Many great violinists of the 20th century shared a common trait: they held the violin without a shoulder rest. Nathan Milstein, Jascha Heifetz, Igor Oistrakh, Henryk Szeryng, Yehudi Menuhin, Itzhak Perlman, Ruggiero Ricci, Leonid Kogan, Aaron Rosand, Michael Rabin, Zino Francescatti, and Arthur Grumiaux (to name only a few) all played without this accessory, as does today's virtuoso Augustin Hadelich.
Playing with a shoulder rest is a relatively recent development, emerging in the second half of the 20th century and becoming standard practice from the late 1960s. While musicians occasionally used sponges or similar objects earlier, the famous "Kun" was introduced in 1968. Today, numerous models exist in various materials, from plastic to carbon fiber, with prices reaching several hundred dollars. Most violinists born after 1960 have likely used a shoulder rest throughout their careers. Does this make the shoulder rest essential? Clearly not.
The greatest violinists of the 20th century achieved remarkable artistry without one. Though initially designed to simplify playing, the shoulder rest has led many violinists and violists to hold their instruments with less connection—which some consider less "correct" positioning—making it an indispensable crutch that cannot be removed without severely disrupting their technique.
Another development of the last 50 years happens to be the unfortunate epidemic of injuries affecting violinists and violists. In fact, data shows that:
-Lifetime Risk: Approximately 85% of violinists and violists will develop a playing-related injury at some point.
-Annual and Recent Pain: A study reported that 86.8% of violinists experienced pain in at least one area over the last 12 months, with 77.4% reporting pain in the previous seven days.
-Professional Orchestras: Over 80% of professional orchestral musicians have sustained an injury severe enough to cause a loss of wages.
-Students: Roughly 50% of conservatory students experience playing-related pain at least three times a week.
While such issues remain complex, the main reason for these problems resides primarily in an accumulation of tension in the shoulders/neck/back area, which turns into serious issues after years of playing.
Many excellent violinists do play with shoulder rests, though this group consists primarily of those born after 1960. Rather than comparing mastery levels between techniques or schools (old versus new), I wish to share insights from my 40-year career as a soloist, chamber musician, and teacher, offering every violinist the opportunity to discover and adopt the technique of playing without a shoulder rest, and most importantly, without any tension in the neck/shoulder/back.
After years of research, I can now share my understanding of this technique in a way that enables all violinists and violists to play without a shoulder rest, with the instrument resting effortlessly on the collarbone and supported by the left hand, a technique also called "Play on the Thumb". While masters like Yehudi Menuhin and Aaron Rosand, along with recognized pedagogues, have described this technique well, a fresh approach with direct, hands-on instruction will allow any performer—student, professional, or teacher to understand, experiment with, master, and enjoy this method. Once integrated, this will transform your entire perception of playing.
As we progress through the 21st century, most violinists and violists perform baroque music with varying degrees of historical authenticity and may need to play period instruments—naturally without shoulder rests (or chin rests). This convergence of "old school" playing and "historical performance practice" makes comfort without a shoulder rest increasingly essential for today's and tomorrow's professional string players. Discovering the joy of playing without a shoulder rest, particularly after years of high-level performance with one, transformed me into an advocate for this freer approach.
I now offer workshops ranging from one to ten days to help violinists understand and acquire this technique. Like all musical skills, these workshops cannot provide mastery in such brief periods but rather supply the necessary tools for continued practice and eventual full appreciation of this playing style. A one-day course introduces basic principles with limited practice time, while extended or repeated sessions reinforce technique and allow for live practice leading to performance. While not eliminating all technical challenges, holding the violin without a shoulder rest, combined with appropriate left-hand technique, provides violinists and violists with:
-Tension-free positioning in both shoulders
-Physical well-being, preventing long-term issues (neck, shoulder, back)
-Better connection with the instrument
-Increased intonation accuracy
-Enhanced sound sensitivity
-Greater vibrato freedom and variety
-Preparation for historical instrument performance
