3:44 position 4:19 left hand position 8:28 thumb exercise 10:19 fingers exercise 12:17 pressure on the string 14:45 wrist and fingers exercise 18:13 exercises flexibility thumb and fingers
I've been trying to obtain freedom in my shoulder with different shoulder rests, chin rests, asking for instruction from my teachers and trying to copy great players. This is the first time I've had any hope that I'd be able to correct my stiff, muscular neck and shoulder grip. What a great teacher, and what a great post! Thanks a million!
I would heartily recommend the Libero shoulder rest, I personally do not own one yet, but would like to. PERSONALLY I USE AN EVEREST SHOULDER REST, AND IT IS FINE FOR THE TIME BEING, BUT AM SURE THE.Libero would provide better support for the modern style of VIOLIN hold.
Good luck with your particular situation, remember that in order to vibrato the thumb must not choke the VIOLIN neck. The instrument is to be supported by the collar bone and chin, with assistance from the shoulder rest. There are I believe two schools of thought, one the shoulder rest, two the delicate balance between chin and collar bone. I THINK HEIFITZ MAY HAVE NOT USED A SHOULDER REST NOR OSTRACH. THE SHOULDER REST CAME ON THE SCENE AROUND 1840 TO 1850, UP UNTILL THAT TIME THE VIOLIN WAS SUPPORTED WITH CHIN OVER HIGH E STRING AS RECOMENDED BY LEOPOLD MOZART. TRY AN ART GUM IN THE V OF THE LEFT HAND AND HOLD THE VIOLIN THAT WAY. IT WILL PREVENT CHOKING THE VIOLIN NECK AND KEEP SPACING THE PROPER DISTANCE FROM HAND. IF YOU DONT HAVE AN ART GUM, WIGGLE YOUR THUMB WHILE YOU PLAY. IF YOU CANT WIGGLE YOUR THUMB YOUR PROBABLY CHOKING THE NECK. GOOD LUCK AND GOD SPEED AND HAPPY VIOLINING.
I had the honour of performing with this great human being. A wonderful, and remarkably humble person I have ever met n my life.A dedicated artist with a pure quality of a human being. His passion for human rights and his great support for the Iranian resistance were immense.I don't want to talk about his musical values that are so obvious to everyone, just like the sunshine that doesn't need to be described.He shall always be remembered by our resistance as he generously supported us. Blessings
3:34 13:39 7:31 easy way to feel violin hold is the help of a crutch a wall or a hand 8:22 thumb exercise 8:48 another exercise add one or two fingers with thumb 9:09 further exercise allowed hand move 9:39 fourth thumb exercise, head very lightly resting on the chin rest, hand on the highest position above fingerboard, Lift violin by thumb alone 10:13 finger lightly resting on fingerboard & move as highest as we can wiping changing the angle of first joint 10:49 create space Must let shoulder frog each time 11:53 increase the strength and speed of the lift of the finger 12:12 applying pressure to string, strengthening the arch of the finger,....... remain the weight of whole arm 12:39 shoulder relaxing surrender its weight relaxing backward allowing elbow swing 13:04 fingertip squarely over the string, so string traverses the finger diagonally 13:44 no pull push string aside ,weight must falln directly vertically squarely on to string 14:03 14:21 repeat finger falling is good exercise to vibrato 14:34 add arm horizontal motion 15:42 same horizontal motion , disscuss involvement of head & shoulder Pull out head (+) shoulder backward , push in head( -) shoulder foreward 16:50 Not simultaneously. Head is anticipate Shoulder is anticipate elow 17:25 three motion vertical up down , horizontal tires are backward, lateral swing....into one three dimension circle 18:09 three exercise concern with the reciprocal flexibility of thumb and fingers 18:18 first exercise 18:45 second exercise 19:15 third exercise, move thumb and finger in opposite direction 19:39 lateral motion 20:33 21:04 21:27 two finger in opposite direction simultaneously 21:56 independent of finger of eachb finger by Dunas, each finger do different movement
Ces adolescents ont eu une chance inouïe de se retrouver face à l'un des plus grands violonistes du 20ème siècle et doté d'une grande envie de transmettre aux autres son amour pour le violon , et d'une empathie que l'on ressent très bien dans cette vidéo. Bravo à lui. 🎻
I must say that these exercises are the best that I have done for the left hand. They exercise muscles adding flexibility improving vibrato and left hand pizzicato. This also happens faster than expected. A must. Following the lecture was very hard for me, I have the book but it was difficult for me to understand what he was saying. The film is better, but it still was difficult to follow. What worked best was hearing the recording and taking note by hand of each exercise. Highly recommended.
Very informational video, I like how he lets the children be an example. He's a very good teacher, I wish he didn't pass away. His teaching is also very helpful. I watch these videos everyday and played on stage, I can see I improved a lot from these lessons/sessions. Thanks!
These exercises are very interesting, and with a level of detail that surprises me. I had bought the book long time ago, but I did not understand the exercises nor their value. I think that they are very useful, for example the thumb exercises, which had never before been aware of, but are important. Also the notion that the nuckles should be very up, so that each finger works at it's best.
You are right ! I am a Learner and I know what it takes both for the Teacher and the Learner. His technical approach is very good. It is obvious that he understood the mathematics as a whole, from the violin design to the actual playing ! That's why he has to spend more time to explain. Cheers !
No puedo creer con que facilidad salen las cosas así, ahora se que todo es fácil si se tiene tecnica y se sabe estudiar... gracias por entregar este video... aguante Menuhin ...
Oh my god... this is incredible. I saw this before and i was just thinking that trying to follow this would be an unecessary waste of time, and oh boy was I wrong. the first 10 mins of the video transformed my sound tone and I was able to be so much looser with the violin.
"We mustn't support our violins with our shoulders, nor our thumbs, nor our chins lest we, permit not our wizardly powers to energize, the violin. All the while, we must use our, vampiric gaze to coax the violin strings to play them selves. The finger's need not move, but, rather permit the observer to perceive the illusion of playing, whilst, indeed, we are in another location, eating, as it were, a sandwich..." GOT THAT KAREN!!!
