Wow, this is really old school, I don’t see much people teaching this nowadays, and I believe it is essential to know about the true Bel Canto! You are a wonderful teacher ！
@@vladimirdyo7301around 1:08 you demonstrate a beautiful portamento. How do you achieve this? I'm somewhat struggling. I think I understand the glissando.
@@sinakalkan3371 There are two parts to it: 1. Develop an aural perception (you should be able to hear internally how it should sound). Listening to old masters like Kreisler or Heifetz helps with developing an aural perception. 2. Develop elasticity of the phalanges and rely more on a finger pad rather than the fingertip while blending tones.
What are some ways of practicing portamento, particularly the new finger slide. Also what note should I be aiming for and when should I slide? An answer to both question would be really helpful.
The idea behind portamento is blending any two tones with one finger in a way that there is no gap and the sliding sound itself should have its own full tone vs hiding the sliding sound in technical shifts. It can be any two tones blended with one finger. The key for portamento to use the flesh of a finger pad not tip. You may refer to my monograph where I discuss in details about portamento and there is a complete series of exercises on it: vladimirdyo.gumroad.com/l/gjxkj
That sounds so sweet! But do we/how do we move our thumb during portamento? Cus theres a change in position in the process, like do we move the thumb simultaneously with the gliding finger or before/after the glide
Thank you for your interest. There are two ways to involve the thumb. If there are short-distance “round-trip” transitions, the thumb normally doesn’t move, with only the finger sliding back and forth. If you transition to another position, you either slide the finger first and then adjust the thumb, or move the thumb first, setting the hand position before sliding the finger. - This is the old-school technique. The simultaneous shift of the thumb, finger, and elbow is the least desirable but also an option when the first two methods don’t work.
@@vladimirdyo7301 actually i was preparing the second movement of tchaikovsky violin concerto and i found that the belcanto style of playing suits very well and i want to make such sound. In the heifetz recording, his shift from D to Bb (sul A) is very abrupt and dramatic yet its blended together well, i love that so bad. in such case, i found it hard to not move the whole elbow to make a fast portamento to achieve the shifting.
@@Ian-sn9qk This particular section is one of the hardest. I hope you find the right portamento technique. Also, you can experiment with different finger pressures, from strongest to lightest, to see which way helps.
inconsistent, and maybe even wrong? What sources is this based on? What I have seen in almost 30y of rehearsal practice in professional orchestras is that violinist call protamento the carrying of the note from the bottom one to the upper one, with a little slide upwards from the lower note, arriving directly to the higher one with a new finger. The one where you leave the lower note immediately, but slide into the higher one is called glissando, although this term may also refer to gliding with one finger all the way to the new note. I have not done historical research. This is how I have seen it being used in prof. orchestras in Europe for the past 30y.
Wow, this is really old school, I don’t see much people teaching this nowadays, and I believe it is essential to know about the true Bel Canto! You are a wonderful teacher ！
Thank you, I appreciate your kind words!
This was awesome to see it instead of reading it out of a book. Thank you!!!🎉
Thanx you are best teacher
Very helpful
Glad it helps, thanks for visiting.
@@vladimirdyo7301around 1:08 you demonstrate a beautiful portamento. How do you achieve this? I'm somewhat struggling. I think I understand the glissando.
@@sinakalkan3371 There are two parts to it:
1. Develop an aural perception (you should be able to hear internally how it should sound). Listening to old masters like Kreisler or Heifetz helps with developing an aural perception.
2. Develop elasticity of the phalanges and rely more on a finger pad rather than the fingertip while blending tones.
What are some ways of practicing portamento, particularly the new finger slide. Also what note should I be aiming for and when should I slide? An answer to both question would be really helpful.
The idea behind portamento is blending any two tones with one finger in a way that there is no gap and the sliding sound itself should have its own full tone vs hiding the sliding sound in technical shifts. It can be any two tones blended with one finger. The key for portamento to use the flesh of a finger pad not tip. You may refer to my monograph where I discuss in details about portamento and there is a complete series of exercises on it: vladimirdyo.gumroad.com/l/gjxkj
That sounds so sweet! But do we/how do we move our thumb during portamento? Cus theres a change in position in the process, like do we move the thumb simultaneously with the gliding finger or before/after the glide
Thank you for your interest. There are two ways to involve the thumb. If there are short-distance “round-trip” transitions, the thumb normally doesn’t move, with only the finger sliding back and forth. If you transition to another position, you either slide the finger first and then adjust the thumb, or move the thumb first, setting the hand position before sliding the finger. - This is the old-school technique. The simultaneous shift of the thumb, finger, and elbow is the least desirable but also an option when the first two methods don’t work.
@@vladimirdyo7301 thank you! That helps!
@@vladimirdyo7301 actually i was preparing the second movement of tchaikovsky violin concerto and i found that the belcanto style of playing suits very well and i want to make such sound.
In the heifetz recording, his shift from D to Bb (sul A) is very abrupt and dramatic yet its blended together well, i love that so bad.
in such case, i found it hard to not move the whole elbow to make a fast portamento to achieve the shifting.
@@Ian-sn9qk This particular section is one of the hardest. I hope you find the right portamento technique. Also, you can experiment with different finger pressures, from strongest to lightest, to see which way helps.
Wonderful violinist❗️
Thank you.
Grazie del video
Merci beaucoup pour ces conseils avisés.
Какой родной акцент! :)
Yet another genius can't explain simplest thing . Just play two explicit tones mister , maybe you'll come across ?
Very inconsistent explanation
Thanks for your opinion. I am happy to respond to any of your questions
inconsistent, and maybe even wrong? What sources is this based on? What I have seen in almost 30y of rehearsal practice in professional orchestras is that violinist call protamento the carrying of the note from the bottom one to the upper one, with a little slide upwards from the lower note, arriving directly to the higher one with a new finger. The one where you leave the lower note immediately, but slide into the higher one is called glissando, although this term may also refer to gliding with one finger all the way to the new note. I have not done historical research. This is how I have seen it being used in prof. orchestras in Europe for the past 30y.