Hi everyone! Here are timestamps for the video. Let me know what you think in the comments! 00:00 Intro 01:05 Hand Independence 02:34 A Flawed method 03:32 Improved Methods & Demonstrations 03:37 Sibelius Concerto 06:12 Bach G minor Presto 07:21 Bruch Concerto 3rd Mvt 08:26 Final comments
Good day! 1. Wondering: how to reach good left hand pizz. (Specifically on middle strings) 2. How to reach good intonation in arpeggio (shifts) Best regards
Dude more people/Violinists needs to see this, not only is it brilliantly presented and explained, it’s really valuable advice! Also just discovered your channel, excited to see what more you have to learn from 😄
Hello teacher, congratulations on your video I have subscribed because your advice has helped me a lot during the quarantine in my country. I hope you can understand my question, because I am Spanish-speaking and speak very little English. I am a violin student, I write because I find myself learning double stops scales in thirds. The biggest problem for me is position changes at double stops and I have not found that many people talk about how to make position changes on scales at third double stops, with a good leg arc without losing contact with the rope (it is say, nobody explains which finger initiates the change of position). Taking as an example a major G scale. In my case, when ascending the scale and go from a minor third with fingers 2-4 (in first position). To the third position and reach fingers 1-3. I help myself with my arm and hand keeping the first finger very relaxed so that my change of position begins with the third finger, which naturally uses a little glissando. In the case of finger 1, it accompanies its trajectory in a very relaxed way and in this way my fingers manage to position themselves on the correct notes. The problem is that when descending the scale, it is very difficult for me to go from the third position of fingers 1-3 (minor third), to the first position with fingers 2-4 (minor third); because I don't understand which finger initiates the change of position and at what moment the new pairs of fingers are replaced. I have seen that many people in the down position change their fingers do not lose contact with the rope, since the glissando in the rope is heard during the change and, as far as I am concerned, when descending what I do is release the fingers 1-3 of the rope. , (such as making a downward shift with harmonic weight) to try to reach pairs of fingers 2-4 correctly, but I have noticed that this way it is very imprecise to reach the right place for the fingers in the first position . I have also noticed that I can hear the interval, but since I am not sure how to make the change of position, then I make a bad change and when I get to the position I rearrange my fingers, which is still much worse. I hope you can help me by answering this question, I would be immensely grateful to you. I think it could be, how to reliably change position at double stops? , especially downward changes and although it could be different intervals please make them third, because I have noticed that intervals like the sixth are easier.
Maybe try with leading 1+3 fingers. When you're at 3rd position with 1+3 and you wanna go to first position 2+4, then just slide with the 1+3 along to the first position until you reach the first position correctly in tune. These are the leading notes. Then just add your 2+4 fingers. There is an excellent example on how to practice thirds effectively and this video is also by Daniel Kurganov. Check this out! ruclips.net/video/fD3dbDG4vps/видео.html I hope I could answer your problem. Cheers!
maybe a little late but if anyones see this please answer. What concero was it he played in the intro around 35 sec into the video? I think maybe it was Mendehlson or Paganini but not realy sure
Your production quality is so nice, great eye for the light! May I ask what camera and lens you are using atm, because I am looking to upgrade in the near future and struggling quite a bit with deciding? The methods are great, only I would suggest indeed to put something over the varnish every time when doing these exercises, better save than sorry. All the best! Let me guess from the AF: it is a canon? Wait, it is center focussed, not eye AF?
Yes! I was going to ask the same thing! I'd love to know what equipment you use: camera, mic, lighting? Etc. Even how you edit the videos bc the editig is on point 👌😂
I am very impressed, your videos are of great interest, I watch them and apply your advice, I am doing the pronation exercises and Ysaye's book. Thank you very much for your help, I really feel that you are my second teacher. Hopefully one day I can have a class with you. Greetings from Argentina.
Good warm up material is the 'Basic Study' by Carl Flesch, published by Fischers. Which Heifetz practiced as priority and Hillary Hahn also practice. And of course all the scales , 3rds first ,4th, 6th, Octaves, Fingered octaves, 10th and regular scales and arpeggios.
