Thank you, it's really helping, very good advice ! For me the most difficult in the beggining is not the ricochet but the two wide shifts (slides) that come after. Very tricky for the left hand, and to coordinate with the bow.
Heifetz's 1917 version is indeed stunningly clean and clear but is also a bit squarer than his later recording (which is more 'sizzling' but less spotlessly clean-but it's still Heifetz, after all!) Menuhin and Francescatti also play the passage with brilliance and cleanliness rivaling young Heifetz: Menuhin's is a bit more fiery, whereas Francescatti goes more for lyricism. But there are certainly many fine performances out there...
Thank you. I was just wondering because many great violinists played it with great "showmanship" but did end up either missing notes here and there in that part specifically or just having a bit messier double stop sound. Of course not to take anything away from them I just found it interesting that many didnt pick up on that or they did but just didnt think it was a big deal
Thanks for the video. So the bowing for the beginning of the music is (down down down down) up-down, up-down, up-up ? Is this correct? I have a sheet music in front of my that has printed this bowing (down down down down) up-up, up-up, down-down..... and then retake.... is that the right bowing? Thank you.
Bazzini slurs by the beat: the first 4 sixteenths down-bow (with staccato dots), then the next two 8ths slurred with dots, the following two 8ths slurred with dots, and the final two 8ths slurred without dots. The most natural reading is for the bow direction to change by the beat, but sometimes I play both beats 2 & 3 up-bow and then beat 4 down-bow (down-down-down-down, up-up, up-up, down slur) and then simply retake the down-bow on the downbeat; that helps me to get a little more sound and presence in the articulation on the third and fourth beats, especially in larger or drier spaces. But not all bows/instruments/players may benefit appreciably from that.
I'd keep the left-hand fingers as round as you can and allow the hand to help the fingers by rotating ever so slightly out from the fingerboard (i.e. counterclockwise) as you descend from the 4th finger to the first on each string. Also remember that, even if they're executed strongly, their volume won't be able to compete with bowed notes (so don't be to dismayed about that): it just creates a nice 'sizzling' effect in the hall-though I'll also add that microphones pick them up better than you'd think based on what you can hear under your ear. Hope that helps!
Thanks for your feedback! Honestly, I didn't have time when recording this to do the whole thing, and then I never got around to it afterward-probably not a very good reason! Yes, the next section is tricky. Here are some recommendations: 1. Practice each quasi-trilled chord not as 4 or 8 notes but as very even, extended trills at varying speeds (rhythms can be helpful if this is challenging). Being able to trill one of these challenging chords for, say, 30 seconds will build stamina in the hand. 2. Practice going back and forth between shifts making sure the changing finger positions are very exact (the changing qualities of the triad make this difficult for intonation, and we want it to be as precise as we can make it). 3. Be able to play the passage very evenly with excellent articulation (like an exercise in Schradieck's School of Violin Technics) BUT, once you can do that, I suggest that in performance you don't think about the left hand being very even-keel but instead feel the passage in groups of 4 with a little bit of "snap" in the left-hand at the beginning of each of these groups of 4. For me, that makes the passage sound more brilliant and less monotonous, and it also helps you to feel like you have time to do those difficult shifts cleanly. I hope this helps!
This helps me a lot, i really want you to continue because i learn much from your simple but good explanatory. My devolpment depends on your learnings. Only you can teach good. Thank you so much
Hello! I think a lot of it depends on personal variables: your bow, the climate, the time of year, and so forth. I have personally liked Kaplan Artcraft, and I use both Light no. 6 (a bit finer) and Dark no. 7 (a bit stickier) depending on things like humidity and how my bow hair is feeling. I've heard very good things about Leatherwood Bespoke Rosin but haven't yet tried it. But maybe something altogether different will work for you!
Phenomenal insight.
I am still afraid of this piece, but you gave me new hope :)
Thank you-I'm glad it was helpful. Best wishes in your music-making!
I share your passion at how quirky and fun the piece is. When I can bow right I’ll learn it.
You have an excellent teaching style.It`s difficult to break down such a technical subject .
Thank you, it's really helping, very good advice ! For me the most difficult in the beggining is not the ricochet but the two wide shifts (slides) that come after. Very tricky for the left hand, and to coordinate with the bow.
the part with the fast double stops, have you ever heard anyone play them as clean as Heifetz?
