This is a technique that separates the good violinists from the great violinists. And you’ve taught it in an exemplary way. This is one of the best violin tutorials I’ve ever seen. Hope you can do one for those of us who want to transition away from an arm vibrato to a wrist vibrato. Thank you Daniel! 🙏🏻👏🏻🎻
Thanks so much Alex. It's an interesting idea -- how to switch from arm to wrist (or wrist to arm?) I guess it's important to understand WHY one wants to make such a switch. These things become very individualized, as people switch for many different reasons, and have varying amounts of mileage doing things one way or another. For some people, the feeling of vibrato is so ingrained that "switching" might not be possible, or even desirable. Though I do generally favor the expressivity of a wrist vibrato, I believe the arm and wrist must both be active -- sometimes more of one than the other. For example, I use arm vibrato for rich pinky vibrato, but wrist vibrato for violent/passionate pinky vibrato. Otherwise, generally wrist vibrato for lower positions, and arm for higher. Everything is finger vibrato at the end of the day... To be continued :)
@@DanielKurganov Your short paragraph is full of valuable insight. I add my request to that of Alex. A video or more on this topic would be appreciated.
The grass is always greener! As a wrist guy, I always sought to develop my arm vibrato, but ultimately found that it only added tension to my playing. So these days I try to bring it in selectively when the wrist isn't going to get the job done
Bravo!!! Excellent, as always. I teach absolute beginners on violin and I have discovered that getting them to understand that floating, silent bowing retake is very difficult for them to understand and execute. One of the things I stress is that bow pressure and speed should not remain static - easy to say but hard for a beginner to accomplish. If I may, I will steal your idea of using the scale to practice quick retakes. 🙂 I think that is a great, practical exercise!!! I wish I had thought of it.
You have the absolute BEST violin lessons on UA-cam! Keep up the amazing work! Being self-taught I eventually hit a wall in my progress, and now I'm becoming a better violinist because of you.
At first I couldn't keep up with the arrow visual. Thank you for playing slowly so that I could see where the bow makes a retake. The flow is just beautiful!
Daniel - thank you for knowing and accepting our problem spots and teaching us with patience, wisdom, and encouragement that can be transferred to other parts of life that we try to navigate. And for always doing so through aesthetically pleasing videos. Everyone else - let’s show our appreciation for this amazing musician, teacher, and friend by supporting his work in whatever capacity that we can - liking his videos, subscribing to his channel, and becoming a Patreon supporter.
@@DanielKurganov A teacher’s talent stems from his or her ability to remember his or her own struggles and course of overcoming them, objectively and modestly, and then apply that knowledge in a way that is understandable to students who must undertake a similar path. Thank you for being so modest and kind to all of our benefits.
All the best in your new home/studio Daniel. I appreciate all your excellent teaching. I am an adult student in Ireland. Delighted with this marvellous instruction. I had indeed wondered about how to get better bow length (apart from the usual "filling out of the bow"). So subtle, advanced in execution, simple in concept like all brilliance! This is a 'whole new area of technique' for me. I will be replaying the video several times I think! Thank you for the scale-easy 1st-step. Thank you again. Georgina
your work is wonderful , your dedication rescued me from depression and I went back to studying violin with joy ! I'm a musician from the university in Salvador ba, Brazil! always stay strong! you are a great violinist, for me the best of all!
I am learning the Iranian kamancheh for which there are very few resources online, I am very grateful for your work and this amazing full of resources that I can apply. I had also a background in jazz guitar in another life!
Thank you so much for sharing all this very valuable knowledge. I found this video because I was looking for "back to basic" exercises .... I broke my elbow a few months ago and was trying to get back to the violín😅 and it has been so helpful. This has become one of my favorite channels. Big hug form Mexico
Very nice. I'm still a beginner, but have accidentally been doing that with my bow so I can extend a note. I'll incorporate that method into my learning
Gracias por tus enseñanzas, Daniel! El mundo del violín es inmenso...y muy complejo...pero tus explicaciones son magníficas y nos ayudan muchísimo! 👏👏👏👏👏👏💜🎶💜🎻🤗
I found myself doing this a lot in orchestra or pits but thought maybe it wasn’t great since really no one else does it (at my level). Can’t wait to really develop this. Thank you!
