How to Master 3rds | Violin and Viola | Double Stops
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- Опубликовано: 8 июл 2024
- What's the best way to practice 3rds on the violin or viola? What preparatory exercises are crucial so that you can effectively practice double-stop scales? How can you fix your technique in that pesky passage in Paganini?? I will try to answer by showing you my favorite ways to practice 3rds. We'll also discuss the various technical challenges and best practices.
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VIDEO CHAPTERS
===============
00:00 - Intro
01:22 - New Monthly Q&A
01:59 - Challenges and Benefits of 3rds
EXERCISES
03:07 - #1 Sevcik
07:03 - #2 Hrimaly
08:21 - #3 Vamos/Korguev
09:37 - #4 Servais
11:20 - #5 Grigoryan
12:28 - #6 Dounis Op.16
14:51 - #7 Dounis Daily Dozen
16:36 - #8 Separate Voices
TECHNICAL CONSIDERATIONS
19:08 - Frame and Balance of the Hand
21:53 - Intonation
24:29 - Vibrato
25:11 - Further Study
====================
CORRECTION - I misspoke about intonation systems. I meant to say that Pythagorean is the alternate system to Just Diatonic, not the same! As mentioned, you are encouraged to investigate the art and science of string intonation further. Here is my friend @Violinna doing a very good explanation of these two main systems that we live in, and how to navigate them.
Part 1 - • Pythagorean vs Just In...
Part 2 - • Pythagorean Tuning vs ...
*Something I didn't mention in the video is that you'll realize, when doing the Separate Voices exercise with any adjacent 3rds, that you're essentially playing 2-note scales with 1-2 and with 3-4. I made a video dedicated to two-note/two-finger scales that will greatly help your coordination and recognition of these shapes.
► • 2-finger exercise for ...
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I am a 34-year-old dude who is just now learning violin and I cannot thank you enough for helping me attempt to achieve a lifelong dream of mine. I have never subscribed to Patreon before but here we go. You are incredible.
If I had known you could do stuff like this I would have been quite intimidated! Ignorance is bliss!
Daniel Kurganov, among all else, is excellent at putting the listener at ease.
The sparkling sound in the Paganini excerpt is admirable, and it is fascinating and inspiring to observe your finger ballet. Above all else, the expression and style are captivating.
I wish people like you lived forever! Thank you for all your support professor.
me too; I'd have fun with all of that time :)
“so that whoever believes in [Jesus] will have eternal life. “For God so loved the world, that He gave His only begotten Son, that whoever believes in Him shall not perish, but have eternal life.”
John 3:15-16
“Jesus said to her, “I am the resurrection and the life. He who believes in Me, though he may die, he shall live. And whoever lives and believes in Me shall never die. Do you believe this?””
John 11:25-26
Absolutely amazing
Ohh Servais is new to me!! Can't wait to try it! Korguev, thanks to you, is one of my new favorite warmups. Really helps listen in the moment.. (physical and mental connection)
Thank You. Excellent Lesson. I live to play Thirds and Double Stops - that is my passion.
Really fantastic stuff, Daniel. Thanks so much for making these videos, they help tremendously.
very diversified exercices and nice,with rich harmonics violin sounding;
I LOVE YOUR MASTERCLASSES Mr. Kurganov
Your videos are very good... It helpes me a lot. Thank you...
Beautiful intro music, Daniel! Gorgeous tone and clarity! G Ire
I'm a new subscriber and wow.....what a good channel I found!
This is exactly what I needed!
Nobody talks about the third note you can hear when you play thirds and sixth 😊(the note of the perfect chord or the octave of one of the two notes.
Yes, Tartini tones (undertones)! I was thinking of getting into that but it’s a whole different topic.
Thank you, Mr. Daniel Kurganov.
Such variety incredible unbelievable.
14 cents vs 14 Hz
14 cents means 14/100 of a half step
Since octave is 2x and has 12 half-steps, 14 cents means 2**(0.14 / 12), which is 1.00811950292
If your major third was 440 Hz usually, you'd like to play it 1.00811950292 times lower, i.e, at ~436.5 Hz
A very fine teacher.
Great generosity.!
Merci infiniment pour l'efficience de vos leçons.
Beautiful tones.
Thank you for sharing!
Superb!
Thanks a lot!! 🙏🏻
Thankyou sir... very informative... from.. India..
Thank you so much master!
Спасибо большое, Даниэль! Вы просто супер!
Spasibo Vam!
Lovely bow arm and left hand.