For Q&A: Hi! I love watching your videos and I find them really helpful. However, I've been having trouble to keep my spicatto light and bouncy. Do you have any tips on how to do a good spicatto? Thank you!
Hi Daniel, A very informative and helpful video. Thank you! A few ideas for your Q&A video: -What does a healthy, balanced practice routine look like? (scales, left/right hand techniques, pieces, time dedicated to each, etc. -what preparation do you need to do to have a successful practice (mental & physical preparedness: stretching exercises, goals to achieve as an outcome of the practice, etc.)? -What are the best conditions for practicing (lighting, time of day, room set up, being caffeinated 🙂)? Thanks!
Excellent video again! Thank you!!! There is actually a variation of the excecise you've presented. One can place the left hand in a regular position, and play as if normally, but never really touch the strings actually. Just execute the fingerings in the air slightly above the strings. For me, this one is even more difficult. Missing the touch, I have to work really hard mentally to get both hands aligned...
I'm learning a tango by Piazzolla with a lot of punctuation in slurred notes and somehow run into this video. I can't begin to tell you how usefull it's been. Thank you!
Hi Daniel, thanks for the video. I’ve found improvement in disassociating the left and right hand by tapping polyrhythms with a different rhythm on each hand. Eg 4/4 left and 3/3 right. This can be taken a step further by bowing one rhythm and playing a different one on the left hand. Although this may have a different outcome, less focused, more general neural pathways (?) building...Do you have any thoughts about this?
Thank you for your videos! They really really help me!! If i may request something, can you please make a video on richochet and other bow techniques please? Thank you! Continue the good work Daniel!! 😁 Warm regards from me, Francis
Thanks a lot Daniel what a great idea and protocol and ways of doing things it's certainly different and I appreciate it it's a wonderful way to learn that and to get in touch with various Sensations beautiful much Applause Bravo
For Q&A: I find hand frames challenging. I do have a secure octave between 1 and 4 and I can fill it in in tune with a high 2 and a half-step between 2 and 3. My challenge is keeping the hand frame intact while putting down a low 2, with a half-step between 1 and 2. I wonder if it is really necessary to have ONE hand frame, and if yes, do you have any practice advice? It seems to me that violists approach hand frame differently, allowing TWO hand frames, one centred between fingers 1 and 2 and one centred between 3 and 4. Is that even true, and if yes, could you demonstrate and suggest exercises? Relatively to the size and stretch of my hand, my violin feels more like a viola, so why shouldn't I apply viola left-hand technique? Thank you for addressing my question. And for all your teaching, which is wonderful.
Great video, Daniel! These are great techniques to share with students! I also need to remind my students to cut their nails so they don't scratch their violins.
Kusal......aside from playing the violin for 52 years, I have decades of experience with physical therapy, massage, and personal training. A good friend who played the violin forever, encountered the same issue that you have, and he has had a tough time playing. He wound up having shoulder surgery, and it wasn't of great benefit. I never did had issues as you mentioned, and unlike my friend, I did a few exercises at the gym with weights that aren't too heavy, but reasonable. When you strengthen the muscles you insulate the joints. Many violinists (particularly those who are older) don't really workout or hit the gym, and from repetitive motion for an hour a day or more, and for years and decades, things can go badly after a awhile. You might need to do some stretching exercises and should consider seeing a good massage therapist or physical therapist. Also, take a few days off to allow the muscles and tendons to recover. Then, if you aren't going to the gym, do some exercises like a bicep curl, military press, flies, rows (not a on a rowing machine, there is a weight machine), pull ups, and surprisingly.....don't do push ups, or anything that resembles that. Yoga may be good, but I am a little leary of having a lot of weight on your palms for an extended period of time. Do build a strong core with various crunches, and occasional planks, and do leg press and hamstrings. Have a trainer watch you to be sure that your form is good, otherwise, you can injure yourself, which defeats the purpose. For people who play the violin, when they hit their late 40's, if they don't build some strength, there can be shoulder issues and all kinds of breakdown, as holding the violin is not natural for the body. Flexibility is key, and massage, stretching, and PT should help. As far as playing Sibelius any better....oh heck, don't ask me, as I hack it up and learn from this video.
