The Start of the Exercise - 1:55 Checking the pitch/adjusting to the correct pitch - 2:44 For a very weak 4th - 3:44 The thumb - 3:54 Checking the wrist - 4:24 Three fingers/working with the 4th - 4:42 Start extending the 4th into "dirty E flat/E natural" - 5:55 Starting to go to the regular hand position - 6:33 Moving the thumb toward the new regular position - 7:15 "Have the window open" - 7:57 Segue to Sevcik or Schradieck, modified if needed 8:24 A quick recap of the Milstein sequence - 8:49
I studied the left hand using Carl Flesch Urstudien for 30 minutes every morning for 2 years before going to rehearsal with the Bournemouth SO. I realised that force of any kind interferes not only with fluency but also with expression and interpretation. I discovered that each time I placed the same finger on the same note over and over again there was, in fact, just as in a series of dance steps, a progressive muscle use throughout the arm. No force was needed only 'placing' the finger. I also discovered that the little finger does not move best from the base joint but from the muscle in the side of the hand. I easily bring my little finger to 90 degrees to the fingerboard by 'rolling the hand rather than keeping it fixed in a static 45 degree angle. This creates no tension. It also produces a lovely clear singing note with the 4th finger!
Exactly, left hand must be connected with the left arm personal position and feeling the fingers like the 3rd and the 4th. connected with the left arm. ruclips.net/video/ybQg9sPvqnk/видео.html
I have very much enjoyed your videos. You are so detailed in your explanations and have wonderful exercises on every subject. What a wonderful teacher your are!
Thank you for posting your videos again. You really help many players around the globe, like me. I'm in Argentina. And there are really few knowledgeable information online. So thanks again.
@@davidrosenman1889 : this sound has often been referred to the Cremonees sound… slightly nasal, perfectly clean, project and powerful. These are the sounds characteristics, which often contradict to each other’s. Meaning, nasal sound is often not clean or big (projected), as well as a small sound could be powerful and projected…which make Cremoneese, Italian violins sound,
Thank you so much professor Bushkova! I've recently discovered your channel and I've been inspired so much by it. All the content is incredibly helpful and very much hands-on. Many thanks again and all the best to you!
An aha! moment. I almost didn't try the exercise as I don't have a flat 4th finger, but I do have issues with 4th finger tone and control. What I learned is that I'd slipped into a bad habit of moving the balance of the left hand too far back towards the 1st finger. The exercise has fixed this. Instant improvement in 4th finger tone and tuning. Also, when I shift to 3rd the base of my thumb rests against the bout, which aids accurate shifting, while before there was a significant gap. So I can use this as a check that I'm not slipping back into my bad habit. Very useful, thank you. (Milstein is my violin hero - such a deep understanding of the instrument...)
UPDATE: I'm back to reset to proper hand balance - I did slip back into bad habits. Just to alert people that this is a change that needs constant alertness if you're going to make it automatic, but it's worth the effort. As with my first time around, I'm getting an instant improvement in 4th finger tone and control and vibrato. As a guy with a medium sized hand I can get an easy, unstrained 4th finger extension to the f in the exercise position and in the playing position. Couldn't do that with my old left hand setup. It's not often on the fiddle that you get to enjoy such a quick and easy result!
Thank you for this exercise. I can feel how useful this would be for so many things, in addition to creating a healthier pinky alignment. for one, I think it would help Baroque violinists/violists and others who are trying to transition to not using a shoulder rest. For me, it set up an experience of security in the left hand (the deep-set hand position and forward thumb) but also mobility. Having that sensation and then moving back into regular playing position gave me very valuable information while experimenting with it.
Thank you once again- excellent. Am working on what my teacher calls a weak fourth finger. I also have the bad habit of having the fourth finger pointing to the ceiling when not in use.
Thank you! I was also having trouble with playing a drone on the open E with fingers on the A without brushing the E with my 1st dorsal interosseous (I had to look that up to get a good description). This exercise helped me to stop brushing the E!
Great! I play Jazz violin and I call that position the "Blues Grip." It is featured predominantly in tunes Like "Meditation" by Antonio Carlos Jobim, and "Take Five" by Paul Desmond. I understand that Nathan Milstein used to improvise with Rostropovich.
