Volz 1

Reflections on Big Questions

Topic 1a, Instrument Size

1. How does instrument size seem to affect how the student learns the violin and learns how to
use their body with the violin? How big is too big, how small is too small?
2. Potter writes that there is no such thing as too small. Choosing a violin that is too large may
present a situation that would prevent the student from learning the violin comfortably. Other
things to keep in mind are the angle of the arm at the elbow as well as the chin rest and shoulder
rest that are to be used.
3. What happens if the instrument is too large for the student? If it is possible to have a say in the
size of the instrument, recommend a size that would provide the most comfortable playing
experience for the student. I do not have a situation where a student has the incorrect sized
instrument but if the issue arose I would experiment with different shoulder rests, chin rests and
evaluate the changes made on the student and ask for feedback on how comfortable they feel.
Comfort is the first priority.
Topic 1b, Fitting instrument to player (placement of instrument, chinrest, ect.)
1. How should the student look when holding and playing the violin? Is their body aligned
differently than when they stand without the violin? How can we make the violin part of
ourselves?
2. Hershs Tips for Teaching Beginning Upper Strings Skills recommends experimenting with
different shoulder rests and chin rests. Jennifer Johnsons body mapping illustrations also
illustrate the balanced feeling every violinist should have and be aware of when they play.
3. I had a student who was a cello player who slumped forward when they played violin which
ended up causing tension in different parts of his body such as his left hand as well as in his
back. To fix this problem, I had the student stand upright as he would normally and simply add
the violin to himself. I told him not to contort his body in any way, just put the violin on his
shoulder and rest his head on it. His posture improved immediately and issues regarding tension
could be more easily addressed.
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Volz 2

Topic 1c, Mis-mappings and common errors

1. What is balanced playing? How can we achieve comfort when we are using our bodies in
seemingly unnatural ways? Are there any places where we are mis-mapped? How do we fix
these mis-mappings?
2. Think not about posture but a place of balance. Have the student recognize when they feel
balanced and not to feel tense in their ordinary playing (Hersh). Balance around the core and
map out areas we use in our playing such as the shoulder, wrist, hand, fingers, spine, neck, ect
(Johnson). Playing the violin involves whole body movements, isolation and incorrect mappings
cause tension and strange movements.
3. I have experimented with different views on standing with the violin and what ways are the
most comfortable in my own playing. I had lower back issues because of my incorrect posture so
I made myself aware of my back position and what may have affected tension in that area. Good
posture does not mean standing up tall and astute but rather aligning your whole body to feel
balanced so everything can move in the way it was meant to.
Topic 4c, Shaping and refining left arm
1. Where does your wrist begin and where does it end, what is the purpose of the wrist and how
does it move? What bones are in our left arm? What triggers finger action? How might we
inhibit finger action in our playing?
2. Conable writes of using the whole thumb in playing, its bigger than many players realize.
Using the whole thumb provides a more secure relationship with the instrument. The pinky lines
up with the ulna naturally in a straight line fashion.
3. The natural alignment between the ulna and the pinky is often not found in younger string
players who bend at the wrist when they play perhaps to support the instrument. Bending at the
wrist is a bad habit to continue because of tension issues as well as not being able to execute
various techniques on the violin. Being aware of the whole thumb may also relieve clutching
onto the violin because there will be a better understanding of the ways the thumbs might be
used.

Volz 3

Topic 5c, Drawing a beautiful bow stroke

1. How does a student become comfortable with holding the bow? How do we produce a smooth
bow stroke? What must we take into consideration about our right arm and its components?
2. Sprunger writes of a few techniques that can further develop the bow hand of young students.
One is a visual representation such as rabbit takes the bow and perhaps an accompanying story
so the students can remember what they have to do better. Straight bowing can be accomplished
by keeping the hairs in one place of the bow while bowing, the student must monitor themselves
and the teacher can guide them as well. Understanding of how our right arm naturally moves at
the wrist, elbow and shoulder aid in accomplishing a bow stroke that has ease and control.
3. Movements without the bow are particularly useful in discovering how our arm will move
with the bow. For example, moving a cup of water left and right and pouring it over our left
shoulder for string crossings. Add the bow into the hand without having to grip it, imagine
holding an egg or something equally fragile, be creative.