@@randylazer2894 Thank you very much for your lengthy advice. I'll take all the things into my pocket and ponder over those.. I'll reply u for again if you don't mind..
Thanks again for your innovative and insightful video. You’re a wonderful artist-teacher! I love your sound and your impeccable articulation. When you get a chance, I’d love to see how you solve the tricky passage (measures 154 and 155) in the Vieuxtemps Violin Concerto No.5. Thank you Daniel!
Wooow thank you!! Right in time. I'm currently preparing for my university audition in Hanover and I want to play Bach Presto and couldn't figure out, why it lacks of tone quality. That's the exact soloution! Thank you for your exact example with Bach Presto! Now I just need to practice. Thank you!!!
Thank you for the fantastic tips! My question: how do you conceive of the “breath” of the bow? In long singing lines, how do you like to use your bow to achieve the vocal quality in your playing?
What practical advice you have for intermediate students? As an intermediate student, I think there is suddenly a ton of repertoire and studies accessible. Many different pedagogues have different approaches and I know there is not a single linear path to advancing as an intermediate student.
Practice good etudes, get through a lot of repertoire, focus on basic sound quality and right-hand technique, practice open strings everyday. Hard to get more specific than that without hearing you :)
Hold the bow lighter! Balance the bow in the hand / on the string. You'll be surprised how little force is needed for virtually all violin playing if angles and function of the fingers is understood :)
Hi, loving your videos! I’m wondering if you have tips for reducing 4th finger tension/locking? I’ve struggled with my 4th finger (which is a bit on the shorter side in comparison to my other fingers) since the beginning and it was sorely neglected by myself and my teachers over the first 8-9 years of my playing. In the beginning I would tuck it under the neck of my violin and would avoid using it as much as possible. When I finally discovered how helpful it was, I had issues with getting very sore in my wrist from repeated use (as a result of tension and possibly incorrect placement) and then there’s the locking. I continue to struggle with locking and tension. I can get it curved but it locks at every joint. If I straighten it, it doesn’t lock at the base joint but locks at the other two. So frustrating! Any advice would be greatly appreciated.
Hello, q from me: how to create a good practice routine? I'm struggling with establishing proportions between technical stuff, etudes and repertoire, and as an adult beginner I only have around an hour a day to practice...For context, I have been playing for around 1.5 years, currently practicing vibrato, first 3 octave scale and bach double from partita1
You should make a video on scales... mine need a level up but I’m not very sure how to get there. What should be the main focuses, and how do you practice perfect intonation. Usually I just go up and down and fix any out of tune shifts or other weird things but I can’t seem to get them brilliantly in tune or super fast and clean.
I understand why this method is better than just using one hand at a time, but why not just practice it normally? What are you gaining by practicing while separating the roles of the hands? Is it just to focus on one thing at a time?
What I tried to communicate is that interference between the hands is a common issue for most violinists. Many of the issues can be attributed to that. Your hands are doing totally different things at the same time, so until you look at them individually (and there are other ways to do this aside from the method I suggest) you will likely not solve the problem. However, each hand acts differently depending on whether it's working alone, or both hands are working. This is why playing only the open strings with no left hand won't give you a clear picture of what's actually going on in the right hand. Certainly practicing it with both hands normally is vital and there are a million ways to do that as well. However, troubleshooting the hands individually is inescapable, as any seasoned musician will tell you. It's not either or. Both are paramount. Thanks for the question and be well!
Hey, hope my question doesn't come too late. :) I'm currently working on some Bach solo Sonatas and the E major concerto. There are so many delightful versions of it where the intonation is flawlessly on point and I've always tried to reach that level of intonation. My teacher gave the tip that it's better to tune the note in dependency of the next few notes (whether it resolves, goes up, etc.) Do you have any tips or exercises for that kind of relative tuning and flawless intonation?
Hey, thanks for sharing this tip. Never heard of it before and really like it. I do have a question, in the Sibelius (for example), when you are playing the ascending double stops, are you not concerned about hitting the shift/intonation on point? Or are you banking on the idea that you either won't need to practice it this way long enough to create a negative habit or that your technique/listening is good enough to not worry about it when you add the left hand?