Hello Julia. Thanks for very instructive video. Could you make video 4th finger vibrato on high position?? What do you prefer using joint or just moving hands without joint for pinky on high position.
Left hand pizzicato exercises are also great for that. You also need to walk your way up to the fourth finger like if you were walking from one finger to the other to keep the optimal weight balance on each finger. I hope this helps.
A very good piece of advice, especially for violists ("walking from one finger to the other"). And the LH pizz is a good one, although it may be too hard for younger students with very weak fingers.
I am looking for some information, wich was quite difficult or impossible to find online, and, it is how to approach the Sevcik books/exercises. And I don't mean an specific exercise or etude, but I mean as a whole, as a method. Maybe you may do a video about it? That would be really great.
This really does seem amazing for the 4th! I don't think my 4th is particularly weak, but it droops and goes under the level of the fingerboard all the time... What could be causing this? Will this exercise fix it? Thakns, I just discovered your channel and it is very very didactic!
I have a question - does it mean that the reason for weak pinky is the left-hand thumb position? If I understood correctly, it means that 'a new' thumb position we have to keep forever. Right?
Correct. All the greats played with this "new" thumb position -- well, it was not "new" for them, obviously! A weak pinky has several causes; the thumb being backward is the main obstacle to obtaining a strong pinky.
Я люблю ваши видео. Моя главная задача - иметь хорошего репетитора. Я чувствую, что я не достиг своего пика. Какой план уроков вы бы порекомендовали мне, пожалуйста.
Большое спасибо, Юлия! У очень большого процента моих учеников есть эта проблема, тк у меня ее нет, я не задумывалась об этом раньше, как решить ее на глубоком уровне. Я уверена что это упражнение очень поможет! И еще вопрос: может ли это упражнение также помочь для решения проблемы 1-2 пальца. Тоесть когда у 2го пальца как бы нет места для отскока, т.к. 1й ему мешает. Может быть есть еще упражнения именно для этой конкретной проблемы? Большое спасибо!❤
Здравствуйте! Это упражнение не поможет. Но про то, что Вы спрашиваете, я сделала видео (более раннее), которое называется "Violin Techniques - How to fix dexterity problems in the left hand" Надеюсь, оно Вам поможет в педагогике.
Большое спасибо за ответ! У Вас прекрасные, очень интересные видео, и очень редко педагоги глубоко изучают такие важные проблемы! Невероятно интересное видел с доктором, очень многое прояснило!
I solved the 4th finger problem by keeping it curled, like the other fingers, sliding from the upper register, to the lower register, keeping all the fingers curled, but making sure, as I go down, to keep the palm under the 4th finger closer to the fingerboard. If the palm turns away from the fingerboard, it takes the 4th finger with it, then you end up having to reach with that finger, making is straight, and it sometimes locks. Hope you understand what I'm trying to convey in words. As you go down, keep that pinky curled w. the rest of the fingers. Okno.
Precisely. One can fix the 4th finger without the help of this exercise - like I did when I was little. With the "Milstein", the process may be easier and faster. But, one can fix the pinky without the violin altogether.