"It is important that the violin be supported and touched only at the finger tips and the soft pad of the thumb" those words helped a lot. I am now having to relearn my left hand for a more efficient way of playing.
21:02 To play the violin, we must be able to move the finger horizontally al9ng the length of strings this way with each finger always involving the cooperation of the joints. I don't have the finger and the knucles but the wrist and the elbow, and in fact the whole arm We can also move two fingers simultaneously in opposite directions 21:35 however when we move the second and third the fingers in opposite direction between the anchors of the first and the fourth finger. There is much Less whole arm or even wrist movement. The effort Is concentrated more particularly in the finger and the hand
7:31 easy way to feel violin hold is the help of a crutch a wall or a hand 8:22 thumb exercise 8:48 another exercise add one or two fingers with thumb 9:09 further exercise allowed hand move 9:39 fourth thumb exercise, head very lightly resting on the chin rest, hand on the highest position above fingerboard, Lift violin by thumb alone 10:13 finger lightly resting on fingerboard & move as highest as we can wiping changing the angle of first joint 10:49 create space Must let shoulder frog each time 11:53 increase the strength and speed of the lift of the finger 12:12 applying pressure to string, strengthening the arch of the finger,....... remain the weight of whole arm 12:39 shoulder relaxing surrender its weight relaxing backward allowing elbow swing 13:04 fingertip squarely over the string, so string traverses the finger diagonally 13:44 no pull push string aside ,weight must falln directly vertically squarely on to string 14:03 14:21 repeat finger falling is good exercise to vibrato 14:34 add arm horizontal motion 15:42 same horizontal motion , disscuss involvement of head & shoulder Pull out head (+) shoulder backward , push in head( -) shoulder foreward 16:35 16:50 Not simultaneously. Head is anticipate Shoulder is anticipate elow 17:25 three motion vertical up down , horizontal tires are backward, lateral swing....into one three dimension circle 18:09 three exercise concern with the reciprocal flexibility of thumb and fingers 18:18 first exercise 18:45 second exercise 19:15 third exercise, move thumb and finger in opposite direction 19:39 lateral motion 20:33 21:04 21:27 two finger in opposite direction simultaneously 21:56 independent of finger of eachb finger by Dunas, each finger do different movement
@unotelly there r actually two methods. Another Sir Menuhin's video where he was teaching a masterclass showed a boy who was taught different but played just as well. Although he insisted on leaving space between the index and neck, I think it's just a personal preference thing. Just look at all the great violinists who didn't play the same. :)
@amezcuaist It's ok to touch it occasionally but if it becomes a habit of squeeze the base of the 1st finger against the neck, you will not be able to play any fast passage. My left hand gained tremendous agility after learning to leave a gap between the 1st finger joint and the neck.
I personally had this problem, but I switched to gut strings, all except the e string. The guy strings need to be bowed a different way to get a good tone quality. After I changed my bowing AND my string, the problem disappeared for awhile. But occasionally I still get a shrill. Do you have a dominant e? Those are very prone to shrilling and squeaking. The note you are hearing is an e, 3 octaves higher then open e.
12:12 we come to the important point a great moment`of applying our pressure to the string 12:20 pressure is again a misnomer because like hold it implies a squeezing but it is actually only the strengthening of the arch of the finger so that it may receive the weight or a fraction rather of the weight of the whole arm。 12:40 in this feeling there is rather an extension 12:43 an expansion of space with the shoulder relaxing surrendering its weight relaxing backwards allowing the elbow to swing a little more around the violin so as again to bring more weight directly vertically over the fingertip 13:05 the fingertip must sit squarely over the string so that the string traverses the finger diagonally and so that some of the soft part the soft part of the finger rests equally on both sides of the string 13:22 there's no need to press the string more than this in other words the soft part need not be squeezed onto the fingerboard only as much as is required to carry the weight that will stop the string at that point so that it may vibrate clearly 13:44 the finger also must never pull the string to one side like that or push the string away to the other side 13:56 in other words the weight must alway fall directly vertically squarely on to the string and this happens with its accompanying sensation in the shoulder and the elbow 14:09 as i described each time a finger comes down even when it happens microscopically and in any position on the fingerboard 14:21 in fact a repeated 14:26 the repeated falling of the finger is a
I would not characterize Menuhin's approach to playing later in life to be a failure. That's simply not true. He was a fine player till he died, simply not the same 'caliber' as his young prodigy years. This is case for many many prodigies including those stemming from traditional pedagogic roots. The techniques he's introducing are not particularly injurious or misleading simply different and seem tailored to non-shoulder rest playing. Menuhin is pure legend in the history of playing.
Hello, I'm Brazilian and I do not speak English. This text was done in the google translator. I have a request to make. youtube has a caption that you can correct the English generated automatically, this legend ends up having some errors and when I put the caption to see this sequence of videos of Menuhim has many items that I do not understand. I do not know if you know how to do this correction it is done like this: 1- Enter the study of creation; 2- click on edit video: 3- click on subtitles / CC 4- click in automatic English; 5- Click edit. Wow, I know it gives a lot of work, but if you correct the automatic caption this way, these Menuhim classes will be easily translated into any language, not just Portuguese, but in all languages, and we who do not know English will have access to those menu concepts that are so important. thank you, Marcello.
@billfiddle I don't think you can make out anything in any of his earlier videos to determine that he maintains the base index finger contact all the time. There's a difference between occasionally touching and frequently touching
That violin is held very high, above the horizontal. This surely means the bow arm has to work a lot higher too, using more energy to lift the arm to reach the strings and diminishing the use of the natural weight of the arm to pull sound from the violin(?)
