Thank you for taking our posture myths quiz! Below is a summary of the correct answers. We hope you find these valuable!
1. When initially setting the left hand position, which angle is most correct?
Answer: B. Palm mostly facing the player, with a slight rotation to the left.
Explanation: If the hand is overly rotated to the left, the fingers extend in the wrong direction — over the strings. In this situation the player must try to span larger distances by separating the fingers laterally — a direction in which little movement is possible. In order to flex and extend the fingers along the fingerboard, the palm of the hand must primarily face the player, with only a slight rotation to the left.
2. Aside from the collé stroke, the bow pinky should remain curved while playing.
MYTH. Explanation: The pinky is curved in the lower half and middle, but must release its curve to reach the tip. The player must then re-curve the pinky upon return to the middle of the bow. Bow hand exercises such as wing flapping (pinky extensions with a pencil bowhold) are useful in building this skill.
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3. The primary function of the middle two fingers is to apply weight to the bow.
MYTH. Explanation: The middle fingers are too close to the fulcrum to apply weight in the upper 2/3 of the bow — and the mere weight of the bow itself is sufficient in the lower 1/3. The primary role of the middle fingers is to stabilize the bow laterally.
4. The ring finger of the bow hand should partially cover the frog’s eye.
MYTH. Explanation: The bowhold is determined by three essential points of contact: the first fold of the index finger, the tip of the pinky, and the thumb. The middle fingers should be wherever they fall naturally, as long as the knuckles of the hand are aligned. Their exact location and contact point will vary depending upon the student’s individual finger length. Many excellent players’ ring fingers rest on the stick itself, and do not even reach the frog.
5. The ring finger of the bow hand should hug the middle finger.
MYTH. Explanation: The two middle fingers will typically be closer together than the outside fingers because of their shared position and angle. However, “hugging” them together requires engagement of the lateral muscles of the hand; which introduces tension in the bowhold. The middle fingers should simply fall comfortably over the stick once the three essential contact points (index, pinky, and thumb) have been set.
6. When moving from the middle to the tip, the bow elbow should remain stationary.
MYTH. Explanation: The elbow must move slightly inward as the arm approaches straight (like the hinged corner of a bifold door) in order for the bow to remain straight. When the elbow is held still, students’ bows will drift toward the fingerboard as they approach the tip.
7. When moving from the middle to the FROG, the elbow should also remain stationary.
MYTH. Explanation: The upper arm is the primary mechanism of moving from middle to frog; so the elbow must move inward to reach this part of the bow. If the elbow is held still, the forearm closes toward the sternum, pulling the bow toward the tailpiece.
8. The bow functions as an upside-down lever. The thumb rotates the stick around the fulcrum of the index finger.
TRUE. This lever mechanism is why the index and thumb must be sufficiently spaced apart. The shorter the force lever (i.e. the distance from applied force to fulcrum), the less power it can generate. There is currently a trend of teaching students to use only the “natural” weight of the bow. This is pleasantly relaxing and produces and a beautiful, pure tone, but by itself this mechanism is not capable of yielding a concert soloist sound.
9. When playing forte in the tip, pulling from the lower back is more efficient than pressing with the index finger.
MYTH. Explanation: The primary muscle of the lower back used in playing is the trapezius. Its role is to raise the arm and to stabilize the scapula (shoulder blade) against the upward pressure of forte playing. So yes, it is involved, but it does not pull downward or apply pressure to the string.
10. Dropping the tailbone while playing helps to correct drooping by counterbalancing the weight of the arms.
TRUE. As violinists and violinists extend the arms, the shifting of weight should be accommodated through strategic shifts in the legs, pelvic bone, and torso. This promotes stability and reduces fatigue.
The posture myths above are just a few of the ones we could have included. There are so many more!!
And the explanations above are just a glimpse into the principles behind these concepts. To accomplish excellent posture with all our students, a full understanding is essential.
If you have discovered some gaps in your knowledge, we hope you’ll join us for our virtual live summer workshop. This comprehensive course covers all dimensions of teaching beginners — tonal understanding, layering of skills, motor skill development, psychology, motivation, and more. Offered July 10-21 this year, the course is powerful for both veteran and novice teachers alike. In the words of two recent graduates,-
“I’ve been a Suzuki teacher for over 30 years. This approach has introduced a new level of musicianship into my studio.” – Kay Mueller, Austin
I have been working hard to adapt the Kaleidoscopes method to work for the school I am currently teaching at and my students LOVE it! I have trouble writing a long enough lesson plan because the kids are breezing through concepts and motions that took a full semester to teach before.
— Corissa Knecht, Chicago
Join the growing number of teachers who have transformed their effectiveness! Enroll at the early-bird tuition rate using the code QUIZ.EARLYBIRD. Find out more here.