Good question Anthony and I’m glad you like the video. I assume you mean the runs of 3rds in the finale. So, I think having your left hand on the wood is sufficiently abstract that it’s not training any bad habits. At least, in my experience, my left hand is just doing patterns, and not actually measuring or committing measurements to memory. Additionally it’s not something to do for a very long time, as you suggested, so overall I don’t see it as a potential issue.
Does anyone know a channel like this for piano? I am trying to apply what he was saying about independent right and left hand. We separate the hands a lot in piano to study individual lines (especially in counterpoint.) This is useful, but as far as playing, putting the hands back together doesn't feel any easier.
I might try muting one half of the keyboard and focusing on the part that has sound, while still playing both hands. That might be analogous to the first exercise. The second one could allow difficult rhythms to be worked out with one note on one hand, while playing normally with the other. I often practice by letting someone else play the other parts in the form of listening to a recording while playing. Then the rhythm problem is solved, and I trick myself into playing faster and more expressively (since usually the recording is one I like a lot.) Another trick I use is to study scores and listen a whole lot. Then I am surprised to find I already know the piece to play along.
Sir, good teacher use more simple words and make complicated things into more silmlple way. The introduction was not easy to follow. Work on left hand and right hand separately is a great way.
I am happy to clear up anything that was confusing. The point is pretty simple, actually. Just play with the left hand imitating it's role, but not on the fingerboard--on the wood as I demonstrated. This is more useful that just practicing hands separately, because of how our motor coordination works, as I explained in the video. But, of course, do whatever works best for you!
hi ! could you please talk about the left hand pinky ? should i press on the left corner(close to ring finger) or the right corner (the outside). thank you!
Hi everyone! Here are timestamps for the video. Let me know what you think in the comments!
00:00 Intro
01:05 Hand Independence
02:34 A Flawed method
03:32 Improved Methods & Demonstrations
03:37 Sibelius Concerto
06:12 Bach G minor Presto
07:21 Bruch Concerto 3rd Mvt
08:26 Final comments
Thank you! I'll try the method.
I am sudhakaran from india super class sir please sent .d. major and .g.major core pdf thanks sir
Hi, how do i practice two fingered fifths?
Good day!
1. Wondering: how to reach good left hand pizz. (Specifically on middle strings)
2. How to reach good intonation in arpeggio (shifts)
Best regards
that sibelius at the beggining was crazy
A new approach I must practice this thank you.
I see a bottle of Lagavulin in the background, you know your stuff, just won me as a follower ;)
a wee dram from Islay :)
For Q&A!: Hi! When you were a teenager you ever felt the lack of practice inspiration? if it how did you manage it?
Thanks for the question -- it's featured in my first Q&A video!
@@DanielKurganov Hi! I noticed your anwser, Thank You! I'll apply it. Truly aprecciate it!
Dude more people/Violinists needs to see this, not only is it brilliantly presented and explained, it’s really valuable advice! Also just discovered your channel, excited to see what more you have to learn from 😄
Glad it was helpful!
Hello teacher, congratulations on your video I have subscribed because your advice has helped me a lot during the quarantine in my country. I hope you can understand my question, because I am Spanish-speaking and speak very little English. I am a violin student, I write because I find myself learning double stops scales in thirds. The biggest problem for me is position changes at double stops and I have not found that many people talk about how to make position changes on scales at third double stops, with a good leg arc without losing contact with the rope (it is say, nobody explains which finger initiates the change of position). Taking as an example a major G scale. In my case, when ascending the scale and go from a minor third with fingers 2-4 (in first position). To the third position and reach fingers 1-3. I help myself with my arm and hand keeping the first finger very relaxed so that my change of position begins with the third finger, which naturally uses a little glissando. In the case of finger 1, it accompanies its trajectory in a very relaxed way and in this way my fingers manage to position themselves on the correct notes. The problem is that when descending the scale, it is very difficult for me to go from the third position of fingers 1-3 (minor third), to the first position with fingers 2-4 (minor third); because I don't understand which finger initiates the change of position and at what moment the new pairs of fingers are replaced. I have seen that many people in the down position change their fingers do not lose contact with the rope, since the glissando in the rope is heard during the change and, as far as I am concerned, when descending what I do is release the fingers 1-3 of the rope. , (such as making a downward shift with harmonic weight) to try to reach pairs of fingers 2-4 correctly, but I have noticed that this way it is very imprecise to reach the right place for the fingers in the first position . I have also noticed that I can hear the interval, but since I am not sure how to make the change of position, then I make a bad change and when I get to the position I rearrange my fingers, which is still much worse. I hope you can help me by answering this question, I would be immensely grateful to you. I think it could be, how to reliably change position at double stops? , especially downward changes and although it could be different intervals please make them third, because I have noticed that intervals like the sixth are easier.