1:06 no fixed support for violin ...... no hold of violin which must prevent its free motion It's adjustment to the stroke of right hand. , to the action of fingers to the sway of the body to the sway and motion of your head to the action of shoulder 1:39 first common fault. don't want to it drop fearing....... we want to put something underneath we want to put shoulder underneath (1:56) we hold on it with our hand or put our thumb underneath it , these are allbwrong 2:03 we must leave our shoulder free. ....we must have flexibility in all the joints, we must have freedom of the elbow 02:19 little Karen (3:09) 3:35 plastic violin (3:47) violin rest on the collarbone and the head rests kightly on the violin free to move from side to side or backwards and forwards (4:00) the reason for that it's too leave the shoulder quite free, you can see how the shoulder can move that way 4:07 the other point support....... how high the knuckle are pushed to leave plenty of space no only..... (4:37) (4:50) (5:04) 5:14 the elbow is free to swing the shoulder, it's dependent the finger can rise sell above fingerbread a space everyehere (5:26 ) Karin. ....very good 5:48 (6:15) 6:33 as we rise the violin..... (6:50) while the violin up we have been created more more room for the whole arm 7:01 violin is resting on the pad of the thumb which is still nearly vertical 7:09 not allowing..the thumb to support the violin from below the neck, (7:13 ) nor to fall into the crook between do the fingers. 7:17 nor......shoulder
Please understand that Menuhin's left hand position is very unconventional - 99% of players place the neck in the V of the thumb and first finger. His technique forces the left elbow far to the right, which ergonomically is questionable. With Menuhin's techniques I find it virtually impossible to reach the G string, and balancing the instrument is very challenging. Using a conventional technique, I have been much more successful. Menuhin was an advanced Yogi, and had more flexibility than most!
Nope, 99% of players are wrong. His technique doesn't force the elbow to the right, in fact his elbow is behind the body slightly. Go watch all his performances . That is how you open up your shoulder. 99% of players need to DECONDITION how they hold the violin. His violin 'rest' is one of the most stable you will ever see, his vibrato and shifts are surreally quiet. That is how tension free he is. Your angles are all wrong, you need to work with a proper violin professor to DECONDITION that.
Paganini (highly probably the best violinist in humon history) had extremely long fingers (one of the reasons people accused him of having sould his soul to the devil) and guess what? In his time shoulder rests and chin rests weren't even invented! Just keep doing the exercices, even if it's purely for the sake of finger strength, it'll work out : )
I can almost guarantee Paganini wasn't holding the violin the way Menuhin suggests either...since he had to shift, like a lot. He was probably holding it between index and thumb bones, like most who play without rest.
@@frankborder If you are interested, Ricci's book on Glissando gives his view of how Paganini was playing, based on meticulous research. He had a huge hand, and a medical condition that gave him unusual finger flexibility. In Ricci's view, he mainly left his thumb in 3rd position and extended up and back without shifting. Even with a smaller hand, this offers great security and efficiency during fast passages up and down the neck. Interesting book.
I am a Juilliard alumna and have been teaching for over 25 yrs - this is not so accurate about holding the violin - without shoulder pads - I agree at the end of his video about the fingers
This is the most detailed video on how to use the left hand and arm for violin students. The thing that strikes me most is that he is not using, or even mentioning the use of shoulder rests. It was common to not use them in his heyday. I have two daughters that have played violin. The elder has wide and square shoulders and did not use anymore than a small sponge, the younger has narrow and more sloping shoulders and she needs a proper shoulder rest, (which is the norm these days). All of her teachers, (appx 6), have used them. The question is: Does some of the given advice here not relate to shoulder rest users?
As Menuhin says in this video the violin is "held between the collar bone and the head" , (collar bone = part of the shoulder), albeit only a small contact area, but the same is true of shoulder rests. Apart from resisting slippage a shoulder rest can adjust for the varying players neck lengths combined with the depth of the violin bout and I think it is ridiculous for a Teacher to impose his no shoulder rest option on his students.
The collar bone is not part of the shoulder and shoulder rests make a huge contact area across the shoulder and chest. Longer necks can be accommodated with taller chin rests. Adjusting for longer necks with a shoulder rest raises the instrument away from the body requiring the player to raise their arms uncomfortably high.
Don't write rubbish you ignorant troll!. The Collar bone/ clavicle is a long horizontal bone running from the front base of the neck and going up to the centre of the shoulder point where it meets the arm and shoulder blade. Here is a Dictionary quote>" The clavicle is a long bone that is part of the shoulder".At the side of the neck where a violin base, or a shoulder rest sits the collar bone is right up high and forms the main structure of the shoulder there. Chin rests have only small height adjustments. Neck lengths have much more variation and of course their is the desirable grip benefit as well. All of my younger daughter's 6 violin teachers have recommended a shoulder rest for her. Her current Teacher is a top class Jazz Violin Performer/Arranger/Teacher and she has no problem raising and rotating her bow arm high, being a top class swimmer, gymnast and dancer. She has a long neck and an adjustable chin rest that may suit your limited physical attributes doesn't suit her or many others. She is doing what so many top professionals do these days: using a shoulder rest.
Beware - Yehudi had an extreme and minority view of the left hand position. His advice to keep the thumb under the neck and the base of the first finger clear of the neck creates a hold that feels very insecure for most, especially if you play restless. It also requires an extreme position for the left elbow. In his later career, Menuhin notoriously struggled with intonation, and you have to suspect that his left hand position was at the root of the issue. The first time I tried the violin I was being advised by a professional who was taught in this tradition. Because of an old injury I found it literally impossible. She told me dogmatically it was the only way to succeed, and as this was pre-internet I didn't have easy access to alternative views. So I simply gave up the instrument. Coming back to it later I'm using a more pragmatic technique, as used by almost all the greats in history. Sadly, I missed out on a decade of enjoyment because of this poor advice. So if this technique works for you, go for it - but it's important to understand that very few teachers recommend it. Being from Edinburgh, I know a couple of people who were taught by Menuhin directly. They loved him as a man, but less as a teacher. They abandoned the technique he taught them for something more mainstream and secure.
