Playing the violin

Harmonics

Lightly touching the string with a fingertip at a harmonic node while bowing close to the bridge can create harmonics. Instead of the normal solid tone a wispy-sounding overtone note of a higher pitch is heard. Each node is at an integer division of the string, for example exactly half-way along the length of the string, or exactly one-third along the length of the string. The pitch produced in these two cases will be an octave higher in the case of halves, and an octave and a fifth higher in the case of the string vibrating in thirds. A responsive instrument will provide numerous possible harmonic nodes along the length of the string.

Harmonics are marked in music with a little circle above the note that determines the pitch of the harmonic. There are two types of harmonics: natural harmonics and artificial harmonics (also known as "false harmonics").

Artificial harmonics are more difficult to produce than the natural harmonics described above. Stopping a note on one string, for example first finger "E" on the D string, and having another finger just touching the string a fourth higher, in this case on the position of the note "A", produces the fourth harmonic of the "E," sounding a tone two octaves above the note that is stopped, in this case, E. Finger placement and pressure, as well as bow speed, pressure, and sounding point are all essential in getting the desired harmonic to sound.

The "harmonic finger" can also touch at a major third above the pressed note, or a fifth higher. These harmonics are less commonly used because they are more difficult to make sound well. In the case of the major third, the harmonic is higher in the overtone series, and does not speak as readily; in the case of the fifth, the stretch is greater than is comfortable for many violinists. The sounding pitch of the major third harmonic is two octaves and a major third above the lower note, and in the case of the fifth, it is an octave and a fifth above the lower note.

Traditional notation of artificial harmonics uses two notes on one stem: the lower note employs a round note-head representing where the string is strongly stopped with the first finger, and the upper note uses an open diamond note-head representing where the string is lightly touched with the fourth finger.

Harmonics are also rarely played in double stops, where both notes are harmonics.
Elaborate passages in artificial harmonics can be found in virtuoso violin literature, especially of the 19th and early 20th centuries.

Playing the violin

Vibrato
Vibrato is a technique of the left hand and arm in which the pitch of a note varies in a pulsating rhythm. Mechanically, it is achieved by fingertip movements which alter the length of the vibrating string. There are several different styles of vibrato ranging from the use of just the fingers, to the use of the wrist or even the whole forearm. By employing these different techniques both the speed and amplitude of vibrato oscillations can be varied for musical effect.

Vibrato is often perceived to create a more emotional sound, and it is employed heavily in music of the Romantic era. The acoustic effect of vibrato has largely to do with adding interest and warmth to the sound, in the form of a shimmer created by the variations in projection of strongest sound. A well-made violin virtually points its sound pattern in different directions depending on slight variations in pitch.

Violinists oscillate backwards, or lower in pitch from the actual note when using vibrato, since aural perception favors the highest pitch in a varying sound. Vibrato does little if anything to disguise an out-of-tune note. Violin students, especially of beginner level, are taught to use it only on extended notes and or during points of emotional tension. Vibrato can be difficult to learn and may take a student several months, if not years, to master.

Playing the violin

Double stops and drones

Double stopping is when stopped notes are played on two adjacent strings, producing a two-note chord. This is more difficult than normal single-string playing, as fingers must be accurately placed on two strings simultaneously. Sometimes moving to a higher position is necessary for the left hand to be able to reach both notes at once. Double stopping is also used to mean playing on three or all four strings at once, although such practices are more properly called triple or quadruple stopping. Collectively, double, triple and quadruple stopping is called multiple stopping. Sounding an open string alongside a fingered note is another way to get a chord. While sometimes also called a double stop, it is more properly called a drone, as the drone note (the open string) may be sustained for a passage of different notes played on the adjacent string.

Playing the violin

Right hand and tone color
The right arm, hand, and bow are responsible for tone quality, rhythm, dynamics, articulation, and certain (but not all) changes in timbre. The bow is held in the right hand with the thumb bent underneath the frog to support it and the other fingers loosely touching the wood. The middle and ring fingers are usually wrapped around the frog, although in some cases (such as in baroque performance practice) the whole hand holds the stick above the frog. Holding the little finger curved and resting on the near facet of the octagonal shape of the stick, next to the facet on top of the stick, allows that finger to "unweight" the bow, using the thumb as a fulcrum.