Heifetz's 1917 version is indeed stunningly clean and clear but is also a bit squarer than his later recording (which is more 'sizzling' but less spotlessly clean-but it's still Heifetz, after all!) Menuhin and Francescatti also play the passage with brilliance and cleanliness rivaling young Heifetz: Menuhin's is a bit more fiery, whereas Francescatti goes more for lyricism. But there are certainly many fine performances out there...
Thank you. I was just wondering because many great violinists played it with great "showmanship" but did end up either missing notes here and there in that part specifically or just having a bit messier double stop sound. Of course not to take anything away from them I just found it interesting that many didnt pick up on that or they did but just didnt think it was a big deal
Thank you for your detailed tips and demonstration. They are rational, demonstrative and really get to the point.
Thanks for this it's very helpful and I'll keep it in mind while trying this amazing piece
A lot of thanks, you did such useful and helpful Video
Thanks very much for this.
LOVE this piece. Thanks for this . I agree it is "sprites" not jumping devils from Hades.
La Hyundai Luton is the subtitles version of Lutins .
Thanks for the video. So the bowing for the beginning of the music is (down down down down) up-down, up-down, up-up ? Is this correct? I have a sheet music in front of my that has printed this bowing (down down down down) up-up, up-up, down-down..... and then retake.... is that the right bowing?
Thank you.
Bazzini slurs by the beat: the first 4 sixteenths down-bow (with staccato dots), then the next two 8ths slurred with dots, the following two 8ths slurred with dots, and the final two 8ths slurred without dots. The most natural reading is for the bow direction to change by the beat, but sometimes I play both beats 2 & 3 up-bow and then beat 4 down-bow (down-down-down-down, up-up, up-up, down slur) and then simply retake the down-bow on the downbeat; that helps me to get a little more sound and presence in the articulation on the third and fourth beats, especially in larger or drier spaces. But not all bows/instruments/players may benefit appreciably from that.
@@ShuteBen wonderful! Thank you!
Hi do you have any tips for the left hand pizzicato scales at the end?
I'd keep the left-hand fingers as round as you can and allow the hand to help the fingers by rotating ever so slightly out from the fingerboard (i.e. counterclockwise) as you descend from the 4th finger to the first on each string. Also remember that, even if they're executed strongly, their volume won't be able to compete with bowed notes (so don't be to dismayed about that): it just creates a nice 'sizzling' effect in the hall-though I'll also add that microphones pick them up better than you'd think based on what you can hear under your ear. Hope that helps!
Ricci gave lots of advice about pizzicato such as getting the fingertip skin hardened . He may have tried bricklaying at some time .
Thank you but why you didn't Continue the next difficult notes.
I'm waiting you.
Thank you very very much.
Thanks for your feedback! Honestly, I didn't have time when recording this to do the whole thing, and then I never got around to it afterward-probably not a very good reason! Yes, the next section is tricky. Here are some recommendations:
1. Practice each quasi-trilled chord not as 4 or 8 notes but as very even, extended trills at varying speeds (rhythms can be helpful if this is challenging). Being able to trill one of these challenging chords for, say, 30 seconds will build stamina in the hand.
2. Practice going back and forth between shifts making sure the changing finger positions are very exact (the changing qualities of the triad make this difficult for intonation, and we want it to be as precise as we can make it).
3. Be able to play the passage very evenly with excellent articulation (like an exercise in Schradieck's School of Violin Technics) BUT, once you can do that, I suggest that in performance you don't think about the left hand being very even-keel but instead feel the passage in groups of 4 with a little bit of "snap" in the left-hand at the beginning of each of these groups of 4. For me, that makes the passage sound more brilliant and less monotonous, and it also helps you to feel like you have time to do those difficult shifts cleanly. I hope this helps!
@@ShuteBen thank you it was very helpful.
Regards
This helps me a lot, i really want you to continue because i learn much from your simple but good explanatory. My devolpment depends on your learnings. Only you can teach good.
Thank you so much
Hello, which violin resin do you use? Can you please peel?
Hello! I think a lot of it depends on personal variables: your bow, the climate, the time of year, and so forth. I have personally liked Kaplan Artcraft, and I use both Light no. 6 (a bit finer) and Dark no. 7 (a bit stickier) depending on things like humidity and how my bow hair is feeling. I've heard very good things about Leatherwood Bespoke Rosin but haven't yet tried it. But maybe something altogether different will work for you!
Hi man! Pls , russian translation