Не забывайте- скрипка у него без подушки или моста. Это особая постановка, спорная. Подбородник в таких постановках должен быть установлен по центру, как у Анны-Софи Муттер. Иначе искривляется позвоночник в связи с постоянной поддержкой корпуса инструмента во время игры. У меня все коллеги, играющие без моста искривлены , как бы закручены в правую сторону. Хотя, есть один коллега, который всю жизнь играл с мостом, а в 55 лет мост стал ему мешать и он стал играть без него🤔
Все великие скрипачи играли без мостика. Весь основной скрипичный репертуар был написан скрипачами которые играли без мостика. Мостик как и другие искусственные приспособления дали возможность более широкому кругу заниматься на скрипке (это плюс) но большой минус мостика это тот факт что он изменил всю технику левой руки в худшую сторону. Парафразируя Руджеро Риччи, «не нужно переходы выполнять так как-будто вы на тромбоне играете»
Interesting ideas, but somewhat vague. For example: 1) the thumb pad supports the violin 2) yet, the thumb is nearly vertical? Even a 10-year-old can see there's a problem here. How do you support the violin with an almost vertical thumb, without putting too much pressure? Turns out, if you notice at 8:30, Menuhin is holding the violin without using his left hand! That changes everything. Not everyone is built to hold a rest-less violin without the left hand.
3:44 position
4:19 left hand position
8:28 thumb exercise
10:19 fingers exercise
12:17 pressure on the string
14:45 wrist and fingers exercise
18:13 exercises flexibility thumb and fingers
Thanks!
I've been trying to obtain freedom in my shoulder with different shoulder rests, chin rests, asking for instruction from my teachers and trying to copy great players. This is the first time I've had any hope that I'd be able to correct my stiff, muscular neck and shoulder grip. What a great teacher, and what a great post! Thanks a million!
I would heartily recommend the Libero shoulder rest, I personally do not own one yet, but would like to. PERSONALLY I USE AN EVEREST SHOULDER REST, AND IT IS FINE FOR THE TIME BEING, BUT AM SURE THE.Libero would provide better support for the modern style of VIOLIN hold.
Good luck with your particular situation, remember that in order to vibrato the thumb must not choke the VIOLIN neck. The instrument is to be supported by the collar bone and chin, with assistance from the shoulder rest. There are I believe two schools of thought, one the shoulder rest, two the delicate balance between chin and collar bone. I THINK HEIFITZ MAY HAVE NOT USED A SHOULDER REST NOR OSTRACH. THE SHOULDER REST CAME ON THE SCENE AROUND 1840 TO 1850, UP UNTILL THAT TIME THE VIOLIN WAS SUPPORTED WITH CHIN OVER HIGH E STRING AS RECOMENDED BY LEOPOLD MOZART. TRY AN ART GUM IN THE V OF THE LEFT HAND AND HOLD THE VIOLIN THAT WAY. IT WILL PREVENT CHOKING THE VIOLIN NECK AND KEEP SPACING THE PROPER DISTANCE FROM HAND. IF YOU DONT HAVE AN ART GUM, WIGGLE YOUR THUMB WHILE YOU PLAY. IF YOU CANT WIGGLE YOUR THUMB YOUR PROBABLY CHOKING THE NECK. GOOD LUCK AND GOD SPEED AND HAPPY VIOLINING.
I LOVE THIS... The Maestro was my musical family's friend. Thank you for posting!
Menuhin is much chiller than Heifetz
I can breath with this dude!!
every human being must be chiller than Heifetz :P
I had the honour of performing with this great human being. A wonderful, and remarkably humble person I have ever met n my life.A dedicated artist with a pure quality of a human being. His passion for human rights and his great support for the Iranian resistance were immense.I don't want to talk about his musical values that are so obvious to everyone, just like the sunshine that doesn't need to be described.He shall always be remembered by our resistance as he generously supported us. Blessings
3:34
13:39
7:31 easy way to feel violin hold is the help of a crutch a wall or a hand
8:22 thumb exercise
8:48 another exercise add one or two fingers with thumb
9:09 further exercise allowed hand move
9:39 fourth thumb exercise,
head very lightly resting on the chin rest, hand on the highest position above fingerboard,
Lift violin by thumb alone
10:13 finger lightly resting on fingerboard & move as highest as we can wiping changing the angle of first joint
10:49 create space
Must let shoulder frog each time
11:53 increase the strength and speed of the lift of the finger
12:12 applying pressure to string,
strengthening the arch of the finger,....... remain the weight of whole arm
12:39 shoulder relaxing surrender its weight relaxing backward allowing elbow swing
13:04 fingertip squarely over the string, so string traverses the finger diagonally
13:44 no pull push string aside ,weight must falln directly vertically squarely on to string
14:03
14:21 repeat finger falling is good exercise to vibrato
14:34 add arm horizontal motion
15:42 same horizontal motion , disscuss involvement of head & shoulder
Pull out head (+) shoulder backward , push in head( -) shoulder foreward
16:50 Not simultaneously. Head is anticipate Shoulder is anticipate elow
17:25 three motion vertical up down , horizontal tires are backward, lateral swing....into one three dimension circle
18:09 three exercise concern with the reciprocal flexibility of thumb and fingers
18:18 first exercise
18:45 second exercise
19:15 third exercise, move thumb and finger in opposite direction
19:39 lateral motion
20:33
21:04
21:27 two finger in opposite direction simultaneously
21:56 independent of finger of eachb finger by Dunas, each finger do different movement
Ces adolescents ont eu une chance inouïe de se retrouver face à l'un des plus grands violonistes du 20ème siècle et doté d'une grande envie de transmettre aux autres son amour pour le violon , et d'une empathie que l'on ressent très bien dans cette vidéo. Bravo à lui. 🎻
Thank you so much for sharing this wonderful masterclass, he is one of the most virtuous artists ever
Thanks to this video, I'm improving my left hand position and the stress in my hand is now gone!
I love the glass violin, and how it lets you see the finger pads!
I must say that these exercises are the best that I have done for the left hand. They exercise muscles adding flexibility improving vibrato and left hand pizzicato. This also happens faster than expected. A must.
Following the lecture was very hard for me, I have the book but it was difficult for me to understand what he was saying. The film is better, but it still was difficult to follow. What worked best was hearing the recording and taking note by hand of each exercise. Highly recommended.
please can you tell me what book this is? Is this a Menuhin book? With a tutorial, how to practice it?
Very informational video, I like how he lets the children be an example. He's a very good teacher, I wish he didn't pass away. His teaching is also very helpful. I watch these videos everyday and played on stage, I can see I improved a lot from these lessons/sessions. Thanks!
