Standing on the shoulder of two geniuses, Joy, you are such a great violin teacher. I can't wait until tomorrow to practice Sevcik Op. 8 No. 1 with your suggestion. Thank you so much!
Dear Joy, this is a very interesting approach I will definitively try out! I once found a piano teaching method (from Chuan C. Chang) who said that fast movements are completely different from slow ones, so one has not to stay at slow movements and accelerate part by part, because there might come a limit that can't be crossed any more - because fast and slow movements are different :-) So, one has to practice also fast and look for improving accuracy from this point on. I found it quite interesting, as I very often run into these limits, and your approach to shifting remembered me to it.
@@jub8891 The energy of an accelerated mass increases in square with it's speed, so in fact it's mechanically a huge difference between playing fast and playing slow. Also, as muscles can only contract, the extension has to be done by other muscles, their antagonists. When playing slowly, the unexperienced player seeks control by also using the antagonist muscle for a movement, while very fast movements are only possible if the antagonist is completely relaxed. So, playing fast helps to relax the antagonist, that is in most cases completely useless for a movement. And third, of course the springiness of a bow is completely different between fast and slow staccato/spiccato, and also the relation between weight, bow speed and soundpoint in general, if you want to keep bow division and colour. So, to get from slow speed to fast speed, one has to change a lot of very essential basics, I assume. And relearning things that one learned different before is quite a challenge...
Thank you Joy, this is interesting. I try to consciously try to do as you say, and I find that it generally works, although, as long as my bow hand is relaxed and light and my whole approach to playing the violin is light, then shifting and intonation fall into place better, but when I try to get dynamic and dig in for power or volume or whatever with the right hand, I find that I can easily lose the relaxed left hand, so I guess it’s just constant discipline until I’m trained. Also, I notice that I still lose my bow lane sometimes if I get too focused on reading and associated mechanics, so sometimes I will isolate tricky phrases as a precursor to a complete passes of musical sections. Hence, it all seems so slow going, which can frustrate, but I think the work and relaxed patience just has to be done to progress.. anyway ♥️ and 😃 for you.. we are all thankful that you are here, as you are an inspiration to us all! 👨🏻
Thanks Gary. Making both hands and arms independently active from the other is of course hard as they are attached to the same spine. However trying a very small part, such as 2-4 notes in a fast tempo, can make it easier to achieve. Then later you can gradually increase the number of notes. I hope you can try. Happy violin playing !
I remember struggling with shifting also. For me it was the fact that I had to learn how to relax and achieve good intonation. This Sevcik exercise is what I teach my students also.
I thought in left hand fingers shift learning is about sliding finger tip or pad slowly to fast of getting the right notes, but after I watched your video, I just realize, the slow movement could be the reason why my fingers are often heavy when sliding, when the tension started I often forgot to relax with the left hand and the left hand fingers and so it feels heavy to move.. I would like to try these method.. thanks a lot.. may you always be supported to share anything.. greeting from Bali
You can find the sheet music of Sevcik shifting op. 8 book easily as this is one of the most used technical books for violinists. Happy violin practising!
I've been learning violin for 2 weeks now, your videos r very helpful.Thank you!❤️❤️
You're so welcome! And happy violin playing Alissa!!
I teach this violin shifting exercise as well! Sevcik Shifting exercises are fantastic.
It really is Eric!
Standing on the shoulder of two geniuses, Joy, you are such a great violin teacher. I can't wait until tomorrow to practice Sevcik Op. 8 No. 1 with your suggestion. Thank you so much!
Wonderful! Thank you very much Zhongwei!
@@JoyLeeViolin I have tried this method and it works for me. I'm going to read some books of Dounis.
Thank you for introducing Dounis.
A great study and a great method combined together! Really useful video! Thank you so much Joy for this video!❤🎻
Glad it was helpful! Thanks Sara!
🎻 🎻 바이올린 개인 오케스트라♡♡넘 잘 🌛 😂 😭 🤦 😍 하셔요♡♡
대단히 감사합니다!! :))
1st comment and like
Btw very informative
I'm preparing for my grade 8 trinity exam and your videos are helping me a lot
Thanks a lot
LOVE FROM INDIA
Thank you very much Praveena and I wish you a great success at your exam!!