Maybe try with leading 1+3 fingers. When you're at 3rd position with 1+3 and you wanna go to first position 2+4, then just slide with the 1+3 along to the first position until you reach the first position correctly in tune. These are the leading notes. Then just add your 2+4 fingers.
There is an excellent example on how to practice thirds effectively and this video is also by Daniel Kurganov. Check this out!
ruclips.net/video/fD3dbDG4vps/видео.html
I hope I could answer your problem.
Cheers!
We want to see your beautiful smile, while listening to your incredible performances or talks. 😊
But what if I don’t want to smile today? 😂
It is not necessary
Am learning so much from you thank you very much
I like it very much.
Daniel, Tricking the brain was absolutely fantastic! I can’t wait to use this technique on one of my students I believe it will work for him. Thanks!!
Fantastic!
Great Sir
Great practice techniques Daniel, Ty for sharing 🙏🎻❤
For Q and A: How do you go about tacking a new concerto or recital program from scratch? What is your learning process like?
Oh yesssssssss
Love the Lagavulin reference!!
maybe a little late but if anyones see this please answer. What concero was it he played in the intro around 35 sec into the video? I think maybe it was Mendehlson or Paganini but not realy sure
I like your bar in the background😀
Really so amazing and beautiful video
Thank you! Cheers!
What are those drinks behind you?
IT'S NOTHING
Tricking the brain good idea
That's what your brain wants you to think.
For Q&A: tips and exercises for a more fluid, natural and fast vibrato?
Your production quality is so nice, great eye for the light! May I ask what camera and lens you are using atm, because I am looking to upgrade in the near future and struggling quite a bit with deciding? The methods are great, only I would suggest indeed to put something over the varnish every time when doing these exercises, better save than sorry. All the best!
Let me guess from the AF: it is a canon? Wait, it is center focussed, not eye AF?
Yes! I was going to ask the same thing! I'd love to know what equipment you use: camera, mic, lighting? Etc. Even how you edit the videos bc the editig is on point 👌😂
@@kristinadavila7724 Yeah, the sound is so on point as well.
I am very impressed, your videos are of great interest, I watch them and apply your advice, I am doing the pronation exercises and Ysaye's book. Thank you very much for your help, I really feel that you are my second teacher. Hopefully one day I can have a class with you. Greetings from Argentina.
Wonderful!
Very interesting ideas
Hello sir! Could you explain what is important in/for a good warm up routine?
Good warm up material is the 'Basic Study' by Carl Flesch, published by Fischers.
Which Heifetz practiced as priority and Hillary Hahn also practice.
And of course all the scales , 3rds first ,4th, 6th, Octaves, Fingered octaves, 10th and regular scales and arpeggios.
A fellow lagavulin loving violinist. Great!
More Sibelius!!
For Q&A: Hi! I love watching your videos and I find them really helpful. However, I've been having trouble to keep my spicatto light and bouncy. Do you have any tips on how to do a good spicatto? Thank you!
Which violin/bow do you use? Also, prize range and recommendation for cleanness and pure sound? Thnx
How do I practice fifths played with two fingers?
It is very rare that you would ever have to play a fifth with two fingers. That's more of a cello technique! What is the context?
5:14 what about your violin! The varnish!
If you have dry, clean fingers and tap very lightly, there is no worry! One can also put a tissue over that part of the wood for added protection.
Ohhhhh mann your playing is perfect
Thank you!
@@DanielKurganov Do your speak Russiya? I need you,s teacherning.How i can speak with your?