As from, Elisabeth Matesky, first private Artist Pupil, (under same London Concert Artist Mgmt as Nathan Milstein, in London, {Wilfrid Van Wyck, Ltd., in 80 Wigmore Street, W1,} and his self-proclaimed 'Guinea Pig pupil of Heifetz!' I know very well Mr. Milstein's mentoring and can attest to the fact that NM Never assigned Exercises of any kind to me or to a few of his Nathan Milstein Int'l Violin Master Course students in Zurich, where he invited me to be his T.A., (teach-assistant) to help some NM VMCouse pupil's w/his unique NM Bowing & particularly in Unaccompanied Bach & all Piano/Violin Sonatas of Bach plus the violin concerti of Johann Sebastian Bach especially w/regard to chording and his own DNA at birth natural bowing arm which was a rounded approach not in any way angular, which is mythical and not Milstein. The Exercise Ms Bushkova, describes is completely foreign to the left hand muscular use of the Milstein left hand technique which was exceptionally strong & from the palms of the left hand, not finger only technical navigation. Not once in the 24 years of our long friendship, did I see nor hear Mr. Milstein ever speak of his own Exercise as being promoted here by one whom, to my knowledge, never met nor studied nor heard, Live, Milstein play ... If she did hear NM in his latter years of concert playing it would had to have been in the 1980s up until 1985, as in that time period Mr. Milstein, succumbed to a horrific traffic accident whilst walking in his Cheater Square Street to his home at No. 17, with a wild driver actually hitting his right arm on the small sidewalk he was walking rendering the Greatest Bowing of Nathan Milstein unable to play his beloved violin ever again ... It was a travesty yet he used the time to create exquisite Milstein transcriptions of a devilishly difficult arrg of Liszt's Mephisto Waltz, and for the Violin which no one to this writing has been able to match! He spent 3 Plus years on his own solo transcription and Then Some with his daughter once telling me, 'Elisabeth, Daddy is driving us all nuts with his obsession for this transcription of his friend, Horowitz's Liszt Mephisto difficult Waltz for one solo violin!' Yet, prior to the tragic accident, Mr. Milstein, premiered his Liszt-Milstein transcription in Orchestra Hall here in Chicago, to the utter amazement & near disbelief of the Thrice Sold Out House, in a frenzy upon hearing the Great Milstein toss off his own arrangement w/Elan Beyond & touches of the Devil's Wizardry!! Music Critic, Robert C. Marsh, of the Chicago 'Sun Times', was sitting with me & stunned asking "How can Milstein play like this at age 83, Lizzie?!!" I turned to Bob Marsh, saying, "Bob, He Is Milstein!!" I took Critic Robert C. Marsh + Maestro Kraków & Violist, Shelly, backstage to meet Mr. Milstein, as he had asked I act as his Hostess backstage, and we had fun trying to have Mr. Milstein identify Who the Music Critic, Conductor & Violist were! NM thoroughly enjoyed this 'game' yet showed no sign of any fatigue after a huge NM Special Violin Recital including his insanely difficult "Mephisto" for Solo Violin Feat which decades later, audience goer's there still speak breathlessly about to me!! It is this obsession of Mr. Milstein in his latter years, that I know he hadn't interest nor the time to teach 'exercises' to any & few were heard by him at his home in Chester Square, SW1 ~ I would advise Ms Bushkova defer using the platinum name of my dear friend & private violin mentor, "Milstein" Exercise from this now writing on 11th, July, '22. I will defer telling the Milstein Family if this is changed to Ms Julia Bushkova's Exercise! Reference on my Career: facebook.com/elisabeth.anne.775?fref=nf & Photo at Top: Potus Carter/French Premier, Raymond Barre, both standing 👏👏 my Violin Recital last work, Ysaye's 3rd Solo Violin ,Sonate,.In D, "Ballade" in Honour of the French Premier & Minister's of his Gov't, in The White House State Dining Room, w/CBS Television lights filming/televising a portion of our full Recital of Mozart Sonatas {request of POTUS Carter} & Ysaye, my choice honouring GOAT Franco-Belgium Violinist/Composer, Eugen Ysaye, whom it turned out was a personal friend of 🇫🇷 Premier Barre's father, Barre Sr., whom French Premier Raymond Barre was thrilled to hear!! 'All's Well that Ends Well', to quote The Bard, Shakespeare!! When on my FB Pg, scroll to: 'About Elisabeth Anne Matesky' which gives partial music career Profile. Best Wishes to All Nathan Milstein Fans from myself, Elisabeth Matesky {also in my Heifetz Violin Master Class film-Khachaturian, JH-7, Elisabeth Matesky, {Rus Vers. Library Master Performers.} on: www.bili.bili.com/Khachaturian {JH Violin Master Class-Khachaturian, Elizabeth Matesky, Rus Vers, but in English. Library Master Performers.} Thank You All for loving Nathan Milstein's Grand Artistry!! Elisabeth Matesky/US 🎻🌹11.07.2022 Fwd dg, Artist Rep/USA/Europe
Unfortunately, I never studied with Milstein - the person who shared this exercise with me did, and, according to him, he learned it from Mr. Milstein, hence the name. I would have definitely asked Mr. Milstein where he knew this exercise from if I had a chance! I am convinced that he did not invent it... I want to think that it may have been Stoliarsky who used it but I do not have any proof of this.
Thank you for the video. I'm not sure if I'm doing this repositioning correctly. When I do it correct I can play the notes with the thumb completely off the finger board? Since the neck is now supported at the joint of index finger and palm. I'd appreciate your answer.
