Thanks to the magic of digital
electronics, we are sitting.
And many of the same things apply.
Many of the same principles.
You're gonna be spending a lot of your
time when your practicing sitting.
There's a lot of sitting when your
And just things like that you know.
Performing there's, you'll probably mostly
but sitting is a great way to practice.
There might be the temptation because
we're sitting to get in this slump
business, this kind of thing.
We don't want that obviously.
You knew I was gonna say that.
We again want the reasonably erect posture
not, when we cross our legs it throws
everything a little bit out of wack.
It makes it difficult.
It throws out our balance.
So we want non-crossed legs, basically.
Just everything straight up and down.
Again, violin out, out here.
Not in here.
I know you're gonna see a lot of people
And they're gonna have problems down the
road, and while, while,
while you'll be well, maybe not laughing
at them exactly, but
just doing better because you're gonna
have a good posture.
Again shoulder rest and chin rest, feeling
sitting in there, being able to drop your
head onto the.
Fiddle, and hold it freely out to the
And then the, the bow, so patience with
The legs and the bow tend to get in each
other's way a little bit, so
the usual classical violin way of doing it
is to just sit with the legs.
Apart, like this, and then, it, you the
bow comes down in between the legs.
That is a great,
sort of enforcer of, of an erect posture.
There's a lot of good things about it.
However it does tend to get you a little
I know that most people are just not gonna
Especially those of you who favor, short
skirts and things like that.
It's just not the most, modest position.
Usually, you sit like this where my legs
just, slightly to the left so that they
avoid the bow.
So if I'm playing at the tip, the
It just goes right past them.
nice thing about this is that it does tend
to straighten you out and
it helps keep the violin out like this,
I've seen people do all kinds of things,
I've seen Mark O'Connor.
When I was a youngster laid his whole
forearm down on his leg.
Which Mark was able to pull off
because he has very large hands, because
he's Mark O'Connor he no longer does that,
but it was.kinda cute at the time I would
absolutely not recommend that at all.
Because one of the things it does is
collapse the hand.
We want to have that elbow coming around
that you can just almost see it along this
side of the instrument.
Of course we want not the collapsed wrist.
We want the.
Straight, nice straight arm and wrist so
that we are able to reach those low
strings with all our fingers and
the left hand in a good position.
So if we, as I get myself comfortable,
slightly put my knees to the left.
During the bow exercise where I'm playing
[SOUND] E string.
[SOUND] A string.
[SOUND] E string.
Just relaxed but not slumped.
And of course with the.
Shoulder relaxed, left elbow.
Our little balloon is floating the right
And some freedom of motion in there.
Now, let's not clamp.
so that we can move the fiddle around.
You can see that my shoulder rest has an
extra couple of pieces of
foam tied on there with a rubber band.
And that helps.
Get that side of the of the violin up.
I think experimenting with your shoulder
rest is a good thing.
You can go to the store and try a bunch of
shoulder rests on your violin.
And find one that you like.
This one's kind of like that.
There's plenty of different ways to put it
I used to do it like that, now I scooped a
little more like that,
we're just looking for something that's
going to lift that violin up and
so that gravity is helping hold the bow
arm strings, if it's like this,
like this, like this, gravity is not
[SOUND] If it's like this, all of a
[SOUND] The bow comes down.
Gravity is helping hold that bow.
On the string.
And that's what we like.
We like gravity to be on our side.
Same with standing.
So happy sitting.