Oh God so accurate. I've never even touched a violin in my life but I could listen to him talk for hours. He even has the calm voice and the big hair and everything!
Isn't this amazing - in this days we have oportunity to watch best musicians in the world giving online lessons ?! When I was on studies UA-cam was just released! Recordings - on CD , vinyls - very hard to get - now we have IMSLP or we can order score in minutes via internet. Young musicians have great oportunity and luck that people like You Augustin are sharing their knowledge and great heart to music. Thank U for this. And I remember Your Dvorak concerto in Pozen Philharmonic - I was leading violas then- we have many great musicians in every concert but this one is always on my mind - unforgettable. I never heard Dvorak violin concerto played so beautifully. Greetings from Poland , thank U for all this awesome video's and performances. Hope you will visit Pozen on stage some day again 🙂 Stay healthy! - Przemysław Mrowiński
Priceless teaching! From my "great" online violin teacher Augustin! These tips are tremendously helpful to me, since I was not aware of many of them...great additional tips building on your previous teaching sessions. Building articulations and accuracy with left hand pizzicato; fingers hit finger board slightly before each bow stroke; "micro" portato to help minimize shifting noises. :-)
Brilliant observations and suggestions, as usual. It is strange that doing left-hand pizzicato actually helps prepare for a cleaner INITIATION of a note, but there it is, it really works. Thanks!
I think you hit it in the first 10 seconds - most people think about clean in terms of intonation. But it's not only that - it's actually also Clarity. One of the greatest attributes of your playing is that you do play really clearly with really good articulation.
One of the most important things when a passage sounds unclear or mumbly is to make certain that you are lifting your fingers high enough. It gives your fingers an aerobic workout but it also allows the notes to enunciate. If you are hanging your fingers around the strings, they won't have the room to vibrate clearly anyway.
Thank you! This was very helpful and actually quite timely! I have been struggling with a massively bouncing bow (mostly down bow in the middle of the bow) but also playing clean note / string changes.
Thank you for this instructive video. It is so wonderful to learn things from those who have mastered the instrument. I am a fan of your playing and music! 🙏🙏🙏
did not know bowing was so involved! Makes sense. Thank you for taking the time and trouble to explained it. Please do more of these types of videos? You certainly know what you are doing. Love your playing.
Augustin, you are truly phenomenal! When you said at 1:38 about listening, you hit on it. It is completely about that, for intonation and also "clean" as far as all the notes being audible and well-articulated. 2:00 it is surprising that some people do not realize that same-finger shifts in faster passages can make them have a smeared sound. I see this a lot in edited editions of some pieces, whomever edited them sometimes doesn't obey that rule. Some string players sound cleaner than others because of smart fingering choices, or lack thereof. So much easier said than done. Bravo!
Son mil pequeños detalles a tener en cuenta...y a veces se consigue un sonido puro...solo a veces... Mil gracias por estas clases magistrales! 👏👏👏👏👏💜🎶💜🎻😊🍀
To the one person who gave a thumbs down. Unless you happen to be Itzhak Perlman, Joshua Bell, Hillary Hahn, or one of the best in the world, I would suggest that you not criticize somebody who plays at the highest of levels, until you are able. In short, take your thumb....out of your mouth, so you can use a fork to take in a big piece of pie... in the flavor of humble. I have played for 52 years, have a cd coming out, and this incredible violinist made me think of a few things to improve my playing.
Randy Lazer the greats that you have mentioned would never give that a thumbs down, if for some reason they felt there was an error they would have elaborated on what was said and made the class even better. That guy or gal probably never picked up an instrument. In my experience the people that have the most negative opinions never played.
