Documentos de Académico
Documentos de Profesional
Documentos de Cultura
In short, we have a tiny spot to land, our fingertips are oversized, and the perfect spot
for each note moves around.
In conclusion (Ill quote from Carl Flesch here) to play in tune in terms of physics is an
impossibility.
Heres the amazing part. He goes on to explain that the key to sounding good on the violin is
not to become a master at finger placement, but to develop your ears so you instantly and
automatically adjust your finger placement as soon as you hear the note. He says we play in
tune by making tiny adjustments of our fingers on the fingerboard within the first second of
playing each note. (Heres another reason for developing a light touch.) Ill end this entry with
more of his own words they strike me as profound.
There are however a number of violinists who create the impression that they play in tune. How can
one explain this contradiction? Simply by the fact that those violinists, even though they do not strike
these notes totally accurately, correct them within a fraction of a second, either by changing the finger
location or by shading the vibrato in the direction of the correct intonation. All this happens, given the
necessary dexterity, so rapidly that the listener has the impression that the note was in tune from the
very beginning even though it happened only after an infinitesimally short time. Playing in tune is
therefore nothing but an extremely rapid and cleverly executed correction of the initially imprecise
pitch.
The Art of Violin Playing, Book One. Page 8. Carl Flesch, Translated and edited by Eric Rosenblith.
Back to bed.