Hi Daniel,
A very informative and helpful video. Thank you!
A few ideas for your Q&A video:
-What does a healthy, balanced practice routine look like? (scales, left/right hand techniques, pieces, time dedicated to each, etc.
-what preparation do you need to do to have a successful practice (mental & physical preparedness: stretching exercises, goals to achieve as an outcome of the practice, etc.)?
-What are the best conditions for practicing (lighting, time of day, room set up, being caffeinated 🙂)?
Thanks!
Hello! Not a technical question but, I just wanted to know, what kind of strings do you use?
Excellent video again! Thank you!!!
There is actually a variation of the excecise you've presented. One can place the left hand in a regular position, and play as if normally, but never really touch the strings actually. Just execute the fingerings in the air slightly above the strings.
For me, this one is even more difficult. Missing the touch, I have to work really hard mentally to get both hands aligned...
For Q&A, how do you play without tension?
For Q&A: What to look for when looking for in an instrument for conservatory
I'm learning a tango by Piazzolla with a lot of punctuation in slurred notes and somehow run into this video. I can't begin to tell you how usefull it's been. Thank you!
how do you come up with all these brilliant ways to practice. also, you sound like your playing in a concert hall at your home!!
Hi Daniel, thanks for the video. I’ve found improvement in disassociating the left and right hand by tapping polyrhythms with a different rhythm on each hand. Eg 4/4 left and 3/3 right. This can be taken a step further by bowing one rhythm and playing a different one on the left hand. Although this may have a different outcome, less focused, more general neural pathways (?) building...Do you have any thoughts about this?
Hey Daniel how about addressing the problem of up now shaking.
Hi Mr Kurganov. Thank you very much for all your videos. I have improved so much with the thechnique, vibrato and double plays.
For Q@A: How can I improve my right and left hand synchronisation? And how can I get an better response of the strings on a violin?
I have rhythm problems when i play legato, but when I do detache it is perfectly in time. It’s kinda annoying, know how to fix this?
Thank you for your videos! They really really help me!! If i may request something, can you please make a video on richochet and other bow techniques please? Thank you! Continue the good work Daniel!! 😁
Warm regards from me,
Francis
Glad it's been helpful. I will definitely make those videos in the future.
Thanks a lot Daniel what a great idea and protocol and ways of doing things it's certainly different and I appreciate it it's a wonderful way to learn that and to get in touch with various Sensations beautiful much Applause Bravo
Glad it was helpful!
Nice bottle of Lagavulin back there? Do you like other Scotches? Cheers!
Yes and yes!!
Congratulations, this video is very interesting for me, I learned something new. Thanks for doing this tutorial, I appreciated it.
For Q&A: I find hand frames challenging. I do have a secure octave between 1 and 4 and I can fill it in in tune with a high 2 and a half-step between 2 and 3. My challenge is keeping the hand frame intact while putting down a low 2, with a half-step between 1 and 2. I wonder if it is really necessary to have ONE hand frame, and if yes, do you have any practice advice? It seems to me that violists approach hand frame differently, allowing TWO hand frames, one centred between fingers 1 and 2 and one centred between 3 and 4. Is that even true, and if yes, could you demonstrate and suggest exercises? Relatively to the size and stretch of my hand, my violin feels more like a viola, so why shouldn't I apply viola left-hand technique? Thank you for addressing my question. And for all your teaching, which is wonderful.
Great video, Daniel! These are great techniques to share with students! I also need to remind my students to cut their nails so they don't scratch their violins.
How to play longer without any sort of an ache(because my left shoulder aches as I play longer particularly when it is a fast piece of music )
Kusal......aside from playing the violin for 52 years, I have decades of experience with physical therapy, massage, and personal training. A good friend who played the violin forever, encountered the same issue that you have, and he has had a tough time playing. He wound up having shoulder surgery, and it wasn't of great benefit.
I never did had issues as you mentioned, and unlike my friend, I did a few exercises at the gym with weights that aren't too heavy, but reasonable. When you strengthen the muscles you insulate the joints. Many violinists (particularly those who are older) don't really workout or hit the gym, and from repetitive motion for an hour a day or more, and for years and decades, things can go badly after a awhile.