An invaluable lesson indeed. I will definitely revisit again and again.
Absolut bliss to see this again...I cannot thank you enough for uploading these lessons.
These exercises are very interesting, and with a level of detail that surprises me. I had bought the book long time ago, but I did not understand the exercises nor their value. I think that they are very useful, for example the thumb exercises, which had never before been aware of, but are important. Also the notion that the nuckles should be very up, so that each finger works at it's best.
You are right !
I am a Learner and I know what it takes both for the Teacher and the Learner. His technical approach is very good. It is obvious that he understood the mathematics as a whole, from the violin design to the actual playing ! That's why he has to spend more time to explain.
Cheers !
those finger independence exercises seem incredibly useful
Many thanks, please hold on to these treasures by Menuhin and Benedetti. Again my sincere thanks!
"i'm sorry to roast you, karen"
"She has to move like an earthworm"
Poor Karen :c
Karen is getting bullied hard in this haha poor kid
No puedo creer con que facilidad salen las cosas así, ahora se que todo es fácil si se tiene tecnica y se sabe estudiar... gracias por entregar este video... aguante Menuhin ...
I'm learning so much needed techniques for successful playing, thank you from Australia
This is so excellent. Thanks you for posting this.
Great lessons, all compliments to maestro Yehudi, thank you to uploader.
Blessed are they who saw him and enjoy her violin ,God bless his soul
Oh my god... this is incredible.
I saw this before and i was just thinking that trying to follow this would be an unecessary waste of time, and oh boy was I wrong. the first 10 mins of the video transformed my sound tone and I was able to be so much looser with the violin.
3:50 琴置於鎖骨上 3:59 肩膀是自由的 5:15 手肘手臂都可以活動
6:15 7:00 大拇指支撐 8:22 大拇指練習
按弦壓力的 作用機制 (C型扣環)
12:27 左手 手掌手指的拱形結構 伸展 來接收 手臂重量 鎖傳過來的力量 12:40 肩膀放鬆下沉down 向後 back 手肘會略略的延著小提琴向右邊旋轉 swing
手臂 pull-out push-in的律動擺動 循環機制
16:36 16:50
Pull out 肩膀下沉後退 手臂的三角形空間增大(一)
Push in 手臂的三角形空間縮小 (二)
但這並不是 simultaneously 同時的， 是前後次第 律動循環的
一開始是先 身體向前 帶動手臂向前 然後肩膀下前向後 達到(一) 三角形空間增大 的狀態
這時候身體是略為前傾的
然後身體向後帶回 帶動手臂拉回 肩膀回到 原來略高的位置(二) 三角形空間變小的狀態
來帶動換把 手臂 移動的動作
然後律動循環把移動縮小 就變成揉弦的動作( 請看曼紐英 小提琴教學 視頻5)
上訴的機制也可以來驅動 按弦3:50 琴置於鎖骨上 3:59 肩膀是自由的 5:15 手肘手臂都可以活動
6:15 7:00 大拇指支撐 8:22 大拇指練習
按弦壓力的 作用機制 (C型扣環)
12:27 左手 手掌手指的拱形結構 伸展 來接收 手臂重量 鎖傳過來的力量 12:40 肩膀放鬆下沉down 向後 back 手肘會略略的延著小提琴向右邊旋轉 swing
手臂 pull-out push-in的律動擺動 循環機制
16:36 16:50
Pull out 肩膀下沉後退 手臂的三角形空間增大(一)
Push in 手臂的三角形空間縮小 (二)
但這並不是 simultaneously 同時的， 是前後次第 律動循環的
一開始是先 身體向前 帶動手臂向前 然後肩膀下前向後 達到(一) 三角形空間增大 的狀態
這時候身體是略為前傾的
然後身體向後帶回 帶動手臂拉回 肩膀回到 原來略高的位置(二) 三角形空間變小的狀態
來帶動換把 手臂 移動的動作
然後律動循環把移動縮小 就變成揉弦的動作( 請看曼紐英 小提琴教學 視頻5)
上面用身體最後 帶動肩膀最後帶動手臂 的這個動作 力量最後可以傳導到手指
作為 手指之間的距離收縮擴張 手型的收縮擴張 的動力來源
這樣手指手就不需要直接 出這麼大的力量 就可以比較達到放鬆 保持柔軟以及延展性
關於這個部分請看 視頻三 21:20 這個部分的說明
I think yehudi has a collar bone made for the violin.
unless neck is too long ， it's ok to do what he said in this video
Phenomenal instructional video! Thank you for sharing this!
Excellent video, I really appreciate this video
so precious!! thank you so much for posting these videos!!
"We mustn't support our violins with our shoulders, nor our thumbs, nor our chins lest we, permit not our wizardly powers to energize, the violin. All the while, we must use our, vampiric gaze to coax the violin strings to play them selves. The finger's need not move, but, rather permit the observer to perceive the illusion of playing, whilst, indeed, we are in another location, eating, as it were, a sandwich..." GOT THAT KAREN!!!
Looool spot on
Hilarious!
lol!
This is how you win at RUclips.
Xaxaxa I still dont get how he thought you should support the violin...
"It is important that the violin be supported and touched only at the finger tips and the soft pad of the thumb" those words helped a lot. I am now having to relearn my left hand for a more efficient way of playing.
At last, a tutorial that makes complete sense. Now I know I'm on my way to the Albert Hall.
My father had the opportunity to meet the master in person :)
I just like to listen to his voice.
21:02 To play the violin, we must be able to move the finger horizontally al9ng the length of strings this way with each finger always involving the cooperation of the joints.
I don't have the finger and the knucles but the wrist and the elbow, and in fact the whole arm
We can also move two fingers simultaneously in opposite directions
21:35 however when we move the second and third the fingers in opposite direction between the anchors of the first and the fourth finger. There is much Less whole arm or even wrist movement. The effort Is concentrated more particularly in the finger and the hand
This video even gave me more detail than the other videos i watch..
Will we be seeing any more of these wonderful videos.
wow, Mr Menuhin!!! What a Professor!!!! Wonderful!!!!