Hi Julia and everyone, I have a question about the 3rd finger in this excercise, because I seem to have a big problem with that. While I keep putting and lifting my 4th, my 3rd finger doesn't stay in place and slides towards the 4th which makes it unable to really keep going with the excercise. I wonder if it happens because my 3rd is too weak? I am not sure how to approach this... most of all - thank you for your amazing work Julia!
Hello - perhaps, by now you have already figured out the problem:) No, it is not due to any weakness of the 3d finger. It is a coordination issue - the brain and the hand/finger are not "speaking the same language." If you tried to mimic this motion without the violin, you will see that your 3d finger would behave differently.
In D string I can reach A with fourth easily but not able to reach A flat/G# with fourth finger. I think my problem is I'm curving my palm inward more. The only time I can reach A flat is when play E flat major scale (low 1st finger somehow changes my frame so I can reach A flat with fourth other times is purely nightmare) any help will be useful.
For those who are very double jointed, the pinky may be collapsing in the higher positions even after training. However, it will still get stronger and the overall effect will be better.
My pinkies are naturally turned to the inside a little, so even when I stretch my fingers, the knuckles separate but the tip of my pinky still points in the direction of my other fingers..this is why I am always half a note off, I can only reach e flat but never e sharp..will I be able to learn to reach e sharp with this one day?
@@ViolinClassUSA I just started in April. But I am getting there I think because I've been successful in hitting sharp notes with the fourth finger now sometimes :)
What about pinkie vibrato? Many times, I avoid playing with the the 4th finger and use the 3rd finger when possible (I have large hands). My violin teacher says I must train! I want to follow her advice and get better at 4th finger vibrato. Please advise!
![Violin Techniques - FINGER PATTERNS [Applying to the Violin]](http://i.ytimg.com/vi/ie50vmBx8rA/mqdefault.jpg)
![Violin Techniques - FINGER PATTERNS [Applying to the Violin]](/img/tr.png)
![Violin Techniques - Left Hand Frame [Part 1]](http://i.ytimg.com/vi/PTFzNp0jOyQ/mqdefault.jpg)
The Start of the Exercise - 1:55
Checking the pitch/adjusting to the correct pitch - 2:44
For a very weak 4th - 3:44
The thumb - 3:54
Checking the wrist - 4:24
Three fingers/working with the 4th - 4:42
Start extending the 4th into "dirty E flat/E natural" - 5:55
Starting to go to the regular hand position - 6:33
Moving the thumb toward the new regular position - 7:15
"Have the window open" - 7:57
Segue to Sevcik or Schradieck, modified if needed 8:24
A quick recap of the Milstein sequence - 8:49
This has been by far the most effective pinky excercise I've found on RUclips. Everyone else was helpful but this is finally getting me somewhere!
Glad to know this!
I studied the left hand using Carl Flesch Urstudien for 30 minutes every morning for 2 years before going to rehearsal with the Bournemouth SO. I realised that force of any kind interferes not only with fluency but also with expression and interpretation. I discovered that each time I placed the same finger on the same note over and over again there was, in fact, just as in a series of dance steps, a progressive muscle use throughout the arm. No force was needed only 'placing' the finger. I also discovered that the little finger does not move best from the base joint but from the muscle in the side of the hand. I easily bring my little finger to 90 degrees to the fingerboard by 'rolling the hand rather than keeping it fixed in a static 45 degree angle. This creates no tension. It also produces a lovely clear singing note with the 4th finger!
This Basic Study by Carl Flesch for the left hand was an important exercise also for J Heifetz
Exactly, left hand must be connected with the left arm personal position and feeling the fingers like the 3rd and the 4th. connected with the left arm.
ruclips.net/video/ybQg9sPvqnk/видео.html
I have very much enjoyed your videos. You are so detailed in your explanations and have wonderful exercises on every subject. What a wonderful teacher your are!
Agree❤️❤️❤️❤️❤️
Thank you for posting your videos again. You really help many players around the globe, like me. I'm in Argentina. And there are really few knowledgeable information online. So thanks again.
I had the honor of playing his violin. It was the nicest violin I have ever played.
wow man the scar of scratching it 🤒
It certainly seems to be the nicest violin I’ve ever heard! What an awesome experience that must have been! I’d love to hear more about it.
