Відео

Hi @JustFiddler, thank you for the compliment. I'm glad to know you are enjoying my content!

Hi! You can learn more at goldeneraviolin.com 🎻

@@KyChristensen 😂 Ikr? It's alive and well.

Hi, thanks so much for being here! You're right, it’s never too late! You can watch the free training to determine if this style is a good fit for you. Go to goldeneraviolin.com to get the free training. Welcome!

never too late. I start violin when i was 16

Hi, and thank you for your comment! Could you try the CC (captions) feature. I checked it just now and it seems to have enough accuracy to get the message across. You can also slow down the speed of the video if the captions are coming too fast. Let me know if this helps. You can also visit goldeneraviolin.com to request a free training that you should be able to hear the lesson with no problem. Thank you!

Hi Lars, Thanks so much for letting me know how much you liked it, and for those encouraging words! So fun to 'see' you!

Thank you, Glo!

@@JustFiddler Thank you for letting me know this was helpful!

Hi Dylana, thank you for your comment. I enjoyed watching a few moments of your masterclasses and performances on your channel. So glad to meet you. I would love to hear more about your studies with Milstein. How many years did you study with him?

Hi, and thanks for these thoughtful questions. Yes, the teacher I studied with when I attended university was teaching Golden Era/Russian technique. I think it would be very hard, if not impossible, to learn a technique that is different than what the teacher is using, since technique is such a personal and unique thing. Most good teachers wrap so much technique into what they give their students. It requires someone VERY open-minded to allow the student to learn technique somewhere else. However, I can say that teachers like this do exist, but they are rare. To answer your second question, I made the full commitment to Russian and was able to play my first jury within about 3 months (Sept-Dec). I don't have footage of that jury, so it wasn't included in the video. The 18-month (Wieniawski) recital that you saw was my first solo recital after making the change. I played 3 juries before that recital. It does take time for things to season and get really comfortable, but fully committing to the change was really the only way to go about it. It didn't take long before I felt like I could play with the new technique, and I could hear a big difference in the tone. That bolstered my confidence and my commitment. Thanks for asking!

Hi Jason, thanks for your comment, and for being here! I will see what I can do to separate the parts and link to them here. It will just depend on when I can get a minute!

@@johnalexander4946 Thank you for letting us know how much you liked it. It is a wonderful piece!

That's what Weston said!

Hi,@@jervilopez1844! Thank you for your comment. It's so nice to have you here. It's a great question; one that is asked fairly often. I would like to know if you can tell me which positive attributes of each technical approach you would like to adopt and use in tandem? For example, do you want to be able to use natural arm weight, while at the same time having action in the wrist and fingers? Or maybe you want to get a beautiful, strong tone without the appearance of the high wrist? All these things are worthy of consideration. However, in my experience, the two approaches cannot work in tandem. I find that it's impossible to have pure flow of arm weight while having action in the wrist and fingers because the action of changing direction with the smaller joints disrupts the pure flow of weight, and I can hear a negative impact on the tone. I mentioned in the video that the different structure of the bowhold merely signifies a completely different set of rules for playing the violin. It's very hard to follow two vastly different approaches at the same time. That's my opinion. What are your thoughts?

@@emilyricksviolin I find the franco-belgian to be good for flexibility and bow changes. I guess, for the golden era bow hold would be good when I go to the upper half of the bow.

The Franco-Belgian bowhold works for me and is actually good, but I find, I'm having trouble reaching the tip. My teacher says it's ok if there's little bow left though.

Hi @@jervilopez1844, I agree with your teacher that it's ok if there's a little bow left at the tip. I do this with my students when they are still learning how to successfully transfer weight all the way to the tip. It sounds like you've found a way to combine the two approaches in a way that is comfortable for you, and I think that is wonderful. Since you mentioned using a golden era approach for the upper half, I wanted to send this segment of my tutorials, in case you haven't seen it yet. ua-cam.com/video/fzya7KuGMmA/v-deo.html . If it's helpful, I would love to hear from you about it. If not, no harm done. Overall, I'm glad to hear that you are taking your teacher's recommendations to heart. Please continue to prioritize what your teacher is instructing you over whatever you are finding on my channel, as your teacher has a vested interest and long-term knowledge of you and your playing. Good luck in your continued violin journey! - Emily

Me too! Isn't it amazing?? The bow in the back is so big, you can see it from the front.

