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page for a demo violin class for LON-CAPA -Scott H.
1: <html>
2: <head>
3: <title>Right Hand Page</title>
4: </head>
5: <body bgcolor="#ffffff">
6: <table width="100%" border=0 bgcolor="#cccccc" cellpadding=0 cellspacing=0>
7: <tr><td width=3%> </td><td>LON-CAPA demonstration resource. Some
8: of the information for this resource quotes from and summarizes content in
9: <br /><b>Principles of Violin Playing</b> by Ivan Galamian.
10: Second Edition (1985) Prentice-Hall, Inc. New Jersey </td></tr>
11: </table>
12: <h1>Oak Spring Studios</h1>
13: <h3><font color="#aa5555">Right Hand</font></h3>
14: <p>
15: There are four key characteristics associated with the right hand:
16: </p>
17: <ul>
18: <li>"system of springs"</li>
19: <li>"holding the bow"</li>
20: <li>"physical motions of the arm, hand, and fingers"</li>
21: <li>"drawing a straight stroke"</li>
22: </ul>
23: <p>
24: While the left hand must subscribe to regimen of well-defined form,
25: resiliency and flexibility must be the first priority for operating
26: the right hand.
27: </p>
28: <blockquote>
29: "There has to be this resiliency and springiness in the functioning
30: of the whole arm from shoulder to finger tips or else the tone will
31: be hard and ugly, the bowing clumsy and uncontrolled."
32: </blockquote>
33: <p>
34: The requisite flexibility necessary for the right arm allows
35: for a wide number of options for how the student executes bowing.
36: This can be both a good and bad thing for violin playing. While
37: the right arm has diverse possibilities for the generation of music,
38: many a student can be found going down blind alleys as the student
39: explores the geometrically complex possibilities.
40: </p>
41: <p>
42: Proper instruction and attention to the right arm is a continuous
43: task that every violinist must pay viligant priority to.
44: </p>
45: </body>
46: </html>
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