Beautiful Bach excerpt, I really love your interpretation. You have a real knack for creating videos geared towards high-level violinists yet still are able to benefit those earlier on in their violin journeys:)
Good video! You could also argue, particularly in the case of the Brahms, that you didn't really run out of bow, but replenishing the bow gave you the potential energy to provide enough power for the retake.
Tasteful new studio and set up- nice colour, plants, and lighting. Of course very good content!(not quite sure of the font or font size on the screen but the style idea is good 😀)
Bravo Maestro Kurganov! And my best regards to your producer as well. You may know that this type of "ghost" bowing has applications in jazz, where the violin is treated as a percussion instrument and we don't worry so much about a bit of residual ghost noise. Anyway, very well done, and I'll look forward to more from your channel.
@@DanielKurganov Tracy Silverman has a whole workshop on ghosting and chopping; "Strum Bowing Mastermind." I recently signed up. It's a nice break from my regular classical routine and a good way to "loosen up."
I loved this lesson! 😘👍 And wondered if u could kindly make a vid on moving bow close and away from the bridge at will and how to practice it mindfully? I have a tendency to play further and further away from the bridge...😕
I saw Kerson Leong doing this exact same thing on the devils trill here in youtube and i was wondering what was that crazy retake, as always your videos are great!
Since you are asking: My example is similar to your Korngold example, in the Haydn concerto in C first movement, first time in Measure 52, one 16th note in up bow ending a figure and then three more slurred 16th notes in up bow going into the next down bow. Extending the bow like this makes it work (in theory, still practicing it).
Thanks for another great explanation! Anyway, where can I watch the complete vid of your Brahms from the intro clip? I really love it! Also, would you mind sharing what brand & diameter of gut strings did you use for the Brahms, please? Thanks in advance! All the best.
About a year ago Daniel presented a video called stg like “the secret Russian exercises” along with the sheet music (pdf) for them. They are fantastic - they are music (not just gymnastics), they are fun and can be used for practicing many technical aspects: practice your legato, your intonation, your pinkie, and try out different bowings and rhythms and tempi… I’m an amateur violinist (and very serious about it 😊) and I’m going to try out the bow replenishment on a couple of them right after breakfast. Hope you’ll find them as useful as I have!
As Mimmi said, that video is a good collection of fundamental techniques using very accessible etudes. Highly recommend! I haven't yet made videos on the other etudes in that volume, but they're all very nice.
Thanks so much for this close-up on this technique! First picked it up for the pick up to the second theme in the first movement of Sibelius' violin concerto :)
This kind of bowing trick is minimum 300 years old! I use it since over 40 years but I have a real key how is possible to make the bow at play ever long enough. The experiments to found it out take over 15 years Imre Kalman
Wow! I am a 63 year old professional violinist and have had some excellent teachers, but none of them EVER introduced this technique to me. I am headed to my studio to start practicing this immediately. This will have so many applications to the Sonatas and Partitas, and throughout the repertoire. Thanks for a masterful demonstration of this! Many compliments to your producer! I seem to recall (vaguely) that this technique does have a French name, the translation of which might be “half retake;” have you ever encountered this term?
So glad to hear this! No I am not familiar with any particular term for this, but I imagine people have been doing it for a while. But no one talks about it or explains it:)
@@DanielKurganov Thank you for the reply! I have a student working on the Allemanda from the First Partita and she is using this trick very well, so I am passing it on.
Hi Daniel! Great video! I don't play the violin but I write for strings regularly and it's always great to be able to get into the mind of the performer in that regard. I had kind of a random question: Why do almost every violin player kinda do a jerking motion as they change from an up bow to a down bow? I've seen it so often that I'm thinking there's a reason to it beyond just looking super cool :)
I think it's a bit too fast for this. Also, due to the speed, you really don't need/gain much from a whole bow. And stopping/catching is good for the necessary sharp articulation of the short g-sharp. But you can try :) ear is the judge.
Hello Daniel! Some assistance please. I keep hearing people say you can only become a good violinist if you start when you are a child. What would you tell them? And I believe almost anyone can become good with enough hard work and practice. Do you have any list of good violinists who started as adult learners?
Does this also apply to double downs let’s put for instance the opening bars and the main theme of Lalo symphonie espagnole 1st mvt? Would that be a feasible situation to use this technique?