Thanks Daniel! Excellent demo as usual. We must be on the same wavelength. I began doing Dounis daily dozen a few weeks ago and I just got into the Vamos book recently. (Day before Yesterday) im finding my left hand transforming in wonderful ways. I have had the most difficult time with my 4th finger for almost 30years. I never really learned to play without tension, finally now (largely i think due to diligence with Dounis and Korgueff/vamos, not only are my DS reliability improving drastically, my fingers are actually gaining the independence ive always wanted.
Thank you for those tips RetroPS4. G Ire (adult student just making good headway after 30 years 😀)
Very helpful lessons Sir. Thank you and GOD bless!❤
You are very welcome
Thanks a lot, your videos are really a great improvement of knowledge for me. I have just a question about Servais, is it taked from cello studies? Thanks again
Your the best great.daniel.
Very fine teaching and playing! Eric Shumsky
Thank you kindly!
Hi Daniel, love your content! I have experience on violin, but would like to learn to play viola. Could you recommend an etude series so I can learn the clef and fingerboard better (eg 1st-4th position for example). I would like to be more comfortable playing string quartets / chamber music. thanks!
Ótimo performance.
Thanks for free exercises
Glad you like them!
Hi Daniel. I'm new to your channel. I used to play fiddle. Scottish and Irish trad music. I became disabled with a neurolical condition and didn't play for 10 years. About 2 months ago I started playing again but decided I wanted to focus on classical music and technique that I had never done before. I love it but I now realise why people say they are "working" on a piece or technique. When you say you came late to the violin may I ask how old you were?
I'm focusung on scales and shifting. Plus working on what I call a sea sick fire engine ( wrist vibrato with a metronome) I want to build that strong technique.
I've found your videos incredibly useful. Thank you. From Scotland
Welcome! It’s incredibly rewarding to work deeply with the instrument and achieve continual refinement. It’s a different project compared to traditional music, which has its own spirit and culture (which I absolutely love!) to answer your question, I was 16 when I started.
Muito bom esse exercício
Como faz para adiquirir ou ter acesso a esses exercícios? Muito obrigado Daniel? Excelente!
Крутой!!
спасибо!
😘
Certainly one of them.
I also recommend the chin rest lip
Nice guy .you are.
Super
As a guitarist, I'm really enjoying your Violin Masterclass Series, and the many techniques and approaches that can apply to the guitar. Do you know of anyone on RUclips that is doing the same kind of high level technique videos on the Cello? This will help bridge the gap in string lengths, as the guitar sits between the two? Thanks
Thank you, and I don't!
Can u do this similar video for 4th 5th and 6th and octave?
Bravo, as always! This video is wonderful, as are all your other tutorials. I find it quite humorous that you mention at the beginning that this video is useful for beginners as well as seasoned professionals.... I'll take that with a grain of salt. 🙂 I only teach beginners and I think they could grasp the techniques you discuss here but as far as executing any of the exercises,.... Perhaps after two years of study? By the way, I read the full description but didn't see a reference to the Paganini concerto you play at the introduction. Best regards!!!
Yes point taken re: beginners. However, I find that curious adult beginners can benefit greatly from general principles that I always try to return to. But certainly beginners aren't about to play thirds and Paganini, although I do believe in beginner's luck :)
@@DanielKurganov 🙂
Covering much territory very detailed.too the
Can you please give me the names of the books in whch i may find hese exercises?Thank you x
Have you ever thought of trying the dolfinos rest system
Hi Daniel! Your video is really good!
So, I have a question with your video.
How many volumes are you using with Sevcik? If you don’t mind , Please teach me:)
All of Sevcik is worth looking at. Then you can decide what is most useful for you, consider which aspects are you focusing on, which weaknesses are you trying to improve, etc. My favorites are Op.3, Op.8, and double stops selections (check out my video on intonation which is devoted to these)
The chord of E minor is always difficult to tune. Also, in thirds, should there always be a perfect 4th in the hand, or not?
I am having difficulty stretching minor thirds. As a woman with a short pinky I do wonder how much physical attributes contribute to the difficulty of technical exercises like thirds
A. Real. Intellect.
oh! I was wondering why my regular scale sounded out of tune with double stops.
Hello Daniel! You said you started the violin very late. I want to know how late. Because i started playing when i was 22. Now im 25 and learning thirds and i just cannot play them in tune. Im having a little self doubt of whether ill ever learn the violin.
One thing I observed is that, from mathematics, if you move from D&F# to F#&A, on A/E strings, the distance between the fingers is identical. (think about dividing a string into 6 equal parts and you can see this.) Strange that it was never pointed out to me when I learned...