Playing the violin

Left hand: producing pitch

While beginning violin students often rely on tapes placed on the fingerboard for correct placement of the left hand fingers, more experienced players place their fingers on the right spots from skill alone. To attain good intonation, violin players practice long hours to train the fingers to land in the right places, learning to hear when a note is in or out of tune, and cultivating the ability to correct the pitch rapidly and automatically as notes are being played. "Singing" the note mentally helps to land in the right spot. (In practice, intonation may be checked by sounding an adjacent open string, and listening for the interval between the two notes.) Although adjusting to the desired pitch after landing the finger is indeed possible, the amount of adjustment needed may be greatly reduced by training the fingers to fall properly in the first place. That said, a quote widely attributed to Jascha Heifetz goes something like: "I play as many wrong notes as anyone, but I fix them before most people can hear them."

The fingers are conventionally numbered 1 (index) to 4 (little finger). Especially in instructional editions of violin music, numbers over the notes may indicate which finger to use, with "O" indicating "open" string. The second finger may be either "low" or "high," corresponding to G or G♯ on the E string in first position. Similarly, the first finger may reach a half-step down for the F, and 3rd and 4th fingers reach up for A♯ and C respectively, as shown on the chart of Bornoff finger patterns on the right. (Pattern number 5 may be seen to be the same as pattern number 3, but a half step lower.)

The lower chart on the right shows the arrangement of notes reachable in first position. Note well: left hand finger placement is a matter of the ears and hand, not the eyes, that is, it has strong aural and tactile/kinesthetic components, with visual references being only marginally useful. Note also (not shown on this chart) that the spacing between note positions becomes closer as the fingers move "up" (in pitch) from the nut. The blue bars on the sides of the chart represent the usual possibilities for beginners' tape placements, at 1st, high 2nd, 3d (and 4th) fingers, or Bornoff pattern number

Playing the violin

Posture

It is possible to play the violin holding it in a variety of ways. Most players hold the lower bout of the instrument between the left shoulder and the jaw, often assisted by a semi-permanently attached chinrest and detachable shoulder rest. If it is held properly under the chin, the violinist can let go of the instrument with their hands and it will stay there firmly. Other common ways to hold the instrument include the seated Carnatic attitude, with the scroll resting on a foot, or the dancing-master's "kit" or "pochette" hold, along the forearm, by the lower margin of the rib cage.

The chinrest and shoulder rest accessories come in a great variety of styles and shapes, so each individual may find the combination that best suits their build and playing style. The search for the ideal combination can be a lengthy one in some cases. Whatever the equipment, the player will usually aim to maintain a balanced, natural, comfortable attitude, with the spine straight, especially the neck. Many violinists have a reddish mark on the neck, the so-called "violin hickey" (or "fiddler's hickey") from long-term pressure at that spot. The spot may be aggravated by an allergic reaction to nickel plating on the chinrest clamp hardware, or by microbes present on the instrument.[1]

Keeping the left wrist straight (or very nearly so) allows freedom of finger motion, and reduces the chance of repetitive strain injury. Collapsing the wrist to "support" the violin with the heel of the hand is an unfortunate habit that many young players fall into, and may take years of constant vigilance to overcome. The left forearm will be rather extremely supinated, and the left elbow drawn medially, or to the right. Players may sometimes be advised to bring their left elbow to where they can see it, so as to reach the lower strings more easily.

Raising either shoulder beyond a natural relaxed position is an easy habit to acquire without noticing it. Like any other unwarranted tension, it limits freedom of motion, and increases the risk of injury. It is useful to pay attention to the square formed by the right arm and bow, keeping it in a flat plane, and noticing which parts "lead" in string-crossing motions.

Playing the violin

Playing the violin entails holding the instrument under the chin, supported by the left shoulder (see below for variations of this posture). The strings are sounded either by drawing the bow across them (arco), or sometimes by plucking them (pizzicato). The left hand regulates the sounding length of the strings by stopping them against the fingerboard with the fingers, producing different notes.