Catching The String - Galamian's Method for Violin
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- Опубликовано: 23 июн 2024
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Bayla Keyes
Professor of Violin, Boston University, College of Fine Arts
www.bu.edu/cfa/about/contact-... .
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Produced by Daniel Kurganov
The student has a very beautiful sound! And he learns quickly.
I like the to-the-point manner of explanations. Her remark about letting go to reinforce the release at the ends of martele bow strokes is helpful. Sometimes, students understand that you must release, but still end up pinching in practice. It was nice to sit-in on this lesson!
i see
@@lakatos1683 you musnt release anything. Releasing is like WHAT you do after you kick the ball…it doesnt matter…you have to get the ball in the right place with the right force. Releasing doesnt mean anything.
The problem is not the release, its the WORK your hands must do, and how to train them. TRAIN THE MUSCLES. Analize what you do with your muscles in order to transmit thar energy to the instrument.
MUSCLES play the violin at the end. The brain tells the muscles to play the violin, and the muscles must be trained to do the work. Most string players have underdeveloped muscles. Because nobody talks about GYM work for string instruments playing. NOBODY.
This is the very best I’ve ever heard anyone break down Galamian’s bow and sound production concept! Even though my background is mostly from the Russian School (Erick Friedman and Sidney Harth) I find this description so thoughtful!
ha ha
Awesome teacher. Strong student. Pleasure to watch.
Hi Bayla! This was great. On the bass we also use what you are teaching in this video. We have to modify some things, but basically it's the same for us, too.
This was so wonderful to watch! Thank you
When I was helping with my mother’s beginning string classes, we called this “prepare, attack, release.”
Awesome teaching!
Better to say "If you want a note to start emphatically you can hold the bow On the string and start it cleanly ".That is when you want to do that .
So when you say “ scything “are you doing that just once on the up bow or do you do several motions of the scything on one bow .
matur suksma
I'm far, far not so far, but thanks👌❣️🎶🎶
Tutorial on how to make a violin sound like a MIDI .
What piece is this that he is preparing to play?
Mozart violin concerto KV 219
Sibelius violin concerto nr 6.
@@leonardoiglesias2394 hahahahaha
Mozart Violin Concerto No.5
1st Movement
This is just a made up rule because someone said so. Instead of learning how to play the violin following someone's rules because "that's how you play the instrument", we should understand the affective qualities of any give piece, or passage, feel what the music is communicating, and choose our bow articulation to serve that affect. If the music calls for it, there is nothing wrong producing a note with no hard consonant, or as the lady says, with a "banana sound", a definition I am familiar with because a former teacher of mine (from the same kind of school) would use it as well, and it's nothing more than an insulting way of labeling what in historically informed performance we call "messa di voce", a way of bowing that was loathed by the 20th century school violinists who would instead sustain the tone always the same way and put vibrato on every possible note (continuous vibrato). This is a very old fashioned way of playing string instruments by today's standards, and yes, the messa di voce, aside from being documented in the treatises of multiple masters from the past, can be an expressive, touching, and vocal way to play certain notes.
Ich finde auch, dass der Geist, die Energie und die Satzbezeichnung eines Stückes die passende Artikulation und die Technik dazu finden lässt.
Thanks for writing my very thought. In less than 40 seconds into this video, my mind went to Geminiani’s very practical treatise on violin playing and not only a messa di voce that swells in the middle (banana) but messe di voce with varying shapes to express different affects. It’s fine to learn about a prominent teacher’s approach but it always has to be contextualized, as you said.
This is a completely irrational aproach. No knowledge about the physics of violin playing. Sad for the students.
But….they could also start using their brains instead of following absurd and irrational rules and methods.
In violin history you will find many examples of bad advice from well known pedagogues . The most blatant was to keep your elbow close to the body .
@@amezcuaist yes!! Great example!!
Still today, I‘ve heard people critisizing the way Kavakos holds his bow instead of hearing and watching one of the best bow-technicians of all times. If not the very best.
But probably its easier to stick to formulas and systems and dogmas than analizing the real problems and working hard enough to solve them, as Heifetz would say.
ABSOLUTELY ridiculous. I can decide to start the Bruch Concerto from NOTHING. NOTHING.
What kind of absurd rule, dogma is that, that I have to start a note with a little accent( no matter how small or big…)?
Singers and actors also start some words from NOTHING.
Modern composers even use a sign to tell they want a note coming from NOTHING.
Galamian was wrong about quite a lot. Even on technical matters he gave bad advice on both vibrato and pizzicato. His best students were already virtuosos when he met them, so he benefits from an unearned reputation.
What a silly comment. It’s clear to every good teacher that the beauty of learning is in the diversity of possibilities. Just because someone has a way, and believes in it strongly, it doesn’t mean that they will proclaim there can be no other way. No one person knows all legitimate ways. So you are building a straw man with your negative comment. If this way doesn’t work for you or suite your experience, aesthetic feel or abilities, there are many other ways to choose from.
I think the point is that you want to be in control and choose whether you start from nothing (like a clarinet) or articulate the start of certain phrases or notes within passages depending on the music.
I think each player should be able to choose what they want to do and not be governed by rules. Mozart Violin Concerto fast movements probably do benefit from clear articulation of most notes.
But I myself do like (more) the idea of starting from nothing. Not least that’s how the human voice works, and we are tying to sing on the violin a lot of the time.
La voz humana no siempre inicia desde cero, existen consonantes y vocales, de ahí lavariedad @@hamwhacker
@@hamwhacker you can start Sibelius from nothing. Not Brahms. I am against the Galamian dogma.