to another. Width and thickness of the violin's neck, compared to your hand and classical measurement : if the neck is ill-dimensioned, this will push you in bad directions in left hand position. String clearance at nut and end of fingerboard. Set-up aspects you can check, or have checked with an experienced friend or professional: Are they always at the same place on your finger? Do you swim or take long baths? The way you describe your situation, it seems that you lose your calluses regularly. As other answerers have already remarked, calluses are not a mandatory consequence of violin playing, and in fact many professional violinists have hard fingertips but no calluses.
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