I HAVE THE SECRET ANSWER TO THIS! IT IS SIMPLE AND SOLVES A LOT OF OTHER CHALLENGES. BEFORE PRACTICING SCALES, FIRST THING EVERYDAY, YOU SHOULD PRACTICE SIMPLE OCTAVES AND SIMPLE SCALES IN DOUBLE STOPS. DOUBLE STOPS ARE THE ANSWER TO MANY PROBLEMS ON STRING INSTRUMENT. AND PRACTICE THEM ALL VERY VERY VERY SOFTLY AND EXTREMELY SLOWLY. DO ALL THIS FOR AN HOUR BEFORE DOING ANYTHING ELSE. ALWAYS THINK OF YOUR WET FINGER ON THE RIM OF A FINE WINE GLASS! PRESSURE, SPEED, EVENNESS, AND ALWAYS AIMMING AT PRODUCING THE BEST TONE WITH THE SLOWEST AND EVEN SOFT TOUCH.
You emphasize avoiding shifting noises during finger replacements yet in episode 8 you recommend sliding on the previous finger, which creates a very clear hiccup as the portamento is cut short when the new finger is suddenly put down an interval above.
it's possible to smooth that hiccup out with the bow, and in terms of how the fingers are substituted. Episode 8 was more about slides that are intentional (and musical), while In this episode I focus more on eliminating shifts that are unintentional. Particularly during a substitution, when after the shift the same note is played again, we usually should not hear any slide.
Thanks for this informative video! A related question to ask: are we supposed to press all fingers down when we play? Example when we play finger 1423, for finger 2,3 are we supposed to press down together with 4th finger when we play the 4th finger or press only when we play their individual note? I find myself playing extra note (finger 2/3) if I press them down together when I’m playing the 4th finger.
that's a great question! I would myself in that scenario leave the 1st finger down throughout, put the 4th by itself and then the 2nd (placing it just before lifting the fourth), and leave the second while putting on the third (and the 1st is still pressed). If you want to put the 2nd finger down with the fourth, that can work, but if the notes are under a slur your fourth will need to come down at least a tiny amount of time before the 2nd, or the change of notes won't be clean -- and this may take away from the strength of your fourth. Sometimes in order to play certain half-steps in tune, when the intervals are very narrow, the lower finger has to come down first. Ten years ago, I used to lift all the time, and it worked but the strain on my hand was much greater. So I guess the answer is, it depends entirely on the passage! But this is exactly the right thing to be wondering about - the way in which you place and lift your fingers can make things much easier or much harder for the left hand (and massively reduce the strain put on it), and it is never to late to change or question these habits.
Realmente, para mim penso que o maior problema do dedilhado limpo seja a falta de sincronismo entre a mão direita e a mão esquerda... E creio que a adoção da gravação sugerida possa me ajudar. Obrigado, Professor Augustin!
:) Oh man are you right, Augustin, that listening to a recording of yourself inevitably leads to you hearing things you don't like. I look to your playing for how to play "cleanly" especially your bow technique. Thank you ^^
Oh btw - a golden rule in fast passages is "no same-finger shifts." Otherwise it produces a 'nyaww' sound. If you listen to the recordings of the great masters like Hadelich, they sound so clean because they finger the passages so they end up sounding really clear.
The trap that some people fall into is trying to play like Paganini, with fingers flying around all over the place instead of keeping them close to the string. If a finger is way up, away from the string, it takes a tad more time to get it back down when you need to play a note with it. Sounds corny but it is true. A lot of teachers themselves don't know how to play cleanly in the way Augustin describes, and thus, don't teach their students how to do it either. You have to place each note deliberately under each finger and the best way to do that is to, like I say, keep fingers close to the string!
His last point about fingers come before the bow was so hard for me to imagine. how do u press the notes before the bow change? i understand it if its just one note, but for every note?
My ears hear everything - every little bow sound and every little finger movement and it’s so distracting. I’m working very hard to make less (or fewer) unintentional sounds …
This man is the "Bob Ross" of Violin
This
Facts
no doubt!!! i am not even a violin player but i really enjoy hearing him talk about his craft.
OMeGa great comparison!
Oh God so accurate. I've never even touched a violin in my life but I could listen to him talk for hours.