You might need to do some stretching exercises and should consider seeing a good massage therapist or physical therapist. Also, take a few days off to allow the muscles and tendons to recover.
Then, if you aren't going to the gym, do some exercises like a bicep curl, military press, flies, rows (not a on a rowing machine, there is a weight machine), pull ups, and surprisingly.....don't do push ups, or anything that resembles that. Yoga may be good, but I am a little leary of having a lot of weight on your palms for an extended period of time.
Do build a strong core with various crunches, and occasional planks, and do leg press and hamstrings. Have a trainer watch you to be sure that your form is good, otherwise, you can injure yourself, which defeats the purpose.
For people who play the violin, when they hit their late 40's, if they don't build some strength, there can be shoulder issues and all kinds of breakdown, as holding the violin is not natural for the body.
Flexibility is key, and massage, stretching, and PT should help. As far as playing Sibelius any better....oh heck, don't ask me, as I hack it up and learn from this video.
@@randylazer2894 Thank you very much for your lengthy advice. I'll take all the things into my pocket and ponder over those..
I'll reply u for again if you don't mind..
Hey, man! Very good method. I started to use that and it works! Thanks and bravo!
Glad it helped!
For de Q&A: Higher position scales please
Big fan of your work :3
ForQ & a : can u please explain how to became a classical musician
Thanks again for your innovative and insightful video. You’re a wonderful artist-teacher! I love your sound and your impeccable articulation. When you get a chance, I’d love to see how you solve the tricky passage (measures 154 and 155) in the Vieuxtemps Violin Concerto No.5. Thank you Daniel!
Me gusta mucho sus clases,lógicas y efectivas las ideas.Muchas Gracia por su generosidad!!!!
That is so Kool
That is a clever trick
Thanks for sharing
Glad you liked it
Wooow thank you!! Right in time. I'm currently preparing for my university audition in Hanover and I want to play Bach Presto and couldn't figure out, why it lacks of tone quality. That's the exact soloution! Thank you for your exact example with Bach Presto! Now I just need to practice. Thank you!!!
Thanks!
Thank you for the fantastic tips! My question: how do you conceive of the “breath” of the bow? In long singing lines, how do you like to use your bow to achieve the vocal quality in your playing?
For Q&A: how to create/practice internal pulse?
what is that pad on your chinrest? im looking for something like that myself. Thank you for any response
Mach One foam chinrest pad
What practical advice you have for intermediate students? As an intermediate student, I think there is suddenly a ton of repertoire and studies accessible. Many different pedagogues have different approaches and I know there is not a single linear path to advancing as an intermediate student.
Practice good etudes, get through a lot of repertoire, focus on basic sound quality and right-hand technique, practice open strings everyday. Hard to get more specific than that without hearing you :)
My question is, how I can get more flexibility in my right hand.
Hold the bow lighter! Balance the bow in the hand / on the string. You'll be surprised how little force is needed for virtually all violin playing if angles and function of the fingers is understood :)
Hahah drawing circles with your leg. Might try it
Drawing in the air, I meant :)
Ah thanks. I love your vids by the way and you are an amazing violinist!
I just tried it. It really is hard. Thanks
Thanks a lot Jared! I appreciate it.
Awesome play!
Thank you very much 💚
You're welcome!
Thank you 😊!
Thanks Ana!
Hi, loving your videos! I’m wondering if you have tips for reducing 4th finger tension/locking?
I’ve struggled with my 4th finger (which is a bit on the shorter side in comparison to my other fingers) since the beginning and it was sorely neglected by myself and my teachers over the first 8-9 years of my playing. In the beginning I would tuck it under the neck of my violin and would avoid using it as much as possible. When I finally discovered how helpful it was, I had issues with getting very sore in my wrist from repeated use (as a result of tension and possibly incorrect placement) and then there’s the locking. I continue to struggle with locking and tension. I can get it curved but it locks at every joint. If I straighten it, it doesn’t lock at the base joint but locks at the other two. So frustrating! Any advice would be greatly appreciated.
I will try to address this in my next Q&A video. Stay tuned!