He (Milstein) had a unique “Nasal” Sound. Old Italian Violins help. Heifetz, too, on his Guarnerius del Gésu.🥀
@@davidrosenman1889 : this sound has often been referred to the Cremonees sound… slightly nasal, perfectly clean, project and powerful. These are the sounds characteristics, which often contradict to each other’s. Meaning, nasal sound is often not clean or big (projected), as well as a small sound could be powerful and projected…which make Cremoneese, Italian violins sound,
Thank you so much professor Bushkova! I've recently discovered your channel and I've been inspired so much by it. All the content is incredibly helpful and very much hands-on. Many thanks again and all the best to you!
Happy to hear that!
Thank you very much!! Nice exercise!! Having a masterclass from such a superb teacher is a great 🎁
An aha! moment. I almost didn't try the exercise as I don't have a flat 4th finger, but I do have issues with 4th finger tone and control. What I learned is that I'd slipped into a bad habit of moving the balance of the left hand too far back towards the 1st finger. The exercise has fixed this. Instant improvement in 4th finger tone and tuning. Also, when I shift to 3rd the base of my thumb rests against the bout, which aids accurate shifting, while before there was a significant gap. So I can use this as a check that I'm not slipping back into my bad habit. Very useful, thank you.
(Milstein is my violin hero - such a deep understanding of the instrument...)
UPDATE: I'm back to reset to proper hand balance - I did slip back into bad habits. Just to alert people that this is a change that needs constant alertness if you're going to make it automatic, but it's worth the effort. As with my first time around, I'm getting an instant improvement in 4th finger tone and control and vibrato.
As a guy with a medium sized hand I can get an easy, unstrained 4th finger extension to the f in the exercise position and in the playing position. Couldn't do that with my old left hand setup.
It's not often on the fiddle that you get to enjoy such a quick and easy result!
Thank you for educating me from Australia
Огромное спасибо, Юлия Робертовна, за такое полезное упражнение и за подробное объяснение 🙏 "окошко" - хорошее слово 😃
Thank you, ma'am.
beautifully taught. Thank you very much Professor Bushkova.
I am very very happy to see you back :) :D
Bravo.!
Exercice fantastique !
Merci !
Thank you for this exercise. I can feel how useful this would be for so many things, in addition to creating a healthier pinky alignment. for one, I think it would help Baroque violinists/violists and others who are trying to transition to not using a shoulder rest. For me, it set up an experience of security in the left hand (the deep-set hand position and forward thumb) but also mobility. Having that sensation and then moving back into regular playing position gave me very valuable information while experimenting with it.
Brilliant! Thanks from Canada
I'm going to try this !!! Thank you so much Prof Bushkova.
I've never done this before and it's working really well. It's super cool!
Thanks!
Wonderful video! Thank you for spreading your wisdom Professor!! :)
Thanks Julia,
Oh. My. Word! Thank you!
Super super super lovely playing fantastic
I like your hair style also ,Fine teaching Julia .
wonderful teacher ..thankyou
Oh I remember this one :) love it!
Thank you so much ❤️
God bless you ☺️
This exercise fixed my pinky flattening out and causing joint pain!
Very glad to hear this!
Really Helpful. Thsnks
Thank you once again- excellent. Am working on what my teacher calls a weak fourth finger. I also have the bad habit of having the fourth finger pointing to the ceiling when not in use.
Madem, You are doing a great job. I learnt more from you a lot of.
Thank you for this exercise from Venezuela.
Thank you for sharing.
I like your video because they are well done and... i can fully understand your English .
Very very helpful thank you.
Thank you! I was also having trouble with playing a drone on the open E with fingers on the A without brushing the E with my 1st dorsal interosseous (I had to look that up to get a good description). This exercise helped me to stop brushing the E!
Thank you! A very interesting exercise!
Wonderful teacher! I I always share your videos with my students. Thank's from Brazil! :-)
Thanks for sharing and subscribing!
This is brilliant! Thank you.
I discovered that my pinkie was flat as a tack about a year ago. Been trying to correct it ever since. _Great advice professor_ Love it.
Fantastic.. Thank you so much for sharing this exercise. A very useful tip.
Thank you
Thank You Dear!!!!
СПАСИБО -- ТЕБЕ, Гражиночка!!!
