How to Form a Fabulous Fourth Finger

This post comes to you from the city of Melbourne. Last week I said that we were driving 3,500 kms from the west side of the
continent to live in the east. We expected to arrive in 4 or 5 days, but it took almost exactly a week! It was an epic journey
across the vast expanse of Australia.

Today, I want to talk about how to teach fourth finger on the left hand. All fingers should be equally strong and adept, but
the fourth takes a bit more work than the others, so it needs its own special post.

Often I am asked, When should we start using 4th finger instead of an open string?

The answer depends on the age of the student. Many children can learn to use 4th finger on early pieces, e.g. May Song or
before, but very young players can wait until Perpetual Motion. At this stage, the previous pieces should be fluent and
fingers 1, 2 and 3 well established. And right from the beginning, 4th has been held comfortably in position above the
fingerboard, especially when 3rd is down.

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Violinists prefer 4th finger to an open string in 1st position where it simplifies the fingering and bowing of a passage or when
the plainer sound of an open string would be overly prominent or unmusical. A stopped (fingered) note can be played with
more expression, e.g. with vibrato and portamento techniques that are not possible on an open string.

Because 4th finger is shorter than the others, its shape can be flatter less curved. Here is how I teach it:

In ascending order, the student places fingers 1, 2, 3 and 4 on A string (B, C#, D, E without playing). Check for good left
hand position. While they are holding correctly, play or put on a piece or two to allow the student to become familiar to the
relaxed feeling of 4th finger reaching up to its place. If the wrist isnt straight, or the left elbow isnt directly under the
violin it will be more difficult to place correctly.

Ask the student to lift the fingers up a little off the string, leaving them in position over the fingerboard. Then to do the
following: Play the first rhythm on open A, quickly place 1st on B, pause and play the rhythm on B. Leaving 1st down,
quickly place 2nd on C# and pause. Repeat with finger 3 on D, leaving 2nd down. Now with the fingers still down, play the
open E.

Student places 4th finger and plays E with the same strength and clarity as the open E.

Repeat with other rhythms.

As they become proficient, students play with short single bows. Make sure each finger is placed quickly with a little pause
before moving the bow. Check that lower fingers are kept down.

When students can hear the correct pitch of E clearly, they should be able to play without referring to the open E, listening
for resonance. If 4th finger is in tune, the open E will ring with sympathetic vibrations.

Continue strengthening 4th finger. With the other fingers in position, practise back and forth between 3rd and 4th fingers.

Now they can play Lightly Row using 4th finger. Before starting, place 2nd finger on C# and 4th on E, checking the pitch with
open E. Keep fingers down when ascending.

Thats a little of the 4th fingers story. Going forward, every piece should use fourth finger where appropriate. Before
students learn and memorize a new piece, go over the score with parents, marking where to use 4th. If a student in the
lesson or practice inadvertently plays an open string when they should use 4th finger, stop and correct it or call out,
Four! as they approach the note, so that it becomes an easy habit.

Thanks for visiting Teach Suzuki Violin. A special welcome the new members! I appreciate your interest in better teaching,
learning and playing.

Cheers, John