On Finger Pressure…
One of our fellow Seekers wrote in yesterday about a problem he is having relative to finger pressure. I thought some of you might find it applies to you as well so I am sharing my thoughts about it here.
He writes, ‘I have been struggling with finger pressure issues for a long time. Everyone has a different idea about it. I find myself going through a cycle every few months of very little pressure not being satisfied if I need a big sound, then using more pressure until finally I’m really tense and I go the other direction again.’
The obvious answer, which may or may not be appropriate here, is to work on separating the hands. In other words, watch out for the tendency to do with your left what you are doing with your right. Just because you are weighting the string more to produce a bigger tone does not necessarily mean you need to use more left hand pressure.
Naturally I recognize that when the string is vibrating more vigorously you need a little more pressure, but only a little.
I would try playing some scales, both in single notes and in double stops and experiment with left hand versus right arm pressure. Getting the maximum in volume with the minimum of pressure.
Here’s something else to check out. Sometimes violinists tighten their left hand in an attempt to increase vibrato speed in passionate music. Really what happens, I think is that their emotions ‘run away with them.’
Don’t forget that we are actors. Behind all the outward appearance of passion – and I’m not saying it shouldn’t be heartfelt – is a cool calculating artist who is sticking to a well-mapped plan.
OK, you want room for spontaneity. Just don’t let it take you over the top to where you are tying yourself up in knots.
Some of you may remember a figure skater by the name of Oksana Baiul, she won the gold medal over Nancy Kerrigan in the ’96 Olympics. Whether or not you think she deserved the gold medal, she was a beautiful skater at the time. Soon after, however, she became her own worst enemy. She began making her skating ALL about her. Every single emotion from her challenging life was indulged to the fullest on the ice with the result that her technique collapsed around her.
I have, in the past, gotten myself in trouble for becoming the emotion of the music rather than remaining its advocate. There is a big difference.
Guess I got a little farther a field than I meant to here but these things are good to bear in mind as performers.
All the best,
Clayton Haslop
P.S. Though I do not speak about finger pressure directly in Vol. 1, my approach to #9 is all about finger control, pliancy, and balance. These are of great assitance in ridding the hand of excess tension.
