Paganini's Secret : Part 1 : A shortcut to violin technique
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- Опубликовано: 12 авг 2021
- This is the first of a set of three videos in which I talk about Paganini's secret and how Ruggiero Ricci solved this mystery.
Join me on Paganini’s Secret, the shortcut to left hand violin technique with unique specific exercises to accelerate your progress, personal guidance and personal feedback lessons with me. This is the method I learnt from the great Ruggiero Ricci and it is now available at Violin Lounge Academy:
www.violinlounge.com/paganini
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Especially the possibility of sending in videos for feedback is a highly functional way to learn the violin online since I as a teacher can carefully analyse your playing and give you the guidance you need.
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Study the Bach six solo sonatas and partitas with me and two more great teachers at Violin Lounge Academy. Like no other pieces these monumental works for violin will not only give you great musical satisfaction but also lift your technique to a higher level
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Once again I seem to not be able to reply to all comments for unknown reasons. I would like to thank everyone. Your comments are very motivating for me! I am very glad this video is helpful. I hope I will be able to pass on what I learned from Ruggiero Ricci because it was such a help to me.
Great information! I will be looking forward to your other videos. 😊
Thank you very much🙂
Very interesting. Thank you!
Thank you!
Thank you.
Thanks 👏👏👏
Thanks for watching!
Very well Explained ! I reading Ruggiero's Glissando Book! My first application and practice of this technique apart from scales is for Paganini's 1st caprice! Makes life much much easier, and intonation quite secure! I suppose the end goal would be to be able to have such well measured finger movement technique that one could play perfectly in tune without needing to hear any sound!
This method really does make life a lot less difficult. When I studied with Ricci I was amazed at what pieces I could suddenly play. In principle if the muscle memory is trained to perfection one can play in tune even if one hears nothing. A friend of mine told me she is regularly grateful for this method when she plays in her orchestra and cannot hear herself.
No chinrest nor shoulder rest…all in the thumb, great video, thank you.
Wonderful video, really looking forward to this series. I was able to read Maestro Ricci’s book and was struck on how it made so much sense without any of the modern technique using it’s principles. Seeing it in video with one of his pupils will be such a valuable resource.
Thank you! I was very lucky to be able to study with Maestro Ricci. His method is a huge help to me and I hope to pass it on to many violinists. Let me know if you have any questions.
May we study together and fight with the Ricci’ method ^_^
@@randybrown1346 Very good! :)
@@vivolin6521 Thank you :)
Hello, thank you very much for sharing the technique of Master Ricci. I was looking for it everywhere and I could never find and understand. I am eternally grateful that you shared it and very happy. Would it be possible to take lessons with you? I wish you the best
Thank you very much! I am glad my video is helpful.
Of course, I would be glad to give you lessons. My e-mail address is viviana7.vk@gmail.com
Just write to me and we can discuss the details.
I don't understand that there should be only one scale! There is the cromatic scale, then one in major and at least two in minor, and all require different fingerings, at least they have different distances between the fingers at different places. That makes them different! What I do understand is, that it is possible to use the same fingering for all 12 major scales if they start from certain points, let's say the first finger. But when you start from open strings it is already a different fingering. I red Ricci's book and I got some new ideas: to keep the thumb at the same spot and let the fingers and part of the hand move to two or three positions near by. That is indeed a helpful advice.
Super tutorial teaching
Augustine violinist from Malaysia
Thank you very much!
@@vivolin6521 Dear teacher I'm newly wanted to join in strings as second violinist group but I didn't have experienced kindly advise how to train myself what are scale I should practice
@@augustinechinnappanmuthria7042Dear Augustine, without having seen you play I want to be a bit careful about giving advice. Certainly studying the Kreutzer etudes, starting with no.2 and 3 and going on in order is always good for your violin playing.
@@vivolin6521 thanks a lot teacher for your excellent advice sure I will follow your advice as well
May lord lord Jesus Christ bless you and your beloved family
In fifth position, the left thumb is placed against the nape of the neck.