Could you talk more about your shoulder rest setup? It seems like you’ve found a rig that works fantastic for you ergonomically… video on it….!? 🎉❤
Find it here ruclips.net/video/4k84U_o48Wc/видео.html
great video sir ,my fourth finger stays curved all the time and yours kind of makes a 90 degree angle when it hits .i cant get clean sound with this curve fourth finger unfortunately .it kind of touches the adjacent string slightly .do you have any tip to how to correct it ?
From your first finger to your fourth finger, turn your hand inwards towards the neck. If you're not coming down at a 90° angle, it's because you probably have your hand position too far away from the neck and the string. Turn it inwards and then you can begin by practicing Schradieck, just the first two pages. Anything after that is becoming redundant. You can do the second page, but the moment you start going further, you're getting into other stuff. Stuff. The first two exercises deal with strengthening the fourth finger. While you have that hand in that new position, begin the etude . Your fingers high and hammer them down. This is especially important with the fourth finger. You will have to consciously watch. So go slowly. But lift your finger high when you're doing this exercise and hammer it down. That builds the strength in the fourth finger along with the proper position. Practice this etude for about 4 weeks, giving it at least 15 minutes a day. It's not necessarily how quickly you go, it's more important How solidly you are putting your finger down in a 90° angle every time.
Once you have that strength, you need to remember every time you're putting your fourth finger down to keep it in that new position of 90°. That means practice some regular octaves first. When you get to doing things like tenths and fingered octaves, you're going to have to stretch your finger out, but do not relapse into the former position. Position. Just have to expand your hand. That will begin the building for the first exercise.
👍👍👍👍
Can you possibly identify which books for sevcik etc and/or which exercise you are doing in this video?
I'd like to know the answer to this too!
From where can i down load all your tutorial videos please ? I am new learner from India - Dr Arun , Surgeon
It's all available on my channel!
Hi Maestro. Any suggestion for arms pain and contractions? I usually spend a big amount of time to keep an optimal physical condition, but I never get the "breaking point" into the necessary body freedom to play with full satisfaction. Consider that I'm a beginner student (but a jazz pro sax; big deal putting hands on the horn after a violin practice session!), so my practice is generally short in sessions and NEVER forced with stressing gestures, till movements and finger extensions will be spontaneous to the right intervals, sound and tuning.
Hmm, this is a difficult topic to advise on, especially at the beginning stages, because it requires a lot of hands-on attention. What does your teacher say? He or she should be able to focus in on that and help you heighten your awareness.
@@DanielKurganov As things stand I am not followed by a teacher, at least because as an adult professional musician and I am independent in the study, with a minimum of musical awareness in order not to go completely astray. I also focus on the technical issues that I am interested in prefer and I would not be able to respect a regular weekly calendar with a didactic teaching (regular, planned lessons would be a waste of time especially for him/her). Fortunately I have many friends and fellow violinists to turn to when I need to and what they have seen said that for two years that I have been studying I am on time and I play correctly. so much risk ... so much honor! :)
However, I recently discovered a big problem with a molar that involved the entire neck and shoulders, so I hope having gone to the dentist that the physical problems will gradually be in order. I cannot approach the study with the methodology of an adolescent pupil, but I never deviate from the musical core in accordance with the awareness of physical mechanics. My limitation is not having a small repertoire, but my strength is to feel pleasure in the basics, even just scales and long notes, which a teenage student can't stand at all! Thanks as always. Your availability and your talent reveal great humanity and true art
What was that piece played in the beginning at the 0:25 mark?
Paganini's La Campanella!
I really want to be a little help here for all the information you are sharing with us for free! The only question is that I play Viola, I know there are similarities but do you think you will put some videos just for viola in future?
I think much of my videos discuss topics that are directly transferrable to viola. Of course, the viola has a unique set of challenges that need to be addressed specifically. In particular sound production and posture. I sadly don't have a viola anymore and very much hope to get one in the future! Then I will definitely make some viola videos :)
Thank you! I can't wait to hear you playing Viola! I mean with all techniques you already know, I don't hesitate you would bring the magical sound out of a viola!
Hi. I want to know that how can I have classes with you?
I offer private instruction to some people. You can look at my website for more info and send me a sample of your playing if you'd like lessons. www.kurganov.org
My pinkie is too short to play a third because I have tiny hands. What should I do?
There are various tactics for people with smaller hands. I like to approach things from the biggest muscles/joints/"levers" to the smallest: how can we use each to get slightly better positioning for the fingers so that the fingers do less work to get to their places?
1. Upper arm - typically, people with small hands will benefit from swinging it further "under" the instrument. So if you hold your arm in playing position, counter-clockwise from your perspective.
