Right on ! I like the language in the original Hanon piano exercises , s1910 or si "always keeping the hand quiet," -: these words meant somthing to a prior generation w.o. further explication perhaps ). The same with the guitar , both hands , dont "hurl" the fingers at the string said guitarist Michael Lorimer once - refirrng to right hand techniquec in this case
Thank you, Scott. I probably should not have played it that fast as it's not really the point of the exercise. Clean, articulate, steady and relaxed, without excess motion.
***** Your point was well taken and it is always easy to do so due to the clarity you bring to these grand videos so... thank you again. I'm sure you understand I was joking about the speed thing. Now... if you can show me the way to taming an unruly left little finger you will go down in the eternal book of genius!!!
Hi Todd, Your instructional videos are great. You recently made a video of Irish session music but it has gone so I will ask here - the speed at Irish sessions is a big problem for me, I know a fair number of tunes but can't keep up with the local session. Have you made any instructional videos on getting up to session speed or do you have any tips. Thanks
Hi John, I like to work on very small sections when I'm speeding something up. A couple of measures, or a phrase at a time. I then link them together. Practicing with a metronome can help you keep track of where you are, and where you were yesterday. I'm convinced that you have to practice slowly at first, but then train your brain, and hands to play fast, but only a little at a time. Good luck!
I'm increasingly realising that it's not just the fingers that should be quiet, but also the alignment of the back of the knuckles. If the fingers really are over the string, you should be able to drop them without any twisting or distortion of the back of the hand. I find it helpful to feel for this, and even check it in the mirror, when I'm practising Schradieck. Another point I find helpful is from Kato Havas - to keep the palm of the hand as soft as if you were cradling the eggshell of a tiny bird. Oh, and according to my Slavic friend it's pronounced "Shradick", not "SchradiEck".
Those are excellent observations. I definitely want to keep the base knuckles lined up, then lift my fingers while keeping the curved shape intact. There’s a very interesting slow-motion video of Heifetz’ left hand in action, which you’ve probably seen. In it I see plenty of movement, but it’s extremely organized, not flailing around at all. I love the Kato Havas approach, which is an analogy worth applying. Tension is always lurking. Thanks for the tips.
@@professorV Thanks for the response! Sadly, in my case it's one thing to have a good sense of what to do - quite another to apply it! Especially when the music gets technically challenging...
I have a question: When I play my violin I hear a grinding sound like wood rubbing together that accompanies the note, it sounds more noticeable playing high up the fingerboard and E string. The strings are set up properly in accordance to the fingerboard. What is that sound? Have you ever experienced this. Could it come from cheap rosin?
to make sure of the curvature, wouldnt it be even better to play the double stop, that is, also playing the e-string, to make sure, that the fingers dont come too close to it, or to be able to hear it, if they do?
"This is probably as fast as I can play it."
*plays faster than the speed of light*
Great exercise to practice I struggle with my fingers coming off to far and slowing down the speed of my playing.
Right on ! I like the language in the original Hanon piano exercises , s1910 or si "always keeping the hand quiet," -: these words meant somthing to a prior generation w.o. further explication perhaps ). The same with the guitar , both hands , dont "hurl" the fingers at the string said guitarist Michael Lorimer once - refirrng to right hand techniquec in this case
seriously though, thank you for the video! It was really helpful!
It's a great advice. Thanks for the link too!
Hi Linuxica, you are welcome. IMSLP is a really great sight for public domain sheet music. Have fun looking it over,
great lesson 🤗😏
More great advice. Thank you.
"This is probably as fast as I can play it"... I can't even hear that fast, much less...
Thank you, Scott. I probably should not have played it that fast as it's not really the point of the exercise. Clean, articulate, steady and relaxed, without excess motion.
***** Your point was well taken and it is always easy to do so due to the clarity you bring to these grand videos so... thank you again. I'm sure you understand I was joking about the speed thing.
Now... if you can show me the way to taming an unruly left little finger you will go down in the eternal book of genius!!!
Hi Todd,
Your instructional videos are great. You recently made a video of Irish session music but it has gone so I will ask here - the speed at Irish sessions is a big problem for me, I know a fair number of tunes but can't keep up with the local session. Have you made any instructional videos on getting up to session speed or do you have any tips.
Thanks
Hi John, I like to work on very small sections when I'm speeding something up. A couple of measures, or a phrase at a time. I then link them together. Practicing with a metronome can help you keep track of where you are, and where you were yesterday. I'm convinced that you have to practice slowly at first, but then train your brain, and hands to play fast, but only a little at a time. Good luck!
thankyou.... i always have problems with my left hand
I'm increasingly realising that it's not just the fingers that should be quiet, but also the alignment of the back of the knuckles. If the fingers really are over the string, you should be able to drop them without any twisting or distortion of the back of the hand. I find it helpful to feel for this, and even check it in the mirror, when I'm practising Schradieck.
Another point I find helpful is from Kato Havas - to keep the palm of the hand as soft as if you were cradling the eggshell of a tiny bird.
Oh, and according to my Slavic friend it's pronounced "Shradick", not "SchradiEck".
Those are excellent observations. I definitely want to keep the base knuckles lined up, then lift my fingers while keeping the curved shape intact. There’s a very interesting slow-motion video of Heifetz’ left hand in action, which you’ve probably seen. In it I see plenty of movement, but it’s extremely organized, not flailing around at all. I love the Kato Havas approach, which is an analogy worth applying. Tension is always lurking. Thanks for the tips.
@@professorV Thanks for the response! Sadly, in my case it's one thing to have a good sense of what to do - quite another to apply it! Especially when the music gets technically challenging...
Your violin looks exactly like mine 😂😂
Thank you sir..I will try this...I have those flying fingers
Good luck and best wishes, TaD D!
I have a question: When I play my violin I hear a grinding sound like wood rubbing together that accompanies the note, it sounds more noticeable playing high up the fingerboard and E string. The strings are set up properly in accordance to the fingerboard. What is that sound? Have you ever experienced this. Could it come from cheap rosin?
to make sure of the curvature, wouldnt it be even better to play the double stop, that is, also playing the e-string, to make sure, that the fingers dont come too close to it, or to be able to hear it, if they do?
I hope this helps cuz i'm playing a piece that has slur with the forth finger and my fingers just fly and it's hard to do the slur
Good luck Daisy!
what size is that violin it looks tiny!!!
4/4. Perhaps it's just the camera angle.
oh
Who came here from Schradieck?