William Fitzpatrick - advanced violin expert
Visit William's Website: musishare.net

How much pressure does it take to push the string down to make a sound?

A simple approach to an often overlooked question

Released on November 4, 2013

  
Share |
 
Post a comment, question or special request:


Otherwise, fill the form below to post your comment:
Add your name below:


Add your email below: (to receive replies, will not be displayed or shared)


For verification purposes, please enter the word MUSIC in the field below


Eileen Sephton * VSM MEMBER * on September 16, 2014 @3:33 am PST
Interesting - I'll go and try it!
reply
William - host, on September 16, 2014 @8:19 am PST
Let me know what your results are! Take care!
Fred Schlereth * VSM MEMBER * on July 3, 2014 @7:22 pm PST
very interesting. I'm shocked that it is true. However it takes a bit of practice to get used to it. Question! How is that related to pressure, which is force per unit area. So, for the same force, the pressure is higher if the area of contact is smaller. My question is, how do you define the area of contact. String alone, string and fingerboard? It takes less force if the string is not pressed onto the fingerboard, but since the string area is smaller the pressure might be the same.
Clearly I'm confused about your use of the terms pressure and force.
Also how can you produce a vibrato if there is no contact with the fingerboard?
Thanks,
David De Lisle * VSM MEMBER * on May 8, 2014 @5:11 pm PST
Kato Havas
reply
William - host, on May 9, 2014 @9:34 am PST
Thank you for the name as I did not know about her!
Fabrizio Ferrari - moderator and CEO, on May 9, 2014 @11:18 am PST
Yes, Kato Havas is well know for her book "Stage Fright" that I have read several times in the past! That's a very good topic we could approach in some of the next videos.
Jim mcavoy * VSM MEMBER * on December 29, 2013 @5:56 am PST
I have reset both the nut and bridge higher on my fiddle to see how your technique works ...old habits die hard .. but I do like the results .. less tension in the left hand
Locally some of the fiddle makers are making instruments with a very low action and that is how I made mine (new England style) Time to change!
The ping is what is needed when attempting an O'Carolan harp tune for instance
thanks
Jim [delete]
james a mcavoy * VSM MEMBER * on December 18, 2013 @5:42 am PST
vibrato; do you plan to address proper a natural sound as opposed to a forced or constrained ringing
thx
jim
reply
William - host, on December 18, 2013 @9:29 am PST
Hi! I am planning a discussion on sound production! I assume you mean not squeezing or squeezing... well I am a proponent of "never squeeze"! The resultant sound is pinched and does not ring well.
H Bergman on November 27, 2013 @7:17 am PST
Thanks for that wonderful demonstration!
Annette on November 15, 2013 @11:13 am PST
How do you make a smooth bow change at the frog?
reply
William - host, on November 18, 2013 @10:40 am PST
Hi! This will make a wonderful discussion and I will do this in the very near future!!!
Prakash Mangalat on November 12, 2013 @8:31 am PST
I am an
adult learner and get much tips like this through this forum...thank you Prof
reply
William - host, on November 18, 2013 @10:41 am PST
You're welcome!
JUAN MANUEL GONZALEZ DE COSIO * VSM MEMBER * on November 7, 2013 @10:32 pm PST
Really appreciate the lesson. I am an older adult learning on my own.
reply
William - host, on November 18, 2013 @10:42 am PST
Enjoy the journey!
Patricia * VSM MEMBER * on November 7, 2013 @1:38 pm PST
Dear Professor Fitzpatrick:

Welcome to VSM! I am an adult student original from Chile, and I only wish you posted this video two weeks ago when I was having trouble lifting the fingers without making an additional sound, most noticeable with finger #3 on D-string in first position.

If you are accepting petitions, I respectfully submit a request for a video(s) in reference to Sautille bowing, which is my next challenge to conquer.

I am trying to learn Seitz Concerto #2, 3rd Movement and I wish you would kindly in the near future, explain the steps for playing measures 84 to 93 (Suzuki 4/#1) sometimes played with rapid bowing, but not really Sautille. I do not know which way is correct, but in my opinion, the passage sounds a lot better when played with Sautille bowing.

Looking forward for your reply, I remain cordially yours.

Patricia
reply
William - host, on November 7, 2013 @11:33 pm PST
Hi and thanks! Yes this can and will be coming up! We speak so little about the difference between spiccato and sautille!
Patricia * VSM MEMBER * on November 8, 2013 @7:26 pm PST
Thank you Professor for your reply, I am looking forward to have your instructions.

By the way, for those students not using Suzuki, the abovementioned Seitz's concerto can be found here in VSM (Scores, Mp3, MIDI, Scorch with piano accompaniment) by going to: F. Seitz, "Second Pupil's Concerto in G Major Op.13 for Violin and Piano". The 3rd movement start with the piano in measure 147 follow by the violin that start in measure 155-156 all the way to the end in measure 257.

Thanks again Professor and thank you Fabrizio.

Patricia
Fabrizio Ferrari - moderator and CEO, on November 10, 2013 @6:36 am PST
Dear Patricia, you are very welcome! Please, feel always free to contact me with any questions or ideas you may have, I will be glad to hear from you. Thank you again.
Questions? Problems? Contact Us.