2. Forearm - supinating the forearm will aid in bringing the pinky a bit closer to the fingerboard.
3. Hand - "tilting" the hand back so that the index finger contact point on the neck is lowered slightly.
4. Thumb - it depends on your physique and what you're comfortable with, but holding your thumb more under the neck and not on the side of the neck can make the fingers feel effectively longer.
These elements combined are a sort of "fanning out" motion in the left hand/arm. It's challenging to explain it without demonstration. If you watch some great players with smaller hands, you'll start to notice them using some or all of these tactics.
The basic idea is bias everything towards pinky comfort and then working backwards to place everything else. You can even just place the lone pinky on the fingerboard - forget everything else like the hand / arm position etc. Clean slate: what position would everything have to be in for the pinky to feel more like the other fingers. Then work backwards.
Hope that helps :)
Can you play jazz.? Daniel.
👏👏👏👏👏👏💖🫂
Concerning double stops :Actually in the harmonic series we find the 19/16 minor third which is very close to the 12 equal tempred one. When you intonate the minor third i guess you use the just 6/5 minor third, which it is not contained in the harmonic series of the root, it sounds very good though. But I have to say that in my opinion composer should be precise, at least nowadays, about what kind of just accommodations they prefer. Unfortunately they compose string parts playng a piano and don't actually really know or care of the amount of nuances a simple double stop can have and how it affects the harmonic meaning of their music. Take a minor third, it can come In a variety of flavours each one with its harmonic meaning . The 19/16 from the harmonic series, the so called pythagorean 32/27, the 6/5 just minor third resulting by the subharmonic inversion of the harmonic series, the 7/6 subminor septimal third found in the harmonic series beetween the 6th(3/2) and the 7th(7/4) harmonic and typical of the blues or of the some maquamat. But I'm fairly convinced that the majority of the people coming out of music schools, players and composers, are not aware of this differences and do not want to be aware
Thanks for the precision. I think many musicians feel these things intuitively even if they don’t know what they’re doing. That said, the number of times I hear professional musicians not lowering their major third in double stops or quartet playing… 🤪
Yes I should’ve said “harmonics lining up” or “whole number ratios” rather than “the harmonic series” per se, which gets funky really fast. The idea of composers writing music that points to the subtleties of intonation is a beautiful one, but unfortunately, they’re also limited by the musicians who will play the music :) it’s sort of a catch 22, because most of playing a string instrument is intuition and feel, (even the mathematical part). If you allow me a more lofty concept: anything of value in musical performance has to be achievable by feel inherently, unless it’s not written to be heard. Knowing the math/inner-workings is obviously good, and can aid when intuition fails, or can help sharpen intuition, but I also see a pattern that most great players are not able to articulate these nuances verbally. Maybe it’s a question of order. I have this feeling about all of music theory, in general. People typically learn and are tested on the “rules of music”, rather than understanding that these rules are DERIVED from general patterns noticed in great music (and maybe some rough biological factors).
So I guess what you want is someone who plays decently and knows just enough to not make an entire fool of himself. Or maybe I shouldn’t of thrown out my textbooks :)
Classic case of minor thirds is ( not on the violin) Verdi's requiem where the trumpets and offstage trumpets come in, and where the tuning of the minor thirds depends on which other notes are playing and changes for each subsequent instrument that enters. But again, usually this is done intuitively by ear but it would be really interesting to look at it from a theoretical pov!
Dear Daniel, love your Ryer or Reed, 3rds,, some of the tenderness harmonics I've heard from you. I have been practicing Tropical Loveland, by abba,I am improvising the accordion lead to that song, my evas are about a month old, and the sound is getting less boisterous and les s defined.I had been watching.your videos on vibrato however your complicated exercises left me more confused and overwhelmed so I stopped watching. I HAD TWO SOLID YEARS OF VIOLIN IN GRAMMER SCHOOL, THEN AS THE PIECES BECAME MORE COMPLEX, I HAD DIFFICULY READING MUSIC. I AM ONE OF THOSE THAT WILL HAVE TO PLAY BY EAR. I HAVE RICHYS BOOK THAT CONTAINS FINGER GYMNASTICS AND OCCASIONALY FOLLOW THE EXERCISES VERY CLOSELY. I AM HOPING TO GET HIS OTHER BOOK ADVICE TO THE VIOLIN STUDENT,BUT HAVE NOT AQUIRED IT YET. THANK YOU FOR THESE EXERCISES IN 3RDS I LEARN EXTREMELY SLOWLY BUT AM HEARTENED BY MY ABILITY TO IMPROVISE. LOOKING FORWARD TO MORE LESSONS FROM YOU. YOURS VERY TRULY CHRIS E. USA.