He even has the calm voice and the big hair and everything!
Augustine tries very hard to play "unclean"...epic fail.
Amit Kumar funny comment!bless his heart!❤️
I just came to comments to note the same thing. Haha
It's unbelievable, even his "bad" shifting "noises" have so much appeal and character to them.
Isn't this amazing - in this days we have oportunity to watch best musicians in the world giving online lessons ?! When I was on studies UA-cam was just released! Recordings - on CD , vinyls - very hard to get - now we have IMSLP or we can order score in minutes via internet. Young musicians have great oportunity and luck that people like You Augustin are sharing their knowledge and great heart to music. Thank U for this. And I remember Your Dvorak concerto in Pozen Philharmonic - I was leading violas then- we have many great musicians in every concert but this one is always on my mind - unforgettable. I never heard Dvorak violin concerto played so beautifully. Greetings from Poland , thank U for all this awesome video's and performances. Hope you will visit Pozen on stage some day again 🙂 Stay healthy!
- Przemysław Mrowiński
Hi, Augustin, this is a hard question to answer, but you elaborated it very thoroughly and comprehensively. Thank you
I'm surprised you're not more famous. You really have a good professorial personality.
Thank you for the pizzicato trick :-)
Man! Thanks! I did this question to my professor and He doesn't know an answer.But you solve my problem
Priceless teaching! From my "great" online violin teacher Augustin! These tips are tremendously helpful to me, since I was not aware of many of them...great additional tips building on your previous teaching sessions. Building articulations and accuracy with left hand pizzicato; fingers hit finger board slightly before each bow stroke; "micro" portato to help minimize shifting noises. :-)
Beautiful. What a charming, clear, helpful, explanation. Such a privilege to have access to his high level of artistry.
My teacher calls me on this at times, she then suggests I play staccato- like for a while to gain clarity.
Great lesson, thank you Augustin.
Thank you, Dear Mr. Hadelich!!!!
Brilliant observations and suggestions, as usual. It is strange that doing left-hand pizzicato actually helps prepare for a cleaner INITIATION of a note, but there it is, it really works. Thanks!
I like how his example of "less good " playing is actually pretty damn great sounding haha.
Love your kind and gentle way of explaining things. Thanks!
I think you hit it in the first 10 seconds - most people think about clean in terms of intonation. But it's not only that - it's actually also Clarity. One of the greatest attributes of your playing is that you do play really clearly with really good articulation.
One of the most important things when a passage sounds unclear or mumbly is to make certain that you are lifting your fingers high enough. It gives your fingers an aerobic workout but it also allows the notes to enunciate. If you are hanging your fingers around the strings, they won't have the room to vibrate clearly anyway.
Wow you're my teacher, too, now? How cool is that to be able to learn from you at home?!!!! Thank you so much Mr Hadelich! 🙏
Great ! Always very clear and pedagogical !
This is a brilliant series of videos. Thank you so much!
Thank you for this. You explain so clearly and thoughtfully!
You just hacked violin learning. Cannot thank you enough. So amazingly didactic in so many ways
This was huge for me. thank you so much!
this is reeally really helpful, you have no idea
Thank you so much. You explain amazingly well!!
Thank you! This was very helpful and actually quite timely! I have been struggling with a massively bouncing bow (mostly down bow in the middle of the bow) but also playing clean note / string changes.
Thank you for this instructive video. It is so wonderful to learn things from those who have mastered the instrument. I am a fan of your playing and music! 🙏🙏🙏
did not know bowing was so involved! Makes sense. Thank you for taking the time and trouble to explained it. Please do more of these types of videos? You certainly know what you are doing. Love your playing.
Yeah, this is excellent! It's so accurate.
Nice tutorial, good reminder on timing of right and left hand and how it's slightly different.
This video gives me a lot of important information. Thank you for your explain.
Thanks, Augustin, very helpful indeed! 🙏
Thank you so much for these tips! Great lesson!