Beautiful recording, btw!

Hi Holly, thanks for your comment. Yes, I think I can get you the sheet music! We played off of some very old and hard-to-read copies for many years. I believe I finally broke down and input it into my music notation software to make the music legible again. Give me a few days to find it. In the meantime, perhaps you could send me your email address via my website: emilyricksviolinschool.com

Hi @yoliv2469, thanks for your comment. I'm so glad to have you here. You are absolutely correct and I agree with you about the extreme look of my technique. This is due, in large measure, to the extremity of the length of my arms and fingers. My physique is much longer than average. Based on your comment, I want to make sure you saw the following segments of the video: 14:03-15:30 and 20:30-24:17. Best wishes, Emily

Hi Paul, glad to have you here! Thanks so much for your comment, and I apologize for my delayed response. It's an interesting observation you've made. I wouldn't say that I advocate a sloped shoulder position for resting the violin. If anything, what you observe is more of a side-effect, perhaps, of the whole bowarm coming higher to approach the lower strings. It could also be due to setup with the height of the shoulder rest, etc. Ideally, shoulders have open posture, the violin is positioned on a level shoulder, and bowarm is brought to the violin on that level position. It's something that can and should probably be corrected. My students sometimes receive this feedback when they play for other Golden Era teachers. It doesn't bother me, I suppose because that's how I play. I wouldn't recommend it as a helpful adjustment to produce better tone. However, I'm curious what you have found for yourself. Do you find the sloped position more comfortable? Thank you for illustrating the point I made in my concluding remarks of this video; that there are infinite refinements and improvements we can make to our own technique if we invest the time.

Hi Leonardo, thank you very much for your comment, and especially thank you for watching the video even though my message differs from your preference. That kind of professionalism is rare. I find much value in it. Best wishes, Emily

@@emilyricksviolin Thank you, too!

Thanks, Rach! You are the best! ❤

P.S. I'm Renae Eldridge. This totally made my day!

@@RenyLou2 Oh my goodness, how cool! I'm thrilled about this. So glad you found our rendition. It's such a beautiful arrangement. We should be thanking YOU, Renae! How can I see what other arrangements have you written?

@@emilyricksviolin I haven't been very aggressive about trying to get things published. I have this and one other (Come Unto Christ) published by Jackman Music, both published something like a decade ago. I have done plenty of writing since then, but I guess I've been sort of waiting until I feel like I "hit my stride" writing-wise before I really try to go for it. I don't know. I would be happy to send some pdfs in a P.M. though.

Hi @SeasickSailor76-- Thank you SO much for letting me know my videos have been helpful to you. I'm very happy to have you here! I like the conclusion you have drawn about the finger placement being in service to the wrist and elbow (and shoulder), rather than the main feature. About the synchronization in my video production, you are not the first to ask about this process, so I consider your comment another vote in favor of creating a video that shows how to do the split-screen. The reason you don't see any earphones or visual cues in this one is because I am playing along with the pre-recorded audio on a blue tooth speaker that is out of the frame. Then, I synchronize the video footage when I'm editing. Hope this helps! I look forward to hearing more from you.

@@emilyricksviolin Thanks so much for the response! Yes, a video on the split-screen process would be amazing! But bow-hold videos come first! ;-) I remember a few years back reading something about Dounis. He apparently advocated that violinists should play 'above' the string rather than on it (or roughly words to that effect). At the time, it didn't make any sense to me. I think the golden era bow hold seems to be achieving exactly that. Regardless, even if I haven't got all the details right, my sound has already vastly improved thanks to you.

@@SeasickSailor76 Fantastic! Also, that is so interesting, what Dounis said. It is a little bit of a confusing word choice. At first it made me think of holding the bow off the string, which is the opposite of Golden Era. But, on second thought, it seems if we re-interpret playing "above" the string to mean getting the arm up and over, on top of the individual string level so you can then sink the weight in, it makes a lot more sense.

@@emilyricksviolin That was exactly my interpretation putting two and two together. On the other hand, when it comes to violin technique and language, I have put two and two together before and come up with 7 or 12, or 674... which I why I am looking forward to your videos! 😀

@@SeasickSailor76 🤣I love it!

