Maxim Vengerov: Bowing basics
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- Опубликовано: 31 июл 2024
- Read the accompanying written article here: www.maximvengerov.com/part-5
In this new educational series "Vengerov's Views", I cover key topics which come up frequently in my masterclasses, chosen to mirror the journey of learning. It all starts and ends with the source, the music, and understanding and telling the story behind it. And then along the way, as performers we must overcome some technical challenges to be able to bring our musical ideas to life.
The examples in these videos are chosen to complement written articles, where I explain the concepts in greater depth. It has been an interesting challenge to write for the first time some thoughts about my approach to music and playing the violin - let me know in the comments what you think!
Part 5: Bowing basics
If we compare string playing to singing, then our bow is like a singer’s lungs. However, the bow is a manmade object, with certain characteristics we need to work around. To help build a musical phrase, careful consideration of how to use the bow, and why, is essential - just as a singer decides how to control their breath and where to breathe.
In Part 5 of this series I will share with you a few ideas on how to approach using the characteristics of the bow to help you play a musical phrase as naturally as a vocalist can sing it.
Chapters:
00:00 - Choice of bowings
01:02 - Sonata for Violin and Piano in A major (4th mvt), with Martha Argerich (Franck)
01:43 - Choice of bowings
02:46 - Introduction et Tarantelle (Sarasate)
04:32 - Bow distribution
08:16 - Concerto in E minor (Mendelssohn)
09:15 - Using bow distribution to help build a crescendo
09:49 - Sonata for Violin and Piano in A major (3rd mvt), with Martha Argerich (Franck)
11:47 - Bow changes
13:19 - Vocalise (Rachmaninov)
17:00 - Credits
Credits
This series was curated and co-written by Anna Gould / annagould ,
and released in partnership with The Violin Channel www.theviolinchannel.com
Cover photo: Christian Schneider christianschneider.at/
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#vengerov #violin #bowing #franck #sarasate #mendelssohn #rachmaninov 
Видеоклипы
THANK YOU!
You're the only world class violinist uploading pieces of lessons. Thanks for this. 🙏🏻
Augustine Hadelich 🤨
@@jackycal Vengerov is way more famous than Hadelich.
Augustin Hadelich is world class as well, and makes lots of videos about violin technique, you should try giving it a watch
@@mihaimangir I have watched him, and he is world class, but idk why @jcal said Hadelich instead of someone like Ray Chen. All respect to Augustin tho
Such class and elegance…a violinist’s violinist and a musician’s musician.
Everything you teach is pure gold
The strength and flexibility in your right hand to play with the bow upside like that demonstrates an immense level of skill in and of itself. Vengerov is a beast 👏👏
O M G
How is it even possible??
Thank you Maxim, you are truly not from this world.
This valuable insights is what makes people dig more about their musicianship / phrasing and feeling.
Thank you, very, very much! Greetings from México!
Вы просто добрый гений! Спасибо Вам! Знаете, что лучше всего работает при занятиях дома - "сделаю как Венгеров!"
What an absolutely beautiful video. More a performance than a lesson. Many, many thanks.
Perfection in demonstrating in Vocalise etc... ( what the late Dr. Shinichi Suzuki ...would coin the word TONALISATION ... where also he introduced upside down bows to Book 2 pupils ). So grateful for illustrating that : the FORM of each note .. is the TONE it takes in the Universe .. together with its companions to make the phrase sing true to the mark in our hearts! Thank you. 🙏
I’m never going to be in a position to do this, but I am studying carefully.
Never say never
@@beyzaozbek549 I guess I’ll have to take up violin so I can use these tips, coz it’s darn interesting!
It's funny that people who don't play violin watch this. I've been playing ten years and it's absolutely exhausting and painful lol. Maybe one day I'll make a break through
@@juliejules7780 you’re not alone in this💀
These tips works for everyone!
I like how Vengerov explains things🙂
the most important thing i got from this is the emphasis of a natural downbow as subtle accent to create sound variety
What a leg, opening the show with the franck as a example of up/down bow! 😂🎉
Спасибо за технику и музыку! Всегда приятно слушать вас и вашу игру - это великий труд. Благодарю, что делитесь своим достоянием с остальным миром! Хотелось, чтобы и на русском языке были пояснения.
GRAND MASTER AT WORK.....OR IS IT PLAY? [So I glad I saw Maestro Vengerov once in concert in Pretoria South Africa at UNISA
Thanks master 🎻🧠
I need to practice 40 hours!
which technology is this that allows the playing in real time? thank you!
Valuable lessons, however, in all videos of this series there are more or longer parts of him playing than explaining the technique. Please, I would appreciate it more if most of the time of a video series would include his teachings than playing excerpts. Thank you very much, nevertheless, for the great idea of collecting Maxim Vengerov's teaching moments to a certain topic into one video.
Thank you for your comment! The idea was to have both together, to explain the principles and then see real-life demonstrations in performance. And some people are more interested in the performances than the teaching, or vice versa, so we wanted to have something for everyone. For anyone who would like to explore more of Maxim's teaching in depth, there is a wealth of full masterclass videos freely available :)
@@annagould3288 I personally am GLAD that there are these clips of him performing in the video!
@@welcometomygrave thanks for your comment! Sometimes it helps to see the theory in action, or even just to enjoy some music :)
I get your point, but there's a fundamental problem that no one can overcome: A huge part of learning the violin is about changes in the cerebellum, which is a part of the brain that has more neurons than the rest of the brain all together (around 2/3). The problem is that we have NO ability to identify and report what our cerebellum is doing. It's like a coprocessor or assistant to whom we can delegate tasks and it just does them without us being aware of how it did them. And we cannot ask it.