Daniel Kurganov, Violinist awesome! I’ll watch carefully for it :D
Hello, q from me: how to create a good practice routine? I'm struggling with establishing proportions between technical stuff, etudes and repertoire, and as an adult beginner I only have around an hour a day to practice...For context, I have been playing for around 1.5 years, currently practicing vibrato, first 3 octave scale and bach double from partita1
You should make a video on scales... mine need a level up but I’m not very sure how to get there. What should be the main focuses, and how do you practice perfect intonation. Usually I just go up and down and fix any out of tune shifts or other weird things but I can’t seem to get them brilliantly in tune or super fast and clean.
It's good to try LH alone, both together, RH alone, both together. Particularly useful working on one or two bars at a time.
I understand why this method is better than just using one hand at a time, but why not just practice it normally? What are you gaining by practicing while separating the roles of the hands? Is it just to focus on one thing at a time?
What I tried to communicate is that interference between the hands is a common issue for most violinists. Many of the issues can be attributed to that. Your hands are doing totally different things at the same time, so until you look at them individually (and there are other ways to do this aside from the method I suggest) you will likely not solve the problem. However, each hand acts differently depending on whether it's working alone, or both hands are working. This is why playing only the open strings with no left hand won't give you a clear picture of what's actually going on in the right hand.
Certainly practicing it with both hands normally is vital and there are a million ways to do that as well. However, troubleshooting the hands individually is inescapable, as any seasoned musician will tell you. It's not either or. Both are paramount.
Thanks for the question and be well!
@@DanielKurganov Thank you for the helpful reply!
Hey, hope my question doesn't come too late. :)
I'm currently working on some Bach solo Sonatas and the E major concerto. There are so many delightful versions of it where the intonation is flawlessly on point and I've always tried to reach that level of intonation. My teacher gave the tip that it's better to tune the note in dependency of the next few notes (whether it resolves, goes up, etc.)
Do you have any tips or exercises for that kind of relative tuning and flawless intonation?
Could you please make a dedicated artificial harmonics video?
For q and a: any bowing exercise you can recommend to improve grip and bowing technique? Thanks a lot!
Yup I can sure start my practice like this LOL I still hit other strings 😅
Hey, thanks for sharing this tip. Never heard of it before and really like it. I do have a question, in the Sibelius (for example), when you are playing the ascending double stops, are you not concerned about hitting the shift/intonation on point? Or are you banking on the idea that you either won't need to practice it this way long enough to create a negative habit or that your technique/listening is good enough to not worry about it when you add the left hand?
Good question Anthony and I’m glad you like the video. I assume you mean the runs of 3rds in the finale. So, I think having your left hand on the wood is sufficiently abstract that it’s not training any bad habits. At least, in my experience, my left hand is just doing patterns, and not actually measuring or committing measurements to memory. Additionally it’s not something to do for a very long time, as you suggested, so overall I don’t see it as a potential issue.
Does anyone know a channel like this for piano? I am trying to apply what he was saying about independent right and left hand. We separate the hands a lot in piano to study individual lines (especially in counterpoint.) This is useful, but as far as playing, putting the hands back together doesn't feel any easier.
I might try muting one half of the keyboard and focusing on the part that has sound, while still playing both hands. That might be analogous to the first exercise. The second one could allow difficult rhythms to be worked out with one note on one hand, while playing normally with the other. I often practice by letting someone else play the other parts in the form of listening to a recording while playing. Then the rhythm problem is solved, and I trick myself into playing faster and more expressively (since usually the recording is one I like a lot.) Another trick I use is to study scores and listen a whole lot. Then I am surprised to find I already know the piece to play along.
Sir, good teacher use more simple words and make complicated things into more silmlple way. The introduction was not easy to follow.
Work on left hand and right hand separately is a great way.
I am happy to clear up anything that was confusing. The point is pretty simple, actually. Just play with the left hand imitating it's role, but not on the fingerboard--on the wood as I demonstrated. This is more useful that just practicing hands separately, because of how our motor coordination works, as I explained in the video. But, of course, do whatever works best for you!
hi ! could you please talk about the left hand pinky ? should i press on the left corner(close to ring finger) or the right corner (the outside).
thank you!