Content like this are quite in demand, especially for people who can't find a good teacher. It's a gold mine to show how to practice something as well as show how those practice techniques can be extrapolated to other pieces of repertoire- makes me feel like I'm at least not practicing things and wasting my time.
Thank you so much!! That's my biggest goal for my students (who this was originally made for before putting it up on youtube) is for them to be able to teach themselves with the practice tools and techniques I've given them. That way they will have the ability to take on any piece that comes their way! Thank you so much! I really appreciate your comment!! ❤
@@GraceUnHaeKwon I think what really should be emphasized more is how long a technique has to be employed before it "sinks in." It really spoke to me that the equal note ghost shift has to be done roughly twenty times before one even thinks of transitioning to making the shift become noiseless. It's kind of like saying that you probably need to do more than sixty crunches to get toned abs or something like that. Definitely taking different techniques and having this part mentioned would make the idea felt in the bones I think. At least on my end.
Awww Thank you so much!! I love that you're teaching the Mendelssohn! It's an absolute gem!! I do have the other parts, but parts 1+2 took forever cause the picture inserts and "graphics" took too long. I'm not a editor by nature so I kind of gave up before getting to the G string! I'll start to make part 3! Thank you so much for watching!!
Thank you so much! I'm working on it! Editing is taking forever with all the music inserts, but in the works! Thank you so much for watching! I really appreciate it!
@@GraceUnHaeKwonI’ve been working on it for about 6 weeks now, I’m actually struggling with the slower parts (the second theme), the musical expression and dynamics, along with the faster parts where there’s many shifting and I need better intonation as well as tempo (I tend to slow down when doing the shifting)
Ohhhh Beloved Section H! No, by the time students get to this section, lessons are in full swing. The tutorial is to prep my kids for their first lesson, so it's focused on the first page. I offer lessons on my website if you would like to sign up for some lessons. (www.graceunhaekwon.com) In the mean time, I can give offer you some tips based on my teaching experience. 1. Bow Distribution - most students will practice this wrong by fixating on two things, the accent and intonation. Because they are preoccupied by those, students will focus on sounding pretty/in tune in their practice, under tempo or while building up, and when it gets to full tempo-they crash and burn without a way to recover cause the bow and fingers are misaligned. Fingers changed by getting faster, but the bow is still moving like it's at half tempo. 2. Correct Bow Technique - the accent always has two responses. OVER accented to where people are flying all across the bow. Or no accent cause "Anne-Sophie and Ray Chen didn't do it". Two questions that rarely get asked when a student is practicing: what is my wrist doing? what is my RH fingers doing on this passage The accent should be viewed more as a RH pluck.A small colle to enunciate the note. Like a pluck, you can't generate the sound by pressing down, the string has to be pulled the opposite direction than the direction of the pluck. It's a quick action of wrist and fingers. Wrist on ups, fingers on downs. Once again, if someone need more than an inch of bow to execute this passage (forte or piano), they're trying to compensate for bad technique with an aggressive accent and a lot of bow. Always be on the look out for that. 3. Coordination - most students forget about the two separate notes. Make sure the bow is playing those two with as much intention as the slur notes. - Know what string you're on at all times. 10/10 times, the students have no idea where the bows are during this passage. It's easier to go into more detail in a 1 on 1 lesson. Especially because everybody has a different element they struggle with. But these three are just the most common things that get address and once fixed, takes care of 90% of the problems (as long as intonation and shifting was not a problem). If intonation is the problem, they steady hand shape, move the hand as a unit between each grouping and as little lift as possible (try not to let your hand look like an anemone) and of course, Schradieck fingers. Hope this helps!
i appreciate your videos so much. i dont have any money for lessons right now but you are so thorough in your teaching that ive been able to learn this piece thus far very quickly. i got stuck on those triplets but this helped bunches
Thank you so much for watching! I appreciate your comment! 🥹 I'm sorry you're not having any lessons now. Feel free to reach out on my instagram (@graceunhaekwon). I give away free lessons a couple times a year and offer financial aid for lessons year round. There are also other creators who love teaching! So please don't ever hesitate on reaching out to any one of us!