So much information delivered very cleanly:) - and quickly (lIke the scale:). Personally I found this enlightening, thanks so much for sharing.
Thank you for all your videos !!
This was so helpful, especially this part 4:19. I always pull my fingers up, which takes a lot more energy.
Thank you for these videos.
Augustin, you are truly phenomenal! When you said at 1:38 about listening, you hit on it. It is completely about that, for intonation and also "clean" as far as all the notes being audible and well-articulated. 2:00 it is surprising that some people do not realize that same-finger shifts in faster passages can make them have a smeared sound. I see this a lot in edited editions of some pieces, whomever edited them sometimes doesn't obey that rule. Some string players sound cleaner than others because of smart fingering choices, or lack thereof. So much easier said than done. Bravo!
Son mil pequeños detalles a tener en cuenta...y a veces se consigue un sonido puro...solo a veces... Mil gracias por estas clases magistrales! 👏👏👏👏👏💜🎶💜🎻😊🍀
Thank you for these valuable insights.
Very helpful. Thank you!
Really excellent knowledge shared here. Thanks!
Thank you, this is so helpful.
This helped me understand how to fix my problems. Thank you for making this video. :D
Thank you!!
Thank you!
To the one person who gave a thumbs down. Unless you happen to be Itzhak Perlman, Joshua Bell, Hillary Hahn, or one of the best in the world, I would suggest that you not criticize somebody who plays at the highest of levels, until you are able. In short, take your thumb....out of your mouth, so you can use a fork to take in a big piece of pie... in the flavor of humble. I have played for 52 years, have a cd coming out, and this incredible violinist made me think of a few things to improve my playing.
Randy Lazer the greats that you have mentioned would never give that a thumbs down, if for some reason they felt there was an error they would have elaborated on what was said and made the class even better. That guy or gal probably never picked up an instrument. In my experience the people that have the most negative opinions never played.
This Guy is jus amazing
what a great explanation !
Thanks for sharing, Augustin. That's help me. :)
thank you for this great content!
Grazie, Maestro!
Thank you 👍
Thanks a lot! 🙏✨👌🏻
Wow, adding a little bit of LH pizz to faster scales/runs is genius!
Você inspira muitos violinistas. Parabéns!! Pena não ter legenda para o português, kkk
Thank you sir for this vedio!
I HAVE THE SECRET ANSWER TO THIS! IT IS SIMPLE AND SOLVES A LOT OF OTHER CHALLENGES. BEFORE PRACTICING SCALES, FIRST THING EVERYDAY, YOU SHOULD PRACTICE SIMPLE OCTAVES AND SIMPLE SCALES IN DOUBLE STOPS. DOUBLE STOPS ARE THE ANSWER TO MANY PROBLEMS ON STRING INSTRUMENT. AND PRACTICE THEM ALL VERY VERY VERY SOFTLY AND EXTREMELY SLOWLY. DO ALL THIS FOR AN HOUR BEFORE DOING ANYTHING ELSE. ALWAYS THINK OF YOUR WET FINGER ON THE RIM OF A FINE WINE GLASS! PRESSURE, SPEED, EVENNESS, AND ALWAYS AIMMING AT PRODUCING THE BEST TONE WITH THE SLOWEST AND EVEN SOFT TOUCH.
Definitely agree. That what I do, octaves also are good warm up, they stretch your fingers. Double stops are good practice for intonations
@SarumChoirmaster next time you want to write a message do not use all caps. It's intrusive.
Always very interesting. Bravo!
"Cleanly" is your character~~~~
Please make a video about position changes.
You emphasize avoiding shifting noises during finger replacements yet in episode 8 you recommend sliding on the previous finger, which creates a very clear hiccup as the portamento is cut short when the new finger is suddenly put down an interval above.
it's possible to smooth that hiccup out with the bow, and in terms of how the fingers are substituted.