@@JoyLeeViolin Thank YOU for your timely help😸😸
Marvellous, I will give it a go. It would be wonderful to hit any note at the perfect pitch and resonance. Tis a dream of mine.
You can do it Bren! :) Thank you and Happy music making!!
Dear Joy, this is a very interesting approach I will definitively try out!
I once found a piano teaching method (from Chuan C. Chang) who said that fast movements are completely different from slow ones, so one has not to stay at slow movements and accelerate part by part, because there might come a limit that can't be crossed any more - because fast and slow movements are different :-) So, one has to practice also fast and look for improving accuracy from this point on. I found it quite interesting, as I very often run into these limits, and your approach to shifting remembered me to it.
but but.. if you can do it slowly...
@@jub8891 The energy of an accelerated mass increases in square with it's speed, so in fact it's mechanically a huge difference between playing fast and playing slow.
Also, as muscles can only contract, the extension has to be done by other muscles, their antagonists. When playing slowly, the unexperienced player seeks control by also using the antagonist muscle for a movement, while very fast movements are only possible if the antagonist is completely relaxed. So, playing fast helps to relax the antagonist, that is in most cases completely useless for a movement.
And third, of course the springiness of a bow is completely different between fast and slow staccato/spiccato, and also the relation between weight, bow speed and soundpoint in general, if you want to keep bow division and colour. So, to get from slow speed to fast speed, one has to change a lot of very essential basics, I assume. And relearning things that one learned different before is quite a challenge...
Thank you Joy, this is interesting. I try to consciously try to do as
you say, and I find that it generally works, although, as long as my bow hand is relaxed and light and my whole approach to playing the violin is light, then shifting and intonation fall into place better, but when I try to get dynamic and dig in for power or volume or whatever with the right hand, I find that I can easily lose the relaxed left hand, so I guess it’s just constant discipline until I’m trained. Also, I notice that I still lose my bow lane sometimes if I get too focused on reading and associated mechanics, so sometimes I will isolate tricky phrases as a precursor to a complete passes of musical sections. Hence, it all seems so slow going, which can frustrate, but I think the work and relaxed patience just has
to be done to progress.. anyway ♥️ and 😃 for you.. we are all thankful that you are here, as you are an inspiration to us all! 👨🏻
Thanks Gary. Making both hands and arms independently active from the other is of course hard as they are attached to the same spine. However trying a very small part, such as 2-4 notes in a fast tempo, can make it easier to achieve. Then later you can gradually increase the number of notes. I hope you can try. Happy violin playing !
@@JoyLeeViolin
Sounds good & Thanks!
Enjoy !! 🥳. 👨🏻
Awesome video !!!!This is something that I struggle with !!!!
I remember struggling with shifting also. For me it was the fact that I had to learn how to relax and achieve good intonation. This Sevcik exercise is what I teach my students also.
Glad it was helpful!
I thought in left hand fingers shift learning is about sliding finger tip or pad slowly to fast of getting the right notes, but after I watched your video, I just realize, the slow movement could be the reason why my fingers are often heavy when sliding, when the tension started I often forgot to relax with the left hand and the left hand fingers and so it feels heavy to move.. I would like to try these method.. thanks a lot.. may you always be supported to share anything.. greeting from Bali
So great to hear that Veronica! Happy practising and greetings back to you in Bali from Canada :)
@@JoyLeeViolin 🥰
I really like this exercise. could you write it out and hold it up to the camera so I could get a screen shot to read the music please.
You can find the sheet music of Sevcik shifting op. 8 book easily as this is one of the most used technical books for violinists. Happy violin practising!
@@JoyLeeViolin I'll look for it. Thank you.
Does Dounis have an actual etude or exercise book that can be bought?
Yes Debbie. There many books by Dounis. Here is one of them. imslp.org/wiki/The_Artist's_Technique_of_Violin_Playing_(Dounis%2C_Demetrius_Constantine)
May i ask about your violin?
My violin was hand made by a young french violin maker.