The Harmonious Struggle for Unity: How Left-Handed Violinists Adapt in Orchestras and Beyond

When an orchestra is playing, all bows of the violins must go in the same direction. This means that even left-handed violinists must adapt to the standard right-handed technique for consistency and cohesion within the ensemble. This article explores how left-handed violinists navigate this unique challenge and the broader implications for musicians outside the orchestra.

Adapting to the Standard Technique

In an orchestra, the standard practice is for all violinists to use their bows in the same direction, typically aligning with the right-handed technique. This means that even left-handed players must adapt. Many left-handed violinists learn to play using the standard right-handed technique, holding the bow in their right hand and the violin in their left. With practice, left-handed players can become quite proficient using this technique. This adaptation ensures uniformity in playing style and maintains the harmony within the ensemble.

Building a Left-Handed Instrument

Playing a musical instrument "left-handed" requires that the instrument itself be built 'left-handed'. For orchestral instruments like violins and violas, this means that the keywork must all be built so the upper keys extend to the right and the lower keys extend to the left. For string instruments, simply reversing the order of the strings is not enough; the bass bar inside the instrument must be mounted on the other side, and the sound post must be on the side the bass bar normally resides. Other subtle differences are required: the notches in the nut and bridge must be made to fit the diameter of the strings. Thus, these parts would be non-standard. The chinrest, unless it is a model which sits directly over the tailpiece, would have to be made a mirror image.

The benefit of purchasing an instrument made in this fashion is virtually zero. A player who learns on a left-handed instrument cannot pick up anyone else's instrument and play, and no one else can play on that left-handed instrument either. This poses a significant challenge, especially in the context of ensemble playing where adaptability and flexibility are crucial.

Modifications and Adaptations in Other Instruments

In contrast to stringed instruments, woodwind instruments like oboes had a different standard. During the high Baroque period, oboes would be made with keys that could be operated with either hand. However, for modern instruments, this is not the case. Playing a woodwind instrument "left-handed" would require the instrument to be built accordingly, which is rarely done, making it an impractical solution.

The Case of the Guitar

Unlike stringed instruments, guitars present a more lenient situation. The technique required for playing a guitar is not as exacting as for a violin, so a special guitar does not always need to be constructed. This makes it possible for many left-handed guitars to be manufactured, and even regular guitars can be turned over and played left-handed. However, playing a right-handed guitar left-handed comes with its own challenges, such as:

A simple strum has to be done 'upside down' or it sounds wrong. The thumb will be plucking the highest pitched strings instead of the lowest, making fingerpicking considerably weirder. A left-handed guitarist who learns on a left-handed instrument cannot pick up anyone else's instrument and play, and no one can use their left-handed instrument.

This restriction means that established guitarists may not be willing to pay extra to have instruments they can only use for a small subset of players. Hence, the challenge of handedness remains even in seemingly adaptable instruments like guitars.

In conclusion, while adaptation and innovation in instrument design can sometimes accommodate left-handed musicians, the practical limitations often outweigh the benefits. The inherent challenges faced by left-handed violinists, woodwind players, and guitarists highlight the need for ongoing research and development in the field of musical instrument design and performance practices.