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That makes me so happy to hear! ✨

I hear you about the 440Hz version, that's a great idea and maybe something I'll consider for future videos!

@@howtopracticeviolinviolaan7857 Thank you. Look I really appreciate when I find one of these that's the same piece I'm practicing. It really helps a little. I didn't mean that previous comment as a criticism really, it was just a suggestion. I don't really know if most players using these are tuned to 442. maybe a lot, I don't know. But the "sound/sample" that's used on these is of a piano. I don't know how many pianos I come in contact with that are tuned to 442. I do know that "perfect pitch" players I've either rehearsed with or recorded with are always tuned to 440--for whatever that's worth. And I was a pro guitar player/teacher/performer/etc, but now I play Bach on mandolin as my "retired from the music business" hobby. My mandolins are almost always tuned to 440, so that's why I asked. I like that I can find this slow speed and use the y00b00b playback control to speed up the tempo when I want. Anyway, thanks for the service you provide for any players that want a little practice assistance from these. Bach, and baroque music in general, doesn't always play along nicely with a metronome, so these practice vids are really good for baroque scores. 👍 ~JSV

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Thank you for your detailed feedback. The points you mentioned are things I’m already aware of. For those who understand these concepts, this video would not be necessary for their practice. As I clarified, this video is aimed at students who struggle with finding basic intonation, not at distinguishing subtle micro-intonations. That’s why I stated at the beginning that this video is created using tempered tuning, advising those who want to practice in just intonation not to use it. Moreover, I believe that in order to play sonatas with the piano, we need to be able to use both just intonation and tempered tuning. For passages where the violin plays the same melody in unison with the piano, playing in a pitch different from the piano will simply sound “off” to the average listener. I hope this clarifies the intention behind this practice video. Once again, thank you for your detailed feedback. God bless you!

@@howtopracticeviolinviolaan7857 Thank you for your interest and attention to my post. Playing the violin purely according to the piano is a common pedagogical practice from beginners. The result is what I would call "uneven tempered tuning". This is how I taught myself to play the violin. I am already well over 50 years old, I am a violin amateur. I have been playing Bach's Prelude in E major since I was about 25 years old with the desire to play it cleanly. And it didn't work. I became familiar with the principles of Pythagorean tuning only five years ago, thanks to an excellent book published in our country a few years ago. And it was on Bach's Prelude in E major that I tried what I had read there. And suddenly I was surprised to see my violin transforming into something wonderful right under my hands. (And I'm not even mentioning the problems of multi-voice play here, where the issue is significantly more complicated). Personally, I think that it is a shame to learn the principles of Pythagorean tuning only on such an extremely intonation-demanding composition, such as Bach's Prelude in E major. A violinist should learn this much earlier. Unfortunately, as a violin amateur, I have no experience teaching a beginner, but let's try to at least theoretically imagine that we are teaching a beginner Wohlfart etude no. 16 C major, which is in three-quarter time and begins with eighth notes e1, f1, f-sharp1, g1, a1. I am of the opinion that teaching this student to intonate according to the piano is the foundation of problems that will prevent him from being able to play Bach's Prelude in E major cleanly in the future. So how about Wohlfart: We tune the first note e1 with a pure fourth with an empty string a. Thus, between the empty string d1 and the tone e1, we reach a whole second of Pythagorean tuning, which is 1/6 of a Pythagorean comma wider than on the piano. We tune the note f1 with a small seventh with an empty g string, thus creating a clean, melodically perfect small Pythagorean semitone between e1 and f1, which is narrower than the semitone of the piano tempered tuning. Let's skip the next note f-sharp1 for now and tune the note g1 with the 3rd finger, according to the pure octave with the empty g string. Only then do we place the f-sharp1 note with the second finger just below the g2 note. There will then again be a small Pythagorean semitone between f-sharp2 and g2. Only then does the student learn to move the middle finger from the already tuned note f2 to f-sharp2 and discover for himself that there is a greater distance between f2 and f-sharp2 than between fis2 and g2 or between e2 and f2. Between f and f-sharp of Pythagorean tuning is the so-called a chromatic Pythagorean semitone that is exactly a Pythagorean comma wider than a minor Pythagorean semitone. We tune the final a1 with a pure prima with the empty a1 string. Between g1 and a1 there will again be a Pythagorean tuning major second that is 1/6 of a Pythagorean comma wider than the piano tempered major second. I am convinced that an already reasonably talented beginner violinist can familiarize himself with the principles of pure playing according to Pythagorean tuning from the very beginning. The differences between tempered tuning of piano and Pythagorean tuning of violin are very small, imperceptible to the average listener, they are only manifested by the fact that the strings of the violin resonate perfectly with each other, in fact it has a similar function to a piano pedal. That violin just shines. In unison with the piano, the violinist does not adapt. the listener perceives it as a pure play of both instruments. One of the few problems is with the g string, which, if it is tuned in pure fifths, can really sound low in a duet with the piano (for example, the long note of g at the beginning of the 2nd theme of the first movement of Mendelssohn's violin concerto). So, in conclusion: beginners should familiarize themselves with the issue of the Pythagorean tuning of one voice (and later also the significantly more complex problems of multiple voice, where it is necessary to work with the syntonic coma), among other things, by not intoning according to how the teacher plays the notes for them on piano. Odeslat zpětnou vazbu Postranní panely Historie Uloženo

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Thanks Actually I waited for someone to ask me about 442hz, because I really thought about it a lot. I finished my last degree in Europe. And all the practice rooms and hall pianos in the school were tuned to 442 hz. So it was natural to me that a was 442 hz. But before graduating, I worked in several orchestras in Germany, where I used 443hz. It's also famous that the Vienna philharmonic orchestra uses 445hz. I also know that 440hz is used in America. So I came to understand that there is a little bit of locality in the a that we actually use, so I wondered which a to use when I started making this video. So the decision was to use the pitch used by the students in the area where classical music began. So I made it like this. Can you understand my thoughts and decisions? And I actually thought about making a 440hz video separately but I want to make something new rather than just changing the tune and making it again. So for now, I'll keep making it at 442hz

@@howtopracticeviolinviolaan7857 Interesting, I think I understand what you mean. So if my area uses 440hz most often, then I should probably practice using 440hz. Is there a way for me to make a similar recording but in 440hz?

Thanks! Actually, I was waiting for someone to ask me about 442 Hz, because I've thought about it a lot. I completed my last degree in Europe, where all the practice rooms and hall pianos at my school were tuned to 442 Hz. So, naturally, I became accustomed to using A at 442 Hz. However, before graduating, I worked with several orchestras in Germany that tuned to 443 Hz. It's also well-known that the Vienna Philharmonic Orchestra uses 445 Hz. I know that 440 Hz is the standard in America. This made me realize that the pitch standard for A varies by region, which led me to wonder which A to use for this video. Ultimately, I decided to use the pitch that's common in the area where classical music originated, so I went with 442 Hz. Does this explanation make sense to you? I did consider making a separate 440 Hz version, but I'd rather create something new instead of just adjusting the pitch and remaking the same thing. So for now, I'll continue working with 442 Hz.

@@howtopracticeviolinviolaan7857 That makes sense, thank you for your thoughtful reply!