Hi Peter, thank you so much for letting me know how much you like this one! I'm so happy to have you here. -Emily

Thank you, Susie!

Welcome aboard! I'm so happy to have you here!

♥♥

About not using the bicep, to close the arm there needs to be a force contracting the elbow joint, but I think you still need some help from the bicep. But it seems if you pronate your lower arm enough, you avoid needing the large part of the bicep but instead using the closer to the bone part of it, making the arm feel relaxed. I don't want to be spreading myths so please correct me if my thinking is flawed.

Hi David, thanks so much for your comments. I believe I understood everything you said, just from your verbal description! It is fascinating to me to hear you describe concepts of this technique using your own original terminology and mental process. I believe we arrive at the same (or similar) outcomes using different explanations. For example, instead of honing in on which muscles contract or don't contract, I call attention to which hinges are employed or not employed. So, to re-state your description, I would say the bow change is almost always initiated by the shoulder hinge. The elbow hinge can sometimes be used in small increments, only for the purpose of maintaining a bow that is parallel to the bridge. It is astounding, the difference in tone that is produced when bow changes originate from the shoulder instead of the elbow. What do you think? Do we agree?

The beauty of what you describe is you have control over dynamics, IOW, smooth frog to tip without bumps or accents. It's on purpose.

@@emilyricksviolin I think I would agree. I get large tone when starting from the shoulder. I just feel I can't grasp just how to decide when to do what, but this is really getting into the weeds... Let's say we want to start a soft downbow from the upper half/frog, surely just starting the bow by letting it fall to gravity with the hand and then follow passively with the arm is an acceptable solution? I would argue using the shoulder is risky for soft frog playing, but very possible.

@@psakbar Yes, what you see a lot of is people lose tone with every bow change, often preceded by a sudden bump of sound before the change. It is mistaken for expressive playing but is in my view just a habit that isn't scrutinized properly in most people's practice time. It is difficult to get rid of because you have to let go and trust that the bow change is going to be good as long as you know how the next bow is gonna start. You don't need a surge of tone before the change, and you don't need a loss of tone in the new one. It is mostly done out of fear to get a hard sound at the change.

Am I right? Taffeta and lace, no less!

Thank you, Susie ❤

❤Thank you, Betty!

Thank you for your comment. What a fascinating perspective! Can you please point me in the direction to find this quote from Zimbalist? With respect to Auer's writings, I agree that "Violin Playing As I Teach It" contains no information about this technical style. However, Auer's "Graded Course of Violin Playing" contains images and verbal descriptions of bow technique that directly correlate with the majority of technique that Auer's pupils used. It is also interesting to see video footage of Auer's pupils and note the individualism in each style. It's wonderful that the preface to Auer's bow technique instruction in the Graded Course states, "Exact and unalterable rules as to one particular manner of holding the bow cannot and should not be laid down, as much depends upon personal opinion, and individual needs owing to differently shaped and proportioned arms, muscles and fingers." I also find it a bit humorous that Auer gives this statement directly before outlining his version of the "one particular manner of holding the bow." He clearly had his own strong opinions, but wisely allowed his students to adapt for their individual needs.

@@emilyricksviolin I believe I read that in the Elman biography by Kozinn or the Zimbalist biography by Malan.

@@emilyricksviolin it's actually in the zimbalist biography. Additonally Flesch remarks that Auer did not teach this bow grip until after Heifetz. If you read in Flesch, he attributes it to Wieniawski coming to Russia. It's all very interesting, and there is a great strad magazine attributing globalization to the spread of the franco-belgian method. If you want any citations or more videos, let me know. Thank you sharing this, this golden age is so important for people to see.

Thank you for letting me know, and letting Emma (the presenter) know how much you appreciated her research! Were you able to view all 3 parts of the series? ua-cam.com/video/lxgX4-nwWQo/v-deo.htmlsi=1-oA33n7jAPpONrb

Thanks for your comment! Yes, it would be interesting to see those images of folk fiddlers in Northern Europe. I would not be surprised to learn that they could have influenced Wieniawski's development of his approach. Based on your reference to Mozart's writings, I think you might enjoy seeing part 2 of this series: ua-cam.com/video/OC7IBBZEcsw/v-deo.htmlsi=b3fVi4RnTp0Mdji_

Gracias por esas amables palabras.