There are only two or three short videos of Mr. Rosand’s teaching on UA-cam. I searched for more, even reaching out to the uploader, but sadly received no response. A few years later, I discovered that I actually had the original DVD tucked away in my room, even signed by Mr. Rosand from when I attended the Summit Music Festival many years ago. Many of us love music deeply but don’t have the chance to study in the studio of a world-class master or attend a top music academy-myself included. So, I decided to share this video with everyone. I hope it can be put to good use and be helpful to anyone looking to improve their violin playing.
I don’t play viola but I think the concept is the same. It’s just a bigger violin. But everyone’s body is different so you can try it and find the best way( including comfort and sound quality) for you.
Well,......... There are many opinions but the one that matters is yours. One cannot argue with whatever method produces success. There is no one way to hold the fiddle - just look around. There is no one way to hold the bow. (Look up Spivakovsky's book on violin playing, for instance.) The basics of fiddle playing are intonation, rhythm (phrasing), and sound. You are very, very, very, very lucky if you are able to give your playing a unique identity by controlling each factor uniquely. Heifetz, Gitlis, and Elman did it. All the rest sort of sound the same - in a group of twenty (all playing the same phrase), one cannot easily identify one or another. As for the bow, only three things have to be controlled - placement between bridge and fingerboard, speed, and pressure (weight.) Look at how extremely tight Shaham's bow is - yet, his sound is superlative. Simplicity itself.
Yes, I agree with you. Every individual has a different body length, width, size, etc. He gave us a big concept and what suits him, so he used "for me..." In Ray Chen's part, he mentioned that he has long fingers so his left-hand posture will not be recommended to most people, and I think it's an example of flexibility. And for holding the violin, Every great violinist has something different. However as Auer, Heifetz's teacher" said the same which is 1. violin rest on collarbone, not shoulder 2. shoulder rest or cushion will affect violin's vibration. But because Mr. Rosand learned from the same system, so no wonder he will say the same, so this part is not objective to say who's right. For the bow hold, he used both types of bow hold depending on which pieces. So I agree that there's not only one method to hold the fiddle or bow, we need to experiment and find a way that suits our body the most. But the most important part is the "tone". Look at Heifetz, Oistrakh, Gitlis, Kogan, etc. My teacher, student of student of both Heifetz(Amoyal) and Oistrakh(Pikaizen)said, they never forced the violin the yell, with such a tightened bow and pressure, we may have perfect intonation and powerful big sound but never a good tone. With great violins like Strads, and Del Gesu, we make the violin sing and vibrate on its own, not force it to bring out the sound we want. It is the beautiful tone that separates a great violinist from a good violinist.
There are only two or three short videos of Mr. Rosand’s teaching on UA-cam. I searched for more, even reaching out to the uploader, but sadly received no response.
A few years later, I discovered that I actually had the original DVD tucked away in my room, even signed by Mr. Rosand from when I attended the Summit Music Festival many years ago.
Many of us love music deeply but don’t have the chance to study in the studio of a world-class master or attend a top music academy-myself included. So, I decided to share this video with everyone. I hope it can be put to good use and be helpful to anyone looking to improve their violin playing.
Good teacher. Comes across as such from the first moment.
Such a privilege to warch this. Thank you ❤
Grazie! Wonderful
Wonderful 🙏🙏🙏
Such a great teacher!
Yes he is and it’s my pressure to share the video to everyone. So much wise words yet easy to understand. I’m glad you like it😊
Holding the violin,does this apply to the viola
I don’t play viola but I think the concept is the same. It’s just a bigger violin. But everyone’s body is different so you can try it and find the best way( including comfort and sound quality) for you.
Well,......... There are many opinions but the one that matters is yours. One cannot argue with whatever method produces success. There is no one way to hold the fiddle - just look around. There is no one way to hold the bow. (Look up Spivakovsky's book on violin playing, for instance.) The basics of fiddle playing are intonation, rhythm (phrasing), and sound. You are very, very, very, very lucky if you are able to give your playing a unique identity by controlling each factor uniquely. Heifetz, Gitlis, and Elman did it. All the rest sort of sound the same - in a group of twenty (all playing the same phrase), one cannot easily identify one or another. As for the bow, only three things have to be controlled - placement between bridge and fingerboard, speed, and pressure (weight.) Look at how extremely tight Shaham's bow is - yet, his sound is superlative. Simplicity itself.
Yes, I agree with you. Every individual has a different body length, width, size, etc. He gave us a big concept and what suits him, so he used "for me..." In Ray Chen's part, he mentioned that he has long fingers so his left-hand posture will not be recommended to most people, and I think it's an example of flexibility.
And for holding the violin, Every great violinist has something different. However as Auer, Heifetz's teacher" said the same which is 1. violin rest on collarbone, not shoulder 2. shoulder rest or cushion will affect violin's vibration. But because Mr. Rosand learned from the same system, so no wonder he will say the same, so this part is not objective to say who's right.
For the bow hold, he used both types of bow hold depending on which pieces.
So I agree that there's not only one method to hold the fiddle or bow, we need to experiment and find a way that suits our body the most.
But the most important part is the "tone". Look at Heifetz, Oistrakh, Gitlis, Kogan, etc. My teacher, student of student of both Heifetz(Amoyal) and Oistrakh(Pikaizen)said, they never forced the violin the yell, with such a tightened bow and pressure, we may have perfect intonation and powerful big sound but never a good tone. With great violins like Strads, and Del Gesu, we make the violin sing and vibrate on its own, not force it to bring out the sound we want. It is the beautiful tone that separates a great violinist from a good violinist.
@@spacejackson1612 Thank you.
朕能治好雷根的失治症的。美國御醫太弱了。她們為了石油擁有權打仗嗎。還是為別的。各位先進請問四兩撥千斤頂永動機可以做成太空航母戰鬪群嗎。。。