Another fun 15 minute session of exploring the relationship between intonation and vibrato with Pierre Rode’s Caprice no. 10.
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Both vibrato and intonation source their sense of stability from allowing rebound movement to be at play. There should always be micro vibrations within each note- this is a physical result of the physics of the strings, which are suspended over the fingerboard (supported by nut and bridge). If the string is depressed towards the fingerboard and released, it will spring back to its original position. When the finger, with gravity and without excessive pressure, falls on the string, the finger will automatically rebound along with it. Letting this automatic rebound movement come through without active control allows for greater security.
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Intonation in passages with a flurry of notes with uniform rhythm asks for an allowance of rebound movement as well. Likening the finger joints to the leg joints help- the top knuckle is the ankle; second knuckle the knee; and base knuckle the hip joint. Just as in walking / running, the knee allows for extension and flexion of the leg; the ankle allows for up and down movement of the foot. If one excessively bends/locks the knee, the ankle stiffens and loses stability. Quite similar to how the fingers work- if the second knuckle is too upright or flat, the top knuckle can withstand only so much pressure before it loses stability. A rounded arc (both tactile and visual) needs to be found, and the degree to which this arc is curved depends on each person’s hand...!
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Anyway, I had some fun looking at how my fingers actively exert and passively respond!
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Trying one of Jascha Heifetz’s warmups, with a slight alteration- apparently many of his students used this to stay agile and warmed up, regardless of how cold a venue was! Could be a good option if one finds oneself unable to warm up audibly before a performance.
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It involves the fingers 1) in a neutral, somewhat curled position, 2) retracting actively and swiftly, which engages the extensor muscles, 3) letting them rebound forwards into a soft fist, which somewhat engages the flexors. The fingers are, to the best that they can, quite close together. The original exercise involves an active pushing forwards- which is also really effective. A few minutes in, and the hand does feel preliminarily warmed up...! The hands strike a sweet spot between floppy, completely relaxed muscles and tightened muscles.
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Featuring a sneeze as well...
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*Silent video* Mindful art, artful mind - the first exercise from Dounis’ Daily Dozen has been a trusty companion since a number of years because it allows one to develop kinesthesia, or sense of movement. Kinesthesia I’ve realized promotes a holistic approach to playing an instrument, as it incorporates mindfulness and inclusive awareness of the quality of movement in each joint of your body. There are two parts of this exercise that don’t require the bow- they target the two basic left hand frames: 1) One that runs transversely down across the fingerboard from lower to upper finger, and 2) the Geminiani chord, which runs transversely up across the fingerboard. The latter hand structure is effective for developing a hand frame that is positioned in favor of the weaker fingers- what we know as a balanced hand frame!
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Spending 5 minutes daily on these exercises help develop mindful finger independence, a balanced hand frame, and suppleness. The main things to consider I find are using cushioned finger pads, minimal finger pressure (half-harmonic), having a mobile thumb, and treating finger lifting as an active motion (against gravity) and placing as a passive, rebound motion (refraining from hammering down the fingers). This allows one to feel the effort and release that is critical for tension-free playing!
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Clips on silent to prevent aural distraction and encourage focus on seeing the quality of the movement 😊! Exercises are from pages 234/35 from the Dounis Collection.
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