You are a very good teacher . We never ever meet a mastre like you. Bcz of this is a poor country in this world. Like that violin is a dream for us. God bless you🙏🙏🙏
Just started watching this. I've always wondered why the second note of the Brahms needs to be down. Augustin Hadelich, Daniel Lozakovich and David Oistrakh (and maybe others) do it up (e.g. ua-cam.com/video/RFkSiNp4CRQ/v-deo.html see ca 3.25). But for some mysterious reason Oistrakh at least nevertheless comes out on an up for the F octave. (Not sure about the other two and haven't got the time or energy to check again). This F octave is on the first beat of the bar and If you do the bowing as it comes it naturally lands on a down (conventional), as does the accented Bb on the third beat with no need for retaking or any other artifice. I'm not trying to be a smarty pants - I'm just puzzled.
Sure, there are many ways to do it. I find the retake is more elegant and avoids a huge accent and distortion of the rhythm that an up-bow there creates-all apologies to David Fyodorovich. Everything he does is convincing, but not always prescriptive.
![Fix your intonation in a week [Violin Technique]](http://i.ytimg.com/vi/oac8Gjk03oI/mqdefault.jpg)
This is a technique that separates the good violinists from the great violinists. And you’ve taught it in an exemplary way. This is one of the best violin tutorials I’ve ever seen. Hope you can do one for those of us who want to transition away from an arm vibrato to a wrist vibrato. Thank you Daniel! 🙏🏻👏🏻🎻
Thanks so much Alex. It's an interesting idea -- how to switch from arm to wrist (or wrist to arm?) I guess it's important to understand WHY one wants to make such a switch. These things become very individualized, as people switch for many different reasons, and have varying amounts of mileage doing things one way or another. For some people, the feeling of vibrato is so ingrained that "switching" might not be possible, or even desirable. Though I do generally favor the expressivity of a wrist vibrato, I believe the arm and wrist must both be active -- sometimes more of one than the other. For example, I use arm vibrato for rich pinky vibrato, but wrist vibrato for violent/passionate pinky vibrato. Otherwise, generally wrist vibrato for lower positions, and arm for higher. Everything is finger vibrato at the end of the day... To be continued :)
@@DanielKurganov Your short paragraph is full of valuable insight. I add my request to that of Alex. A video or more on this topic would be appreciated.
The grass is always greener! As a wrist guy, I always sought to develop my arm vibrato, but ultimately found that it only added tension to my playing. So these days I try to bring it in selectively when the wrist isn't going to get the job done
Bow distribution is an art.
Yes! It's one of the most important tools in the search for organic phrasing and reduced distance from fingers to heart.
Bravo!!! Excellent, as always. I teach absolute beginners on violin and I have discovered that getting them to understand that floating, silent bowing retake is very difficult for them to understand and execute. One of the things I stress is that bow pressure and speed should not remain static - easy to say but hard for a beginner to accomplish. If I may, I will steal your idea of using the scale to practice quick retakes. 🙂 I think that is a great, practical exercise!!! I wish I had thought of it.
You have the absolute BEST violin lessons on UA-cam! Keep up the amazing work! Being self-taught I eventually hit a wall in my progress, and now I'm becoming a better violinist because of you.
Super useful and descriptive. Thank you so much 🙏🏻
Your teaching is crystal clean.
You have the cleanest playing I have ever heard
This is absolutely one of my favorite bow techniques. The possibilities are endless once you master this. Studio is looking nice Daniel!
At first I couldn't keep up with the arrow visual. Thank you for playing slowly so that I could see where the bow makes a retake. The flow is just beautiful!
Daniel - thank you for knowing and accepting our problem spots and teaching us with patience, wisdom, and encouragement that can be transferred to other parts of life that we try to navigate. And for always doing so through aesthetically pleasing videos.
Everyone else - let’s show our appreciation for this amazing musician, teacher, and friend by supporting his work in whatever capacity that we can - liking his videos, subscribing to his channel, and becoming a Patreon supporter.
Thanks so much. I feel that to the extent I have helped others with their practice, that it has entirely come from striving to solve my own problems.
@@DanielKurganov A teacher’s talent stems from his or her ability to remember his or her own struggles and course of overcoming them, objectively and modestly, and then apply that knowledge in a way that is understandable to students who must undertake a similar path. Thank you for being so modest and kind to all of our benefits.
my eyes are wide open... wow
All the best in your new home/studio Daniel. I appreciate all your excellent teaching. I am an adult student in Ireland. Delighted with this marvellous instruction. I had indeed wondered about how to get better bow length (apart from the usual "filling out of the bow"). So subtle, advanced in execution, simple in concept like all brilliance! This is a 'whole new area of technique' for me. I will be replaying the video several times I think! Thank you for the scale-easy 1st-step. Thank you again.