No, not yet! The picture and “graphics” inserts took forever so I stopped after this one. But since few people asked for part 3, I can start on it now. Thank you so much for watching!
Hi! This means you purchased my Mendelssohn Prep Guide! Thank you so much!! It's currently and unlisted video, but I will make a public version with description on how to use it. I will try to upload it by tomorrow, Wednesday at the latest!! Thank you so much!! 🥰
@@GraceUnHaeKwon Yes, I purchased your guide and found it very interesting. I am discovering the Sevcik exercises in higher positions (only practiced the first 3 before), and they will become my staple technique work from now on. Thank you so much!
Hi! Here is the SLOW GROW. ruclips.net/video/KRZ-hn_VBEs/видео.html This is the OG version from the 2000s, but there are other versions available with metronome number and a regular click sound.. My students prefer this one because there's no metronome number. Start the recording at whatever tempo is most comfortable and try to last 3-4 mins per passage. Improvement can be made within just a few mins. You can use this for everything in the Mendelssohn, but the best places are G string passage, m25-35 (broken into 2-3 sections depending on what you need), octaves, D, E, H, I, M, Ricochet (but even the first three lines for the arpeggios in the beginning of Cadenza), R, S, Coda. And for sure everywhere in the 3rd mvt. The first 4 mins moves slow, it's on purpose so that every detail can be controlled, then once you get a clear handle on the passage the SG will whisk you away! Even 5 mins of SG per section makes a huge difference for my students. Let me know how you like it for your passages! 🥰
Content like this are quite in demand, especially for people who can't find a good teacher. It's a gold mine to show how to practice something as well as show how those practice techniques can be extrapolated to other pieces of repertoire- makes me feel like I'm at least not practicing things and wasting my time.
Thank you so much!! That's my biggest goal for my students (who this was originally made for before putting it up on youtube) is for them to be able to teach themselves with the practice tools and techniques I've given them. That way they will have the ability to take on any piece that comes their way!
Thank you so much! I really appreciate your comment!! ❤
@@GraceUnHaeKwon I think what really should be emphasized more is how long a technique has to be employed before it "sinks in." It really spoke to me that the equal note ghost shift has to be done roughly twenty times before one even thinks of transitioning to making the shift become noiseless. It's kind of like saying that you probably need to do more than sixty crunches to get toned abs or something like that. Definitely taking different techniques and having this part mentioned would make the idea felt in the bones I think. At least on my end.
I am studying this concerto again, i am just in love with it ❤❤❤ thanks for this tutorial 😊😊
Awesome! Me too! Thank you for watching and commenting!! 💕
OMG I am teaching this for the first time and devoured parts 1 and 2. I would love to see the other parts! Very concise and clear teaching.
Awww Thank you so much!! I love that you're teaching the Mendelssohn! It's an absolute gem!!
I do have the other parts, but parts 1+2 took forever cause the picture inserts and "graphics" took too long. I'm not a editor by nature so I kind of gave up before getting to the G string! I'll start to make part 3!
Thank you so much for watching!!
Nice work! Is there a Part 3? Thank you.
Thanks for the tutorial. Really helpful 😊 Looking forward to Part 3!
Thank you so much! I'm working on it! Editing is taking forever with all the music inserts, but in the works! Thank you so much for watching! I really appreciate it!
Can’t wait for all parts! Currently working and struggling on this piece..
Aww thank you so much for watching! How long have you been working on the Mendelssohn and which parts are you struggling with?
@@GraceUnHaeKwonI’ve been working on it for about 6 weeks now, I’m actually struggling with the slower parts (the second theme), the musical expression and dynamics, along with the faster parts where there’s many shifting and I need better intonation as well as tempo (I tend to slow down when doing the shifting)
Really nice teaching and playing!
Thank you so much!
Hello… I am trying to clean up measures 177-190. Do you have a tutorial covering that section? Thank you!
Ohhhh Beloved Section H! No, by the time students get to this section, lessons are in full swing. The tutorial is to prep my kids for their first lesson, so it's focused on the first page. I offer lessons on my website if you would like to sign up for some lessons. (www.graceunhaekwon.com)
In the mean time, I can give offer you some tips based on my teaching experience.