7:31 easy way to feel violin hold is the help of a crutch a wall or a hand
8:22 thumb exercise
8:48 another exercise add one or two fingers with thumb
9:09 further exercise allowed hand move
9:39 fourth thumb exercise,
head very lightly resting on the chin rest, hand on the highest position above fingerboard,
Lift violin by thumb alone
10:13 finger lightly resting on fingerboard & move as highest as we can wiping changing the angle of first joint
10:49 create space
Must let shoulder frog each time
11:53 increase the strength and speed of the lift of the finger
12:12 applying pressure to string,
strengthening the arch of the finger,....... remain the weight of whole arm
12:39 shoulder relaxing surrender its weight relaxing backward allowing elbow swing
13:04 fingertip squarely over the string, so string traverses the finger diagonally
13:44 no pull push string aside ,weight must falln directly vertically squarely on to string
14:03
14:21 repeat finger falling is good exercise to vibrato
14:34 add arm horizontal motion
15:42 same horizontal motion , disscuss involvement of head & shoulder
Pull out head (+) shoulder backward , push in head( -) shoulder foreward
16:35
16:50 Not simultaneously. Head is anticipate Shoulder is anticipate elow
17:25 three motion vertical up down , horizontal tires are backward, lateral swing....into one three dimension circle
18:09 three exercise concern with the reciprocal flexibility of thumb and fingers
18:18 first exercise
18:45 second exercise
19:15 third exercise, move thumb and finger in opposite direction
19:39 lateral motion
20:33
21:04
21:27 two finger in opposite direction simultaneously
21:56 independent of finger of eachb finger by Dunas, each finger do different movement
Bravo,Maestro !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Nice to see
The greatest lesson
Extremely comprehensive. Thank you. G Ire
Thank you for make this comment, it says alot about the worthiness of this video. :-)
@unotelly there r actually two methods. Another Sir Menuhin's video where he was teaching a masterclass showed a boy who was taught different but played just as well. Although he insisted on leaving space between the index and neck, I think it's just a personal preference thing. Just look at all the great violinists who didn't play the same. :)
Santa inveja da Karen e Bravo!!! para o mestre!
@amezcuaist
It's ok to touch it occasionally but if it becomes a habit of squeeze the base of the 1st finger against the neck, you will not be able to play any fast passage.
My left hand gained tremendous agility after learning to leave a gap between the 1st finger joint and the neck.
I personally had this problem, but I switched to gut strings, all except the e string. The guy strings need to be bowed a different way to get a good tone quality. After I changed my bowing AND my string, the problem disappeared for awhile. But occasionally I still get a shrill. Do you have a dominant e? Those are very prone to shrilling and squeaking. The note you are hearing is an e, 3 octaves higher then open e.
12:12 we come to the important point a great
moment`of applying our pressure to the string
12:20 pressure is again a misnomer because
like hold it implies a squeezing but
it is actually only the strengthening of the arch of the finger so that it may
receive the weight or a fraction rather of the weight of the whole arm。
12:40 in this feeling there is rather an extension
12:43 an expansion of space with the shoulder
relaxing surrendering its weight relaxing backwards
allowing the elbow to swing a little more
around the violin so as again to bring
more weight directly vertically over the fingertip
13:05 the fingertip must sit squarely over the
string so that the string traverses the
finger diagonally and so that
some of the soft part the soft part of
the finger rests equally on both sides of the string
13:22 there's no need to press the string more
than this in other words the soft part
need not be squeezed onto the fingerboard
only as much as is required to carry the weight
that will stop the string at that point
so that it may vibrate clearly
13:44 the finger also must never pull the
string to one side like that or push the string
away to the other side
13:56 in other words the weight must alway fall
directly vertically squarely on
to the string and this happens with its accompanying
sensation in the shoulder and the elbow
14:09 as i described
each time a finger comes down even when
it happens microscopically
and in any position on the fingerboard
14:21 in fact a repeated
14:26 the repeated falling of the finger is a
I would not characterize Menuhin's approach to playing later in life to be a failure. That's simply not true. He was a fine player till he died, simply not the same 'caliber' as his young prodigy years. This is case for many many prodigies including those stemming from traditional pedagogic roots. The techniques he's introducing are not particularly injurious or misleading simply different and seem tailored to non-shoulder rest playing. Menuhin is pure legend in the history of playing.
Hello, I'm Brazilian and I do not speak English. This text was done in the google translator. I have a request to make. youtube has a caption that you can correct the English generated automatically, this legend ends up having some errors and when I put the caption to see this sequence of videos of Menuhim has many items that I do not understand. I do not know if you know how to do this correction it is done like this:
1- Enter the study of creation;
2- click on edit video:
3- click on subtitles / CC
4- click in automatic English;
5- Click edit.
Wow, I know it gives a lot of work, but if you correct the automatic caption this way, these Menuhim classes will be easily translated into any language, not just Portuguese, but in all languages, and we who do not know English will have access to those menu concepts that are so important.
thank you,
Marcello.
@billfiddle I don't think you can make out anything in any of his earlier videos to determine that he maintains the base index finger contact all the time.
There's a difference between occasionally touching and frequently touching
Very interesting, a lot of detail
That violin is held very high, above the horizontal. This surely means the bow arm has to work a lot higher too, using more energy to lift the arm to reach the strings and diminishing the use of the natural weight of the arm to pull sound from the violin(?)
the exercises are so hard to do!!!!
This guy is a genius
1:06 no fixed support for violin ...... no hold of violin which must prevent its free motion
It's adjustment to the stroke of right hand. , to the action of fingers
to the sway of the body to the sway and motion of your head
to the action of shoulder
1:39 first common fault. don't want to it drop fearing.......
we want to put something underneath we want to put shoulder underneath
(1:56) we hold on it with our hand or put our thumb underneath it , these are allbwrong
2:03 we must leave our shoulder free. ....we must have flexibility in all the joints, we must have freedom of the elbow
02:19 little Karen
(3:09)
3:35 plastic violin
(3:47) violin rest on the collarbone and
the head rests kightly on the violin free to move from side to side or backwards and forwards
(4:00) the reason for that it's too leave the shoulder quite free, you can see how the shoulder can move that way
4:07 the other point support....... how high the knuckle are pushed
to leave plenty of space no only.....
