Hand Shape Overview:
Violin playing can be quite complex for the left hand. The violin has approximately 112 locations across 4 strings, playable by any of the 4 fingers through 7 unique positions, not including “expressive intonation.” There are countless varying patterns, both on one string, and across multiple strings. Yet, we have no frets, and must find these locations easily by touch and by ear. If you think the diagram below looks complicated, remember also that on a real violin, the distances are of a logarithmic nature, not evenly spaced like a piano.
We've got a ton of notes to find!
The most common language of teaching finger placement is the language of "High 2, Low 2, Low 1, High 3, etc."
Rather than teach individual fingers with language that implies no relationship from one finger to the hand as a whole, let's reduce the complicated action of the left hand to 6 unique hand shapes, only the first 4 of which are used for the vast majority of violinistic tasks. These hand shapes are so simple and intuitive, that it's possible to approach advanced organization and position playing in all positions very early on in a student's development.
Fox, Teacup, Rabbit Bear, Crab, Closed. The following pages are intended to demonstrate how this language can be useful in setting a foundation for systematic fingerboard knowledge.
By having students form these shapes away from the violin. they'll begin to have an increased awareness of what shape they are using.
I imagine that it would be easy to use hand shapes in paper/rock/scissor type games or in group classes.
Here they are:
Rather than teach individual fingers with language that implies no relationship from one finger to the hand as a whole, let's reduce the complicated action of the left hand to 6 unique hand shapes, only the first 4 of which are used for the vast majority of violinistic tasks. These hand shapes are so simple and intuitive, that it's possible to approach advanced organization and position playing in all positions very early on in a student's development.
Fox, Teacup, Rabbit Bear, Crab, Closed. The following pages are intended to demonstrate how this language can be useful in setting a foundation for systematic fingerboard knowledge.
By having students form these shapes away from the violin. they'll begin to have an increased awareness of what shape they are using.
I imagine that it would be easy to use hand shapes in paper/rock/scissor type games or in group classes.
Here they are:
Fox Hand
Yes, it's a fox, staring right at you!
This is traditionally the first shape introduced to beginning "Suzuki" Students. No "High 2" here, just a complete digital unit.
After the actual physical motion of playing occurs. it's easy enough to have the student eventually speak and play, naming the actual pitches as they play.
Below is just one example of "Fox Hand" in first position. We could just as easily play Ab, Bb, Cb, Db, or move that shape to other positions. The language of "High 2, Low 2" is inextricably bound to 1st position only.
This is traditionally the first shape introduced to beginning "Suzuki" Students. No "High 2" here, just a complete digital unit.
After the actual physical motion of playing occurs. it's easy enough to have the student eventually speak and play, naming the actual pitches as they play.
Below is just one example of "Fox Hand" in first position. We could just as easily play Ab, Bb, Cb, Db, or move that shape to other positions. The language of "High 2, Low 2" is inextricably bound to 1st position only.
Teacup Hand
For me, this is more of a dainty espresso cup hold.
This is traditionally the second shape introduced to students. Nope, not "Low 2.." By demonstrating hand shapes away from the violin, meeting the half steps with the thumb, we may intuitively find a change in the balance of the hand. Here we're balanced more towards fingers 1 and 2.
This is traditionally the second shape introduced to students. Nope, not "Low 2.." By demonstrating hand shapes away from the violin, meeting the half steps with the thumb, we may intuitively find a change in the balance of the hand. Here we're balanced more towards fingers 1 and 2.
Rabbit
Bunny Ears.
Having trouble teaching 3rd finger extensions (dare I mention "High 3?"). It's because the balance of the hand must change to accommodate the weaker 3rd and 4th fingers, which must also be initiated from basal joints in the hand.
Having trouble teaching 3rd finger extensions (dare I mention "High 3?"). It's because the balance of the hand must change to accommodate the weaker 3rd and 4th fingers, which must also be initiated from basal joints in the hand.
Bear Claw
Fatality!
No half steps here (or "low 1")! Though less common in beginning rep, you'll see this hand shape in major scale patterns where the half steps occur over a string crossing.
No half steps here (or "low 1")! Though less common in beginning rep, you'll see this hand shape in major scale patterns where the half steps occur over a string crossing.
Crab Claw
First, I thought it should be named the "Trekkie," but much to my chagrin, a lot of students have no clue what a Trekkie is. So, then I thought of the character, "Zoidberg" from the cartoon series, Futurama, and settled on "Crab Claw."
This shape occurs during harmonic minor scales, among other places.
This shape occurs during harmonic minor scales, among other places.
Closed Claw
Sometimes you'll get something that looks much more compressed than the other hand shapes. Closed Claw is a catch-all term for those shapes.
What about other shapes in the hand?
Extensions are easy. You can say, "That's a 4th finger extension from Fox hand."
Paganini, contortions in Bach Fugues... sometimes you'll get some weird, unconventional shapes. Hand shapes that don't conform to the above are actually pretty rare. Go through Kreutzer, Bach, Mozart, romantic concerti, show pieces. Even the vast majority of arpeggio patterns and triple/quadruple stopping conforms to the above hand shapes. Odd ball hand shapes are rare enough that systematizing them and naming them is probably a time sink. Those shapes will be memorable because they are so rare.
What about other shapes in the hand?
Extensions are easy. You can say, "That's a 4th finger extension from Fox hand."
Paganini, contortions in Bach Fugues... sometimes you'll get some weird, unconventional shapes. Hand shapes that don't conform to the above are actually pretty rare. Go through Kreutzer, Bach, Mozart, romantic concerti, show pieces. Even the vast majority of arpeggio patterns and triple/quadruple stopping conforms to the above hand shapes. Odd ball hand shapes are rare enough that systematizing them and naming them is probably a time sink. Those shapes will be memorable because they are so rare.
What next?
Here's a PDF of the sheet music for this page. All images and text on this site are under copyright. Please do not sell or distribute without expressed written consent. Personal use only, please.
kung_fu_hand_scales_across_all_strings.pdf | |
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kung_fu_hand_shapes_small_poster.pdf | |
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