The Basics of Tone Production on the Violin

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4 responses to “The Basics of Tone Production on the Violin”

1. 

   July 9, 2020

   Pantea

   Very well explained, thank you. You mentioned that sound point 1 is rarely used by violinists. When is it intentionally used? And in an orchestral setting, does each player decide by themselves which sound point to play on?

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   1. 

      July 9, 2020

      Eric

      I can think of only three cases in which you use sound point 1:
      1. To play sul ponticello if the music asks for it
      2. If you have to play a really slow bow. Though even then, you’ll usually get a little distance from the bridge, playing at maybe sound point 1-1/2.
      3. I didn’t mention this in the video, but the higher your left hand goes up the fingerboard, the shorter the length of the vibrating string. With a shorter string length, you need to get proportionally closer to the bridge. So when you’re playing notes in the dog whistle register, you’ll definitely get in towards sound point 1.

      When you play on the thinner strings (especially the E string), you have to get closer to the bridge. With the thicker strings (especially the G string), you generally play with a sound point farther from the bridge. But getting into all that would be a post in and of itself.

      As for orchestral playing, you generally have the freedom of individual choice, so long as it sounds good. The exceptions are if the composer asks for sul ponticello (on the bridge) or sul tasto (on the fingerboard).

      Reply
2. 

   July 10, 2020

   Elaine Smith

   This is briliantly done. The sound is wonderful. I will definitely recommend you. I like that you can analyze as well as play.

   Reply
   1. 

      July 10, 2020

      Eric

      Thanks, Elaine!

      Reply