When a pianist wants bottom D they just have to focus on what they want and it happens correctly. It even happens if there's something in the way - their hand will find its way around the obstruction and onto the wanted note. (You can see this hopefully by touching the tip of your nose with the tip of a finger, adding an obstruction with your other hand). If the pianist tries to report HOW they are able to do that, they will make up a story. They might say, "Well I realized that there was something in the way so I steered my hand around the obstacle and onto the note". There may be some truth in that, BUT BUT BUT if a non-pianist tries to do this they will have NO success at all! They simply will not be able to do it, however hard they try.
The story does not convey enough information to enable the student to learn how to do it, could well be completely wrong, and in any case it goes into the wrong part of the student's brain.
So how to learn? Well, firstly watch a pianist carefully. Add an obstacle and watch again. Gauge how well they do and how much mental effort they seem to be putting into it. Look at whether they ever brush the keys with their fingers, gaining information. Now put on a blindfold and practice finding that bottom D correctly without looking, never ever playing a wrong note, for a whole year, sitting at different positions and angles and heights and with different body shapes, doing everything by feel and ever less mental activity. At the end of the year, you'll be able to do it, just like the person you learned from.
Now things get dark. Suppose the pianist said, "Always sit aligned with middle C with your back straight and put your arm out at the same angle" and so on. Sure the student can follow all that and do it, but it won't work. They'll be stiff and awkward, always worrying about missing notes. And for the opening of Tchaikovsky piano concerto 1 where you need to launch your upper body weight into the bottom D flats they won't be able to do it and they won't be heard over the orchestra. They'll probably keep their hands glued to the keys for fear of missing them.
Now they'll hopefully go back and watch the pianist. "BUT BUT BUT!" they will say, "They are NOT doing what they said! They are not sitting central and sitting up and reaching out at a fixed angle to those bottom notes, despite what they told me. Their upper bottom is to the left and moves forward as they play the notes, and their hands swoop down and play the notes like a big bird landing and taking off again".
So why did the pianist not teach this? Why did they teach harmful nonsense?
Because they don't know. They can't know. Their teachings are confabulated - made up. Students demand explanations, so they give them. But those explanations are wrong and unhelpful.
Some teachers know this. Vengerov is one of them. He teaches by illustrations that describe well what happens in the part of his brain that he IS self aware of. He is amazingly good at conveying that. His cerebellum does the rest, and he can't teach that. He talks about physics here. All that's good. But he can't convey the details of how he implements and executes a solution based on the physics.
However, you can learn a lot by studying him play. Study him very very very carefully. Every tiny detail. Look out for something that's unexpected to you. Don't dismiss it. Don't judge it. Learn from it. It might be the thing you need to know!!
Make the way he plays your dream. Focus on it all the time until you can do the same. The violin is like the piano, and hence like my example above, except much much harder.
If you've made it this far and understand and get what I've said then you're on the right path. If you still want to be instructed on how to do it - it won't ever work with the violin (and many other things that involve movement e.g. catching a ball, hitting a ball with a bat / racket, doing a high jump, and so on - they're all done by the cerebellum) so give it up.
I was taught all this by a well known concert pianist and I've now started learning the violin. Try the books "Inner game of tennis" and maybe "Inner game of music" for more information.
In the meantime, study Maxim very very carefully. He's a truly great teacher! 😃
As from ~ Original 1 of 7 artist pupil's of Jascha Heifetz, and later, privately for 3.5 years in London, by Invitation of Nathan Milstein ~ I disagree with your first statement which
is discouraging for many who so love the Love the Sonata you're sharing for pupil's to hopefully be inspired by ... The Bow, dear Maxim Vengerov, Is Enabled by a Master of The
Bow, aka, Nathan Milstein, to crescendo when brushing the Bow Up even despite lightness nearing Tip and obviously crescendo when brushing back down to the heavier Frog. I
learned volumes from Nathan Milstein as his self-proclaimed, Quote: "My first Guinea Pig Heifetz pupil with whom I can now violinistically experiment!" Chester Square, London
SW1, Circa April 1969, (before I think you were born!) Milstein's Command of The Bow due many reasons but certainly his born with DNA physique and immense knowledge &
aided by his depths of Musical Understanding and Phrasing, were responsible for his Globally Revered Unaccompanied Bach Sonatas & Partitas for Violin, and in his Third Full
Recording of All the Bach Sonatas & Partitas, won the Grammy, as a Master of The Violin/Only Peer of Jascha Heifetz, yet, IMO, Greater with The Bow than even Heifetz!!! I can
testify being witness to Mr. Milstein stating "it matters not whether I go up or down with the bow. I can make all louder or softer despite going Down!" Not here to criticise you,
please have a happy return to watching and most closely the Bowing techniques naturally employed by Nathan Milstein's Bowing's and especially in Chording of All 4 Stringed
Chords in the Chaconne of Bach plus his marvelled Bowing's in the Allegro Last Movement of the Bach Unaccompanied Sonata for Violin No. 3 in C Major with dazzling nearly
dizzying bowings with bow-back technique when required, a term he used in mentoring me, already under major Concert Artist Mgmt, in London, on Same Violinist Roster with
Henryk Szeryng; Ruggiero Ricci & Nathan Milstein!!! As Artist Mentor's We must enable those seeking More to be fully cognizant of All The Masters passed on to the fortunate
of we few Then! Sending Violinist Greetings to You, I've a Question yet waiting 'til another Day re Ysaye's 3rd Solo Sonate in D, "Ballade"! Ref: www.theStad.com/Profile
EM ~
Is Argerich a practioner of Kabbalah? I see her wearing the red thread bracelet.
Ini yang aku butuhkan ! Matur suksma
mewali
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