Great! I play Jazz violin and I call that position the "Blues Grip." It is featured predominantly in tunes Like "Meditation" by Antonio Carlos Jobim, and "Take Five" by Paul Desmond. I understand that Nathan Milstein used to improvise with Rostropovich.
And my neighbours are still wondering what happened to me that day because they've heared the ambulance .-.
5:50
😁
XDD
thank u so much 😃❤
thanks for free lessons
I have watch a couple of your videos and i really love how you teach! I hope to have a class with you one day! 👏🏼👏🏼👏🏼
Thanks
Very clear, thks a lot
Thank you so much
Thank you, this was so so helpful!
Could you do a video about how to trill faster
Hello Julia. Thanks for very instructive video. Could you make video 4th finger vibrato on high position?? What do you prefer using joint or just moving hands without joint for pinky on high position.
Thank you very much for the great teach ……fantastic
Great presentation!
Beautiful lady, and I love her voice
Russian women are beautiful! I've never seen so many supermodels per square inch in the world like in Russia Ukraine and Serbia.
verry good
thank you so much!
Thanks you are great
Awesome
It, s very good!!!!!
I’m on a 16.5” viola and really need to work on stretching into 4th and having it bent - i think this will greatly help - thank you :D
Left hand pizzicato exercises are also great for that. You also need to walk your way up to the fourth finger like if you were walking from one finger to the other to keep the optimal weight balance on each finger. I hope this helps.
A very good piece of advice, especially for violists ("walking from one finger to the other"). And the LH pizz is a good one, although it may be too hard for younger students with very weak fingers.
Thank You ..might try it !! good video
I am looking for some information, wich was quite difficult or impossible to find online, and, it is how to approach the Sevcik books/exercises. And I don't mean an specific exercise or etude, but I mean as a whole, as a method.
Maybe you may do a video about it? That would be really great.
Brava! So perfect!!
Thank you, Allyson!
Thank you so much. It really helps my thumb to make it more relax. This is very useful indeed.. in return i will subscribed to your channel..
Thanks ❤️
Thank you for your videos! Can you explain how to get ricochet?
This really does seem amazing for the 4th! I don't think my 4th is particularly weak, but it droops and goes under the level of the fingerboard all the time... What could be causing this? Will this exercise fix it? Thakns, I just discovered your channel and it is very very didactic!
I have a question - does it mean that the reason for weak pinky is the left-hand thumb position? If I understood correctly, it means that 'a new' thumb position we have to keep forever. Right?
Correct. All the greats played with this "new" thumb position -- well, it was not "new" for them, obviously! A weak pinky has several causes; the thumb being backward is the main obstacle to obtaining a strong pinky.
Я люблю ваши видео. Моя главная задача - иметь хорошего репетитора. Я чувствую, что я не достиг своего пика. Какой план уроков вы бы порекомендовали мне, пожалуйста.
Большое спасибо, Юлия!
У очень большого процента моих учеников есть эта проблема, тк у меня ее нет, я не задумывалась об этом раньше, как решить ее на глубоком уровне.
Я уверена что это упражнение очень поможет!
И еще вопрос: может ли это упражнение также помочь для решения проблемы 1-2 пальца.
Тоесть когда у 2го пальца как бы нет места для отскока, т.к. 1й ему мешает.
Может быть есть еще упражнения именно для этой конкретной проблемы?
Большое спасибо!❤
Здравствуйте! Это упражнение не поможет. Но про то, что Вы спрашиваете, я сделала видео (более раннее), которое называется "Violin Techniques - How to fix dexterity problems in the left hand"
Надеюсь, оно Вам поможет в педагогике.
Большое спасибо за ответ!
У Вас прекрасные, очень интересные видео, и очень редко педагоги глубоко изучают такие важные проблемы!
Невероятно интересное видел с доктором, очень многое прояснило!
I solved the 4th finger problem by keeping it curled, like the other fingers, sliding from the upper register, to the lower register, keeping all the fingers curled, but making sure, as I go down, to keep the palm under the 4th finger closer to the fingerboard. If the palm turns away from the fingerboard, it takes the 4th finger with it, then you end up having to reach with that finger, making is straight, and it sometimes locks. Hope you understand what I'm trying to convey in words. As you go down, keep that pinky curled w. the rest of the fingers. Okno.