(4:37)
(4:50)
(5:04)
5:14 the elbow is free to swing the shoulder, it's dependent the finger can rise sell above fingerbread a space everyehere
(5:26 ) Karin. ....very good
5:48
(6:15)
6:33 as we rise the violin.....
(6:50) while the violin up we have been created more more room for the whole arm
7:01 violin is resting on the pad of the thumb which is still nearly vertical
7:09 not allowing..the thumb to support the violin from below the neck,
(7:13 ) nor to fall into the crook between do the fingers.
7:17 nor......shoulder
But the first shoulder rest was patented by Menuhin...
@lovetheatre100: there's just the six. I wish I could find the complete versions of the last three though.
You could inquire at the Yehudi Menuhin school, they have the full versions
Please understand that Menuhin's left hand position is very unconventional - 99% of players place the neck in the V of the thumb and first finger. His technique forces the left elbow far to the right, which ergonomically is questionable. With Menuhin's techniques I find it virtually impossible to reach the G string, and balancing the instrument is very challenging. Using a conventional technique, I have been much more successful. Menuhin was an advanced Yogi, and had more flexibility than most!
Nope, 99% of players are wrong. His technique doesn't force the elbow to the right, in fact his elbow is behind the body slightly. Go watch all his performances . That is how you open up your shoulder. 99% of players need to DECONDITION how they hold the violin. His violin 'rest' is one of the most stable you will ever see, his vibrato and shifts are surreally quiet. That is how tension free he is. Your angles are all wrong, you need to work with a proper violin professor to DECONDITION that.
Wow! Thank you!
oh.. lol
He called her an earthworm and so dry it's hilarious xD
Thank you ! Excellent information !
Thank you very much for this video
many thanks sir.
Fantastic... 👌🏻👍🏻🙏🏻💐🎻
very very very good !
And the last bit is frankly terrifying for a beginning student. Each finger moving completely independent of each other? Oh boy.
========================
小提琴不用肩墊夾琴
在曼紐因小提琴教學3 的視頻時間位置
[要領 1 ]
3:50 琴置於鎖骨上 3:59 肩膀是自由的 5:15 手肘手臂都可以活動
[要領 2-1]
琴頭略略抬高 ( 胡乃元老師一電視專訪 7:00)
ruclips.net/video/t8aWZqww5Xk/видео.html
( 一般來說 琴頭 跟 眼睛 平)
( 抬高有利於夾琴的穩定性 琴也可以比較靠在下巴
如果必須使用肩墊的朋友 琴頭的抬高 可以減少肩墊的肩膀接觸的力量
肩墊使用對於肩膀活動限制的影響 也可以減少)
[要領 2-2 ]
大拇指的接觸 也是負擔 不用肩墊夾琴很重要的部分
6:15 7:00 大拇指支撐 8:22 大拇指練習
[要領 3-1 ]
按弦壓力的 作用機制 (C型扣環)
12:27 左手 手掌手指的拱形結構 伸展 來接收 手臂重量 鎖傳過來的力量
12:40 肩膀放鬆下沉down 向後 back 手肘會略略的延著小提琴向右邊旋轉 swing
15:12 揉弦手臂向前移動的時候 手指的基關節線 要略略升高rise ！
這個動作會有利於C型扣環 在比較靠請頭的手臂位置仍然可以 有足夠的角度順利運作 足夠的定竿壓力
這個動作也會有助於 琴頭高度的維持 ( 有利於加群的穩定性 琴也可以比較靠在下巴 如果此時使用肩墊 可以減少肩墊的肩膀接觸的力量 肩墊使用對於肩膀活動限制的影響)
[要領 3-2 ]
16:36 手臂 pull-out push-in的律動擺動 循環機制
Pull out 肩膀下沉後退 手臂的三角形空間增大(一)
Push in 手臂的三角形空間縮小 (二)
16:50 但這並不是 simultaneously 同時的， 是前後次第 律動循環的
一開始是先 身體向前 帶動手臂向前 然後肩膀下前向後 達到(一) 三角形空間增大 的狀態
這時候身體是略為前傾的
然後身體向後帶回 帶動手臂拉回 肩膀回到 原來略高的位置(二) 三角形空間變小的狀態
藉由這種發力方式讓手臂 前後移動， 來達到換把位 揉弦 所需要的手臂動作
手臂 pull ou下降把位
push in 上升把位
把這種動作成為一種連續的律動循環 然後縮小動作幅度 就成為揉弦
(這個部分請看 曼紐因 小提琴教學視頻5
7:54 ruclips.net/video/9qEIKoOXvWM/видео.html)
[要領3-3]
頭部的協調
15:42 手臂擺動的律動循環
當手臂 Pull out 的時候 頭部會靠攏
如果琴頭的高度也有抬高維持
那其實琴會夾得很確實 不怕掉出來
當手臂push in 頭會回來原來的位置
但是因為琴是被推進去的 所以並不用擔心掉出來的問題
[要領3-4]
21:20 用身體 帶動肩膀最後帶動手臂 的這個動作
力量最後可以傳導到手指
來作為 手指之間的距離收縮擴張 extend contraction
手型的收縮擴張 的動力來源
這樣手指手就不需要直接 出這麼大的力量
就可以比較達到放鬆 保持柔軟以及延展性
(關於這個部分請看 視頻三 21:20 這個部分的說明)
===========+++++++++++++++
thank you for posting this!!!!
Paganini (highly probably the best violinist in humon history) had extremely long fingers (one of the reasons people accused him of having sould his soul to the devil) and guess what? In his time shoulder rests and chin rests weren't even invented!
Just keep doing the exercices, even if it's purely for the sake of finger strength, it'll work out : )
I can almost guarantee Paganini wasn't holding the violin the way Menuhin suggests either...since he had to shift, like a lot. He was probably holding it between index and thumb bones, like most who play without rest.