No es nuca es cuello!!
I am not a violinist, but I am interested to know this technique more. Please allow me asking several questions (could be dumb) :
1) This technique seems not friendly to people with short hand?
2) At what stage, beginner/intermediate/advanced, will you recommend to study this technique?
3) Could people keep both shifting techniques (shifting with arm & hand versus shift finger only) in their performing system? Will the different trainings confuse each other?
4) Does people have to remove the shoulder rest to apply this technique?
Thanks
Thank you for your comment and the questions. They are very good questions.
1) Violin playing in general is easyer for people with larger hands. Mostly it is a long thumb which helps simply because one can reach further in high positions. I have small hands and a short thumb and this technique helped me expand my stretch. It is helpful for people with small hands.
2) This technique can and should be learned rather early if possible. As soon as a pupil is secure in third position one can start teaching glissando technique.
3) This technique is not a substitute to the conventional shifting technique, it is an addition. One has to be able to do both.
4) This technique was used in the times before a shoulder rest existed but it is no problem to use this technique if playing with a shoulder rest.
I hope this answers your questions, please let me know if you have any more questions.
@@vivolin6521 Thank you very much for the detailed answers!
@@eefengsu You're very welcome!
I dont quite understand but am extremely reassured by your wonderful voice. Can you suggest mam should I try and get a Libero shoulder rest to help a grasping thumb? Or should I settle on no shoulder rest at all? I have since 4th grade had a death grip with my thumb and I have small hands. What should I do? Thank you for any help.I hold you in highest esteem as I would Menuhin that is what I like about you. I feel like you are Menuhin. Very propper and firm. I am honoured to have your instruction.
Thank you very much! Your praise is very humbling. About your thumb, you should work at lightening the grip of your left hand first and independently of whether you play with or without a shoulder rest. Practice short passages completely without the thumb. This is very hard but also very helpful. Don't expect to be able to do it, just try your best. It is just to unlock the grip.
Also, the thumb pressure is directly related to the pressure of your fingers on the string.You will have less of a tight grip if you don't press the strings down all the way. We should be able to feel the vibrating string in our fingertips as a tingling sensation.
If you want to experiment with playing without a shoulder rest, this video might be helpful:
ruclips.net/video/QgXBcp6CmbA/видео.html
Bravissima :-) could you possibly give some lessons? Thank you :-)
Thank you! Yes, right now I am away travelling until September 13th but we can arrange a lesson after that. You can contact me by e-mail : viviana7.vk@gmail.com
Excellent! I also worked with Ricci (Roger)
However this does not apply to people with
small hands and a stocky body.
Wow! Another Ricci student! Where did you study with Ricci? I was with him in Italy and in Salzburg. Inspite of having small hands and a short thumb I found this method incredibly helpful. I cannot keep my thumb in third position like Ricci did, I keep it in third or sixth position depending on the context. Having small hands does make violin playing more challenging in general but this method helped me a lot.
I studied with him in the U.S. You need to develop individual
finger strength and flexibility. Bringing the elbow around as
much as possible(Heifetz) is mandatory. Stretching is the key.
🎻🎵🎶💪✨
Nov.01-2023✝️
I’m learning the Ricci’s method. Just practice the 5 chords as group with double strings
Yes! That is Ricci's method. Everything as double strings. I need another several hundreds of hours practice for that part. :)
@@vivolin6521 Thanks in advance. Hope you can play these parts and present them. The Book of Left-hand Violin Technique (Etude 57, 58, 59). Especially making the sound clean and balancing the rhythm (6/4).
One question in these exercises is about how to play the melody parts more obvious when double stops.
Today, I practiced the Etude 5. It’s about moving positions on G string with double stops. I know how to play without Ricci’ method ( seems letting chin uses more energy). But how to deal with this situation with the Ricci’ method? Thanks
@@randybrown1346 Yes, a clean and clear sound is really difficult here. And so important! I also hope I'll be able to master this part. For me it is one of the hardest parts in that sonata.