Precisely. One can fix the 4th finger without the help of this exercise - like I did when I was little. With the "Milstein", the process may be easier and faster. But, one can fix the pinky without the violin altogether.
As from, Elisabeth Matesky, first private Artist Pupil, (under same London Concert Artist Mgmt as Nathan Milstein, in London, {Wilfrid Van Wyck, Ltd., in 80 Wigmore Street, W1,} and his self-proclaimed 'Guinea Pig pupil of Heifetz!' I know very well Mr. Milstein's mentoring and can attest to the fact that NM Never assigned Exercises of any kind to me or to a few of his Nathan Milstein Int'l Violin Master Course students in Zurich, where he invited me to be his T.A., (teach-assistant) to help some NM VMCouse pupil's w/his unique NM Bowing & particularly in Unaccompanied Bach & all Piano/Violin Sonatas of Bach plus the violin concerti of Johann Sebastian Bach especially w/regard to chording and his own DNA at birth natural bowing arm which was a rounded approach not in any way angular, which is mythical and not Milstein. The Exercise Ms Bushkova, describes is completely foreign to the left hand muscular use of the Milstein left hand technique which was exceptionally strong & from the palms of the left hand, not finger only technical navigation. Not once in the 24 years of our long friendship, did I see nor hear Mr. Milstein ever speak of his own Exercise as being promoted here by one whom, to my knowledge, never met nor studied nor heard, Live, Milstein play ... If she did hear NM in his latter years of concert playing it would had to have been in the 1980s up until 1985, as in that time period Mr. Milstein, succumbed to a horrific traffic accident whilst walking in his Cheater Square Street to his home at No. 17, with a wild driver actually hitting his right arm on the small sidewalk he was walking rendering the Greatest Bowing of Nathan Milstein unable to play his beloved violin ever again ... It was a travesty yet he used the time to create exquisite Milstein transcriptions of a devilishly difficult arrg of Liszt's Mephisto Waltz, and for the Violin which no one to this writing has been able to match! He spent 3 Plus years on his own solo transcription and Then Some with his daughter once telling me, 'Elisabeth, Daddy is driving us all nuts with his obsession for this transcription of his friend, Horowitz's Liszt Mephisto difficult Waltz for one solo violin!' Yet, prior to the tragic accident, Mr. Milstein, premiered his Liszt-Milstein transcription in Orchestra Hall here in Chicago, to the utter amazement & near disbelief of the Thrice Sold Out House, in a frenzy upon hearing the Great Milstein toss off his own arrangement w/Elan Beyond & touches of the Devil's Wizardry!! Music Critic, Robert C. Marsh, of the Chicago 'Sun Times', was sitting with me & stunned asking "How can Milstein play like this at age 83, Lizzie?!!" I turned to Bob Marsh, saying, "Bob, He Is Milstein!!" I took Critic Robert C. Marsh + Maestro Kraków & Violist, Shelly, backstage to meet Mr. Milstein, as he had asked I act as his Hostess backstage, and we had fun trying to have Mr. Milstein identify Who the Music Critic, Conductor & Violist were! NM thoroughly enjoyed this 'game' yet showed no sign of any fatigue after a huge NM Special Violin Recital including his insanely difficult "Mephisto" for Solo Violin Feat which decades later, audience goer's there still speak breathlessly about to me!! It is this obsession of Mr. Milstein in his latter years, that I know he hadn't interest nor the time to teach 'exercises' to any & few were heard by him at his home in Chester Square, SW1 ~ I would advise Ms Bushkova defer using the platinum name of my dear friend & private violin mentor, "Milstein" Exercise from this now writing on 11th, July, '22. I will defer telling the Milstein Family if this is changed to Ms Julia Bushkova's Exercise! Reference on my Career:
facebook.com/elisabeth.anne.775?fref=nf & Photo at Top:
Potus Carter/French Premier, Raymond Barre, both standing 👏👏 my
Violin Recital last work, Ysaye's 3rd Solo Violin ,Sonate,.In D, "Ballade" in Honour of the French Premier & Minister's of his Gov't, in The White House State Dining Room, w/CBS Television lights filming/televising a portion of our full Recital of Mozart Sonatas {request of POTUS Carter} & Ysaye, my choice honouring GOAT Franco-Belgium Violinist/Composer, Eugen Ysaye, whom it turned out was a personal friend of 🇫🇷 Premier Barre's father, Barre Sr., whom French Premier Raymond Barre was thrilled to hear!! 'All's Well that Ends Well', to quote The Bard, Shakespeare!! When on my FB Pg, scroll to: 'About Elisabeth Anne Matesky' which gives partial music career Profile. Best Wishes to All Nathan Milstein Fans from myself, Elisabeth Matesky {also in my Heifetz Violin Master Class film-Khachaturian, JH-7, Elisabeth Matesky, {Rus Vers. Library Master Performers.} on:
www.bili.bili.com/Khachaturian {JH Violin Master Class-Khachaturian, Elizabeth Matesky, Rus Vers, but in English. Library Master Performers.} Thank You All for loving Nathan Milstein's Grand Artistry!!