@@frankborder If you are interested, Ricci's book on Glissando gives his view of how Paganini was playing, based on meticulous research. He had a huge hand, and a medical condition that gave him unusual finger flexibility. In Ricci's view, he mainly left his thumb in 3rd position and extended up and back without shifting. Even with a smaller hand, this offers great security and efficiency during fast passages up and down the neck. Interesting book.
What a master
incororandolo en 3, 2, 1. Gracias!
I am a Juilliard alumna and have been teaching for over 25 yrs - this is not so accurate about holding the violin - without shoulder pads - I agree at the end of his video about the fingers
Great teacher!
you are blessed sir...
12:12 apply pressure
3:34 -4:00
5:14
15:42
16:30
Karen please cheer up!
this is gold!
Thank you thank you thank you!
Thanks. You are very Kind.
The exercises remind me of the Dounis Daily Dozen.
Dounis was one of the tutors of menuhin
I never thought I would be appreciative of a plastic violin.
This is the most detailed video on how to use the left hand and arm for violin students. The thing that strikes me most is that he is not using, or even mentioning the use of shoulder rests. It was common to not use them in his heyday. I have two daughters that have played violin. The elder has wide and square shoulders and did not use anymore than a small sponge, the younger has narrow and more sloping shoulders and she needs a proper shoulder rest, (which is the norm these days). All of her teachers, (appx 6), have used them. The question is: Does some of the given advice here not relate to shoulder rest users?
With his posture the violin does not actually make contact with the shoulder
As Menuhin says in this video the violin is "held between the collar bone and the head" , (collar bone = part of the shoulder), albeit only a small contact area, but the same is true of shoulder rests. Apart from resisting slippage a shoulder rest can adjust for the varying players neck lengths combined with the depth of the violin bout and I think it is ridiculous for a Teacher to impose his no shoulder rest option on his students.
The collar bone is not part of the shoulder and shoulder rests make a huge contact area across the shoulder and chest. Longer necks can be accommodated with taller chin rests. Adjusting for longer necks with a shoulder rest raises the instrument away from the body requiring the player to raise their arms uncomfortably high.
Don't write rubbish you ignorant troll!. The Collar bone/ clavicle is a long horizontal bone running from the front base of the neck and going up to the centre of the shoulder point where it meets the arm and shoulder blade. Here is a Dictionary quote>" The clavicle is a long bone that is part of the shoulder".At the side of the neck where a violin base, or a shoulder rest sits the collar bone is right up high and forms the main structure of the shoulder there. Chin rests have only small height adjustments. Neck lengths have much more variation and of course their is the desirable grip benefit as well. All of my younger daughter's 6 violin teachers have recommended a shoulder rest for her. Her current Teacher is a top class Jazz Violin Performer/Arranger/Teacher and she has no problem raising and rotating her bow arm high, being a top class swimmer, gymnast and dancer. She has a long neck and an adjustable chin rest that may suit your limited physical attributes doesn't suit her or many others. She is doing what so many top professionals do these days: using a shoulder rest.
holy crap that crazy cordination
I would've killed to have him as a violin teacher
imagine how cool this class would be if they were all holding scalloped fender stratocasters run into marshall heads and cabinets.
Beware - Yehudi had an extreme and minority view of the left hand position. His advice to keep the thumb under the neck and the base of the first finger clear of the neck creates a hold that feels very insecure for most, especially if you play restless. It also requires an extreme position for the left elbow. In his later career, Menuhin notoriously struggled with intonation, and you have to suspect that his left hand position was at the root of the issue.
The first time I tried the violin I was being advised by a professional who was taught in this tradition. Because of an old injury I found it literally impossible. She told me dogmatically it was the only way to succeed, and as this was pre-internet I didn't have easy access to alternative views. So I simply gave up the instrument.
Coming back to it later I'm using a more pragmatic technique, as used by almost all the greats in history. Sadly, I missed out on a decade of enjoyment because of this poor advice.
So if this technique works for you, go for it - but it's important to understand that very few teachers recommend it.
Being from Edinburgh, I know a couple of people who were taught by Menuhin directly. They loved him as a man, but less as a teacher. They abandoned the technique he taught them for something more mainstream and secure.
I have all of them on my PC , but I dont know how you can get them from me.
I want a Ghost Violin like Yehudi.
Не забывайте- скрипка у него без подушки или моста. Это особая постановка, спорная. Подбородник в таких постановках должен быть установлен по центру, как у Анны-Софи Муттер. Иначе искривляется позвоночник в связи с постоянной поддержкой корпуса инструмента во время игры. У меня все коллеги, играющие без моста искривлены , как бы закручены в правую сторону. Хотя, есть один коллега, который всю жизнь играл с мостом, а в 55 лет мост стал ему мешать и он стал играть без него🤔
Все великие скрипачи играли без мостика. Весь основной скрипичный репертуар был написан скрипачами которые играли без мостика. Мостик как и другие искусственные приспособления дали возможность более широкому кругу заниматься на скрипке (это плюс) но большой минус мостика это тот факт что он изменил всю технику левой руки в худшую сторону. Парафразируя Руджеро Риччи, «не нужно переходы выполнять так как-будто вы на тромбоне играете»
However would it work with viola??
does anyone know where i can get the score for that exercise he did at the end??
Menuhin mentions my teacher's mentor, Demetrius Dounis at 22:00. A brilliant man.
Hello, I am currently very interested in Dounis' art. May I ask who's your teacher?
lots of gifted children on you tube with this flexibility. He's just saying do not grab the violin with the thumb.the fingers have to be free
Interesting ideas, but somewhat vague. For example:
1) the thumb pad supports the violin
2) yet, the thumb is nearly vertical?
Even a 10-year-old can see there's a problem here. How do you support the violin with an almost vertical thumb, without putting too much pressure?
Turns out, if you notice at 8:30, Menuhin is holding the violin without using his left hand! That changes everything. Not everyone is built to hold a rest-less violin without the left hand.
thankyou!
Cool footage. It looks like some 70´s TV programme.
There is a lost video to this series, "Yehudi Menuhin teaches how to improve your intonation". Somehow that video never caught on...