To Pinch or Not to Pinch

I received a couple of interesting notes in my inbox in response to yesterday’s newsletter. One, coming from Kenton, down Florida way, was the ‘violin’ entry in an old Webster’s Dictionary.

And though the accompanying illustrational was quite odd indeed, the text was right-on in its characterization of the violin hold I thought. It said, ‘…held nearly horizontal with the player’s arm with the lower part supported against the collarbone or shoulder.’

It did not say, ‘held between the chin and shoulder’, as many might believe.

In another response Stephen asked ‘whether one pinches the neck between the thumb and base of the index finger horizontally, or whether the thumb should be under the neck so that you can squeeze into the notes and roll the vibrato like a cellist’.

Now it is certainly easy to dismiss the former, I’ll have no pinching of violin necks in any coaching or master class of mine. Pinching of violins or violinists is strictly verbotten.

Doing this not only tightens your hand, it severely limits your ability to get around the violin. Not a good thing.

The latter concept is almost all good, however. There is just one little thing. I like to think of the thumb and base of the index finger as forming something of a ‘V’, with the violin resting between and atop the first joint of the thumb and the base of the index finger.

And yes, I do like the idea of squeezing or, better yet, massaging the fingerboard with the fingers – note that both these images imply pliancy within the hand and fingers.

Nothing is ever stiff, locked, or unyielding in the hand.

In yet another emailed response Al referred to the sweet spot where the violin rests as a ‘birth’ for the violin. I like that.

Now, all this being said, I don’t want to give the impression that I make a religion out of the neck’s location in the hand either. When I play there is quite a bit of flexibility in my hand, and the neck may indeed rest on the thumb, at times, or deeper in the ‘V’ now and again.

Yet the exceptions prove the rule, as the old saw goes.

And a good deal of my practice is spent relaxing and balancing my left hand as I perfect challenging passages.

I want to arrive at the point of maximum efficiency, minimum effort, and minimum hand distortion for anything I do.

I certainly look to keep my chin free of the chinrest if at all possible – downshifts, as I have said, are the one exception in this.

In any case, yesterday I mentioned ‘Kreutzer for Violin Mastery’ as an excellent tool for assisting a intermediate/advanced player in freeing up his or her hold.

All the best, Clayton Haslop