Georgina
your work is wonderful , your dedication rescued me from depression and I went back to studying violin with joy ! I'm a musician from the university in Salvador ba, Brazil! always stay strong! you are a great violinist, for me the best of all!
Thank you so much! Obrigado 🙏
Very nicely explained. 👌
As singer, I can said that yours "Da-di-roo" is pretty cool
Спасибо! Действительно важные моменты
I am learning the Iranian kamancheh for which there are very few resources online, I am very grateful for your work and this amazing full of resources that I can apply. I had also a background in jazz guitar in another life!
Great suggestions. Thanks a lot. Congrats. You are a great teacher and violinist.
Great!!! Missed the live version! Great video again!🎻 new studio awesome
Thank you so much for sharing all this very valuable knowledge. I found this video because I was looking for "back to basic" exercises .... I broke my elbow a few months ago and was trying to get back to the violín😅 and it has been so helpful. This has become one of my favorite channels. Big hug form Mexico
Thanks really!! You are a great teacher!!
Thank you. I will surely try this.
My favorite!!! Grandios! Thank you🍀🙏💐
Very nice. I'm still a beginner, but have accidentally been doing that with my bow so I can extend a note. I'll incorporate that method into my learning
Thank you Daniel ! Very high quality work
This is great. I will practice this.
Gracias por tus enseñanzas, Daniel! El mundo del violín es inmenso...y muy complejo...pero tus explicaciones son magníficas y nos ayudan muchísimo! 👏👏👏👏👏👏💜🎶💜🎻🤗
Thank you for these tips 🌼
Loving your bow technique! Wonderful video!!!!
Wow this is exactly the lesson I need, glad and super excited to find this video, thanks so much for sharing the knowledge (:
Your channel is pure gold! Thanks for sharing your knowledge ❤
This is brilliant 🤘🏼🎻
Awesome! Thanks for sharing
Nice choice of pieces! I particularly liked the Korngold Trio and Mozart F-Major Sonata
Excellent thanks
Bravo and Thanks !
I found myself doing this a lot in orchestra or pits but thought maybe it wasn’t great since really no one else does it (at my level). Can’t wait to really develop this. Thank you!
Excellente vidéo, thank you much
Beautiful Bach excerpt, I really love your interpretation. You have a real knack for creating videos geared towards high-level violinists yet still are able to benefit those earlier on in their violin journeys:)
So glad to read this! Thank you
Good video! You could also argue, particularly in the case of the Brahms, that you didn't really run out of bow, but replenishing the bow gave you the potential energy to provide enough power for the retake.
Maravilloso!
Very useful as always! Thank you !
I love your sound mr kurganov, i would love to hear you playing a Ysaye sonata
Fantastic video! This is the exact same technique I speak about as ghosting or ghost notes in my Strum Bowing method. And first rate playing as well!
Very cool!
Wonderful video, až usually... Thank you!
Very nice.
Hai im from Indonesian..i have download ur sheet violin .. thanks for free sheet violin, thats very helpul to me... Thanks 🙏🙏🙏
This tip helps a lot as always. Thank's a lot....
Thank you for informative and interesting video!
Tasteful new studio and set up- nice colour, plants, and lighting. Of course very good content!(not quite sure of the font or font size on the screen but the style idea is good 😀)
Thanks! What would you prefer for the font/font size? And I am happy for any suggestions to improve the setup in general.
Bravo Maestro Kurganov! And my best regards to your producer as well. You may know that this type of "ghost" bowing has applications in jazz, where the violin is treated as a percussion instrument and we don't worry so much about a bit of residual ghost noise. Anyway, very well done, and I'll look forward to more from your channel.
Yes! Great observation about Jazz techniques. I have a background in Jazz guitar but my jazz technique on violin is sorely lacking!
@@DanielKurganov Tracy Silverman has a whole workshop on ghosting and chopping; "Strum Bowing Mastermind." I recently signed up. It's a nice break from my regular classical routine and a good way to "loosen up."
I loved this lesson! 😘👍 And wondered if u could kindly make a vid on moving bow close and away from the bridge at will and how to practice it mindfully? I have a tendency to play further and further away from the bridge...😕
I saw Kerson Leong doing this exact same thing on the devils trill here in youtube and i was wondering what was that crazy retake, as always your videos are great!