1. Bow Distribution
- most students will practice this wrong by fixating on two things, the accent and intonation. Because they are preoccupied by those, students will focus on sounding pretty/in tune in their practice, under tempo or while building up, and when it gets to full tempo-they crash and burn without a way to recover cause the bow and fingers are misaligned. Fingers changed by getting faster, but the bow is still moving like it's at half tempo.
2. Correct Bow Technique
- the accent always has two responses. OVER accented to where people are flying all across the bow. Or no accent cause "Anne-Sophie and Ray Chen didn't do it".
Two questions that rarely get asked when a student is practicing: what is my wrist doing? what is my RH fingers doing on this passage
The accent should be viewed more as a RH pluck.A small colle to enunciate the note. Like a pluck, you can't generate the sound by pressing down, the string has to be pulled the opposite direction than the direction of the pluck. It's a quick action of wrist and fingers. Wrist on ups, fingers on downs. Once again, if someone need more than an inch of bow to execute this passage (forte or piano), they're trying to compensate for bad technique with an aggressive accent and a lot of bow. Always be on the look out for that.
3. Coordination
- most students forget about the two separate notes. Make sure the bow is playing those two with as much intention as the slur notes.
- Know what string you're on at all times. 10/10 times, the students have no idea where the bows are during this passage.
It's easier to go into more detail in a 1 on 1 lesson. Especially because everybody has a different element they struggle with. But these three are just the most common things that get address and once fixed, takes care of 90% of the problems (as long as intonation and shifting was not a problem). If intonation is the problem, they steady hand shape, move the hand as a unit between each grouping and as little lift as possible (try not to let your hand look like an anemone) and of course, Schradieck fingers.
Hope this helps!
Thank you for these, they have been really helpful in learning this concerto!
Aww thank you so much for watching!! I'm glad they were useful!! ♥
i appreciate your videos so much. i dont have any money for lessons right now but you are so thorough in your teaching that ive been able to learn this piece thus far very quickly. i got stuck on those triplets but this helped bunches
Thank you so much for watching! I appreciate your comment! 🥹
I'm sorry you're not having any lessons now. Feel free to reach out on my instagram (@graceunhaekwon). I give away free lessons a couple times a year and offer financial aid for lessons year round. There are also other creators who love teaching! So please don't ever hesitate on reaching out to any one of us!
@@GraceUnHaeKwon thank you!!
Thank you for your excellent teaching! When shall we see part 3?
part 3 ?
No, not yet! The picture and “graphics” inserts took forever so I stopped after this one.
But since few people asked for part 3, I can start on it now. Thank you so much for watching!
I cannot find the SLOW GROW video on RUclips. Could you give me the link, please?
Hi! This means you purchased my Mendelssohn Prep Guide! Thank you so much!! It's currently and unlisted video, but I will make a public version with description on how to use it. I will try to upload it by tomorrow, Wednesday at the latest!! Thank you so much!! 🥰
@@GraceUnHaeKwon Yes, I purchased your guide and found it very interesting. I am discovering the Sevcik exercises in higher positions (only practiced the first 3 before), and they will become my staple technique work from now on. Thank you so much!
Hi! Here is the SLOW GROW. ruclips.net/video/KRZ-hn_VBEs/видео.html This is the OG version from the 2000s, but there are other versions available with metronome number and a regular click sound.. My students prefer this one because there's no metronome number.
Start the recording at whatever tempo is most comfortable and try to last 3-4 mins per passage. Improvement can be made within just a few mins. You can use this for everything in the Mendelssohn, but the best places are G string passage, m25-35 (broken into 2-3 sections depending on what you need), octaves, D, E, H, I, M, Ricochet (but even the first three lines for the arpeggios in the beginning of Cadenza), R, S, Coda. And for sure everywhere in the 3rd mvt.
The first 4 mins moves slow, it's on purpose so that every detail can be controlled, then once you get a clear handle on the passage the SG will whisk you away! Even 5 mins of SG per section makes a huge difference for my students.
Let me know how you like it for your passages! 🥰
You should wear a gold watch when you play violin you play violin 🎻😉🙂
😂
@@GraceUnHaeKwon I'm being honest