Elisabeth Matesky/US 🎻🌹11.07.2022 Fwd dg,
Artist Rep/USA/Europe
Very curious, since Milstein played with a flat pinky
Unfortunately, I never studied with Milstein - the person who shared this exercise with me did, and, according to him, he learned it from Mr. Milstein, hence the name. I would have definitely asked Mr. Milstein where he knew this exercise from if I had a chance! I am convinced that he did not invent it... I want to think that it may have been Stoliarsky who used it but I do not have any proof of this.
Thank you for the video. I'm not sure if I'm doing this repositioning correctly. When I do it correct I can play the notes with the thumb completely off the finger board? Since the neck is now supported at the joint of index finger and palm. I'd appreciate your answer.
Yes, it is correct
Hi Julia and everyone, I have a question about the 3rd finger in this excercise, because I seem to have a big problem with that. While I keep putting and lifting my 4th, my 3rd finger doesn't stay in place and slides towards the 4th which makes it unable to really keep going with the excercise. I wonder if it happens because my 3rd is too weak? I am not sure how to approach this... most of all - thank you for your amazing work Julia!
Hello - perhaps, by now you have already figured out the problem:) No, it is not due to any weakness of the 3d finger. It is a coordination issue - the brain and the hand/finger are not "speaking the same language." If you tried to mimic this motion without the violin, you will see that your 3d finger would behave differently.
Should I still do this even if it means reworking my whole left hand frame?
I'd give it a try. It would not hurt anything but may enhance.
In D string I can reach A with fourth easily but not able to reach A flat/G# with fourth finger. I think my problem is I'm curving my palm inward more. The only time I can reach A flat is when play E flat major scale (low 1st finger somehow changes my frame so I can reach A flat with fourth other times is purely nightmare) any help will be useful.
Legenda em português Brasil 🇧🇷🙏🙏🙏🙏🙏🙏🙏🙏🎻🎶🎶🎵🎵 please...
brillant
what about the pinky in higher positions
For those who are very double jointed, the pinky may be collapsing in the higher positions even after training. However, it will still get stronger and the overall effect will be better.
Fantástico!!! Gracias!!!
My pinkies are naturally turned to the inside a little, so even when I stretch my fingers, the knuckles separate but the tip of my pinky still points in the direction of my other fingers..this is why I am always half a note off, I can only reach e flat but never e sharp..will I be able to learn to reach e sharp with this one day?
You should be able to if you keep stretching. How long have you been playing the violin ?
@@ViolinClassUSA I just started in April. But I am getting there I think because I've been successful in hitting sharp notes with the fourth finger now sometimes :)
What about pinkie vibrato? Many times, I avoid playing with the the 4th finger and use the 3rd finger when possible (I have large hands). My violin teacher says I must train! I want to follow her advice and get better at 4th finger vibrato. Please advise!
This is an excersize?
Very nice I leki
Your muscles on each arm is amg. xD what a lady!
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I am jealous of the lenght of your pinky 😂🎻
I have always thought that I got my strength in my fourth finger when practicing finger vibrato on a table.
*interesting*
Russians are so good looking. Thank you. It is a very interesting exercise and the pinky finally remained curved.
Thanks a lot. It will be more helpful if some rationales or theory can be kindly provided with these exercises.
It’s like we are cheating our fingers😂
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Просто так объяснять очень легко , но играть трудно
Это очень верно подмечено :))
Iam Wesam Obied
Hi Wesam!