Ask Augustin 35 - Mannerisms

In this episode I talk about mannerisms. In music the word "mannerism" is used negatively, - but what do we mean by it? Mannerisms are musical habits (usually unintentional) that are done repeatedly and become predictable to the listener, and are musically out of place. (I would even go as far to say that they are "unmusical" moments, although that's a harsh word!)
Mannerisms can develop because musicians get desensitized to the effect of something -- a dynamic contrast or a color change, or slides and other musical touches that are initially wonderful, become more and more extreme every time the piece is played because the player feels that their effect is not enough -- until it becomes so exaggerated that it's inappropriate for the context of the piece.
Sometimes technical issues can create mannerisms, when the physicality of playing the instrument and moving the fingers and the bow create distortions -- for example, if certain notes are always unvibrated because it's harder to vibrate with some fingers than others; or if notes are stretched thoughtlessly at the end of runs, or if the rhythm is distorted in certain ways because of difficulties in the bowing. Once a habit becomes ingrained in the fingers, we get used to hearing the music that way, and eventually even want the music to sound that way.
The hardest part of getting rid of a mannerism is actually becoming aware of it in the first place! A good teacher will point out mannerisms (unless they happen to share those same mannerisms!) Recording yourself can be eye-opening (or rather, ear-opening). Asking the feedback of musicians who play a different instrument can be helpful as well, since violinistic mannerisms might be more obvious to a pianist, for example.
It's difficult to get rid of a bad habit, involving many reminders and setbacks, and it's always easier to fall back into the habit. But ultimately this work can lead to a way of playing that is more true to how we really want to sound.

[@marteut]

Wie immer sehr interessant.vielen dank auch an die Erinnerung an Norbert Brainin.ich hatte in dem achtziger Jahren auch viele Kammermusikstunden bei ihm.Er war fast einväterli cher Freund.Ich erinnere noch als er entsetzt war als ich ein unangemessenes portamento an einer unpassenden Stelle machte. Er sagte dann:Nein wir spielen doch nicht für den Pöbel sondern für Gott und die Engeln...

[@chrisingres6221]

...das Problem ist, dass die Engel (und auch Gott) immer so notorisch knapp bei Kasse sind.

[@alexsaldarriaga8318]

Thank you for raising awareness about this pervasive problem in violin playing. Both Heifetz and Milstein, whose playing was free of mannerisms, avoided over romanticizing romantic music because the emotion is already written in the music. If you listen carefully, they serve romantic music straight up and honest. No need to play it over the top with exaggerated passion.

[@ViolinHobby]

Great teaching! Great advice! I finally know what mannerisms are like in violin after seeing this. I plan to take your advice to spot them by recording my own practice regularly, since I suspect that I may have been doing them too often unwittingly...Sigh. Thank you very much Augustin!

[@herbertkronzucker8367]

The best! I agree that recording oneself can really help with the discovery of one's mannerisms - I discovered my excessive use of portato and certain "old-school" shifts that way. The advice on sometimes doing less on the violin is really important - Maxim Vengerov made the point in a masterclass once that, like not quite knowing what to do on a lazy Sunday afternoon if one is normally keeping extra-busy, it is surprisingly difficult to "do little" on the violin for stretches of time, and this needs conscious practice.

[@gsm2424]

This is some GREAT advice. I hope (when corona is OUT) to see you on a masterclass teaching young talents, this would be very educational. In the meanwhile we have zuckerman masterclasses! Thank you for this daily jewels!

[@solid_amouri307]

You are amazing. This explains so much!

[@fingerhorn4]

Completely agree on exaggeration. Sadly most concert violin soloists routinely exaggerate nearly everything. Loud passages are played ridiculously loudly and sound unpleasant as the bow stick contacts the bow hair. And soft passages become over-soft with complete absence of vibrato when a little would have been musical. There is so much pressure on young soloists to "out-do" everyone else by overplaying. I appreciate that Augustin is not in this category and places balance, taste and musicality above everything else.

[@BoglarkaGyorgy]

Thank you for sharing your knowledge with us! I love all of your videos 💛 🙏 you are so great!

[@lolamas3042]

Muchas gracias por ser tan expresivo en sus explicaciones y en sus interpretaciones! Me ayuda bastante...aunque sigo necesitando mejorar mucho mi inglés para poder comprender todos los detalles...😊💜🎶💜🎻

[@personalnotesmusic]

Excellent explanation of mannerisms! I've recorded myself more lately and am finding my own mannerisms.

[@Violinist265]

Thank you Augustin these episodes are very informative and helpful I am learning a lot of new tips every time. Thank you

[@professoramariadosocorro7680]

Magnifique! BRAVO! Merci beaucoup!

[@vinsenanda]

Thank you for this sharing, very good knowledge 🌻

[@vishnuramankutty717]

Another violinistic mannerism I hear too often: playing all double stops non vibrato....

[@diegeigergarnele7975]

Left hand too tense is the common issue which causes that

[@vishnuramankutty717]

@@diegeigergarnele7975 this is so true. But few people have the awareness to he able to understand their own tension. These amazing musicians have an uncanny ability to practice well!

[@embvl1380]

Hello Augustin, do you have any advices for keep left and right hand synchronized?
Thank you very much!

[@chrisingres6221]

...like your "Mannerist" Beethoven sonata ;)

[@saramariagonzales]

Thank you!

[@abnercampos3517]

Very Good🎻🎻🎻

[@blueviolin]

Nice

[@professoramariadosocorro7680]

Hello!