Episode 8 was more about slides that are intentional (and musical), while In this episode I focus more on eliminating shifts that are unintentional. Particularly during a substitution, when after the shift the same note is played again, we usually should not hear any slide.
Coordination between left and right hands can be especially critical on string crossings.
Wow!
My answer is this - Double Stops - a lot of them. A LOT! AND IN EXTREMELY SLOW MOTION PLAYED SOTTO VOCE - SOFTLY.
Thanks for this informative video! A related question to ask: are we supposed to press all fingers down when we play? Example when we play finger 1423, for finger 2,3 are we supposed to press down together with 4th finger when we play the 4th finger or press only when we play their individual note? I find myself playing extra note (finger 2/3) if I press them down together when I’m playing the 4th finger.
that's a great question!
I would myself in that scenario leave the 1st finger down throughout, put the 4th by itself and then the 2nd (placing it just before lifting the fourth), and leave the second while putting on the third (and the 1st is still pressed). If you want to put the 2nd finger down with the fourth, that can work, but if the notes are under a slur your fourth will need to come down at least a tiny amount of time before the 2nd, or the change of notes won't be clean -- and this may take away from the strength of your fourth.
Sometimes in order to play certain half-steps in tune, when the intervals are very narrow, the lower finger has to come down first.
Ten years ago, I used to lift all the time, and it worked but the strain on my hand was much greater.
So I guess the answer is, it depends entirely on the passage! But this is exactly the right thing to be wondering about - the way in which you place and lift your fingers can make things much easier or much harder for the left hand (and massively reduce the strain put on it), and it is never to late to change or question these habits.
Thank you very much! You’re truly amazing! Keep it on! Like your series very much! So informative!
Augustin Hadelich thanks, this really helped me!
I felt so down and dick this week, you really make my day❤ Awesome video, thank you!!🙏🙏
There are so much going on with every part of the bow. Something I wish I learnt when I first started.
Realmente, para mim penso que o maior problema do dedilhado limpo seja a falta de sincronismo entre a mão direita e a mão esquerda... E creio que a adoção da gravação sugerida possa me ajudar. Obrigado, Professor Augustin!
hey nice vidéo, do u have any tips for arppeggios ? sometimes we can hear my left hand doing open string pizz
Parabéns
:) Oh man are you right, Augustin, that listening to a recording of yourself inevitably leads to you hearing things you don't like. I look to your playing for how to play "cleanly" especially your bow technique. Thank you ^^
Godddddd your so awsome!!!!!!
Basically, so many factors going into making good clean sounds that it’s impossible for most people.
Oh btw - a golden rule in fast passages is "no same-finger shifts." Otherwise it produces a 'nyaww' sound. If you listen to the recordings of the great masters like Hadelich, they sound so clean because they finger the passages so they end up sounding really clear.
Hi! Any tips on how to play fast passages? My fingers are too slow so I cant play clean
The trap that some people fall into is trying to play like Paganini, with fingers flying around all over the place instead of keeping them close to the string. If a finger is way up, away from the string, it takes a tad more time to get it back down when you need to play a note with it. Sounds corny but it is true. A lot of teachers themselves don't know how to play cleanly in the way Augustin describes, and thus, don't teach their students how to do it either. You have to place each note deliberately under each finger and the best way to do that is to, like I say, keep fingers close to the string!
OK
His last point about fingers come before the bow was so hard for me to imagine. how do u press the notes before the bow change? i understand it if its just one note, but for every note?
Hey... I tell you what...
Hearing myself on recording is always painful.
Who have this a thumbs down? Is Janine Jansen whiling away the hours in quarantine trolling Augustin?
Matt Dahm lol!😂
❤️❤️Christ loves you, he died for you. Hallelujah. Jesus is coming back.❤️❤️
My ears hear everything - every little bow sound and every little finger movement and it’s so distracting. I’m working very hard to make less (or fewer) unintentional sounds …
Quick Summary: I just need to do everything better. :-)
4 dislikes are jealous lol