That is a fascinating idea that one can skate on the string with no sound. ❣️
Superb, Thank you so much!!
Daniel Kurganov is partial to partial lifts-and-resets.
Can’t get enough :)
Excellent!
Since you are asking: My example is similar to your Korngold example, in the Haydn concerto in C first movement, first time in Measure 52, one 16th note in up bow ending a figure and then three more slurred 16th notes in up bow going into the next down bow. Extending the bow like this makes it work (in theory, still practicing it).
Interesting! I will look at this. I always find myself doing this; it seems there are opportunities everywhere.
Heifetz, Kreisler, Oistrakh, Perlman, Hadelich, Kurganov...
I really appreciate for your video! I will try my best to make my sound more plentiful! Thank you ☺️
Great!
Explicação de ouro
Thank you👍
Thank you!! I am watching before sleep, I will try tomorrow, I am curious ;)
Thanks for another great explanation! Anyway, where can I watch the complete vid of your Brahms from the intro clip? I really love it! Also, would you mind sharing what brand & diameter of gut strings did you use for the Brahms, please? Thanks in advance! All the best.
I love you, you're amazing. Do you have any violin exercises for beginners with sheet music please?
About a year ago Daniel presented a video called stg like “the secret Russian exercises” along with the sheet music (pdf) for them. They are fantastic - they are music (not just gymnastics), they are fun and can be used for practicing many technical aspects: practice your legato, your intonation, your pinkie, and try out different bowings and rhythms and tempi… I’m an amateur violinist (and very serious about it 😊) and I’m going to try out the bow replenishment on a couple of them right after breakfast. Hope you’ll find them as useful as I have!
@@mimmishoshan1587 Replenish the bow (and the mimosas) for breakfast!
As Mimmi said, that video is a good collection of fundamental techniques using very accessible etudes. Highly recommend! I haven't yet made videos on the other etudes in that volume, but they're all very nice.
Thanks so much for this close-up on this technique! First picked it up for the pick up to the second theme in the first movement of Sibelius' violin concerto :)
Yes! Lots of placed I would use this in that movement.
Uaaaauuuu... Excellent!
This kind of bowing trick is minimum 300 years old! I use it since over 40 years but I have a real key how is possible to make the bow at play ever long enough. The experiments to found it out take over 15 years
Imre Kalman
Yes, I imagine people have been doing this for a very long time. So, what’s your approach?
Wow! I am a 63 year old professional violinist and have had some excellent teachers, but none of them EVER introduced this technique to me. I am headed to my studio to start practicing this immediately. This will have so many applications to the Sonatas and Partitas, and throughout the repertoire. Thanks for a masterful demonstration of this! Many compliments to your producer! I seem to recall (vaguely) that this technique does have a French name, the translation of which might be “half retake;” have you ever encountered this term?
So glad to hear this! No I am not familiar with any particular term for this, but I imagine people have been doing it for a while. But no one talks about it or explains it:)
@@DanielKurganov Thank you for the reply! I have a student working on the Allemanda from the First Partita and she is using this trick very well, so I am passing it on.
An excelente video like always 😊.
I would like you to make a video giving tips for late starters. That would be awesome😁.
I'm filming a course on that next month! Check back for details:)
Hi Daniel! Great video! I don't play the violin but I write for strings regularly and it's always great to be able to get into the mind of the performer in that regard.
I had kind of a random question: Why do almost every violin player kinda do a jerking motion as they change from an up bow to a down bow? I've seen it so often that I'm thinking there's a reason to it beyond just looking super cool :)
The reason is bad playing; not sure that’s super cool :) I guess if it’s an intentional accent, like to attack the next note, then it’s super cool?
You may have posted on this topic before, but I'd like to learn how to hide a bow direction change. When can it be done and how?
Dear Daniel, your masterclasses online are always of great inspiration. Bravo!
And congratulations with your new studio!
Where can I contact you?
Thanks Robert! theviolin@outlook.com
Amazing tutorial🎻! May I ask what is the wrap on your violin chin rest?
Hello, please tell me, what color is the varnish on your violin, it is beautiful, thank you very much
Obrigado
Great ❤! Can I repost your videos on another platform?
I really like that lamp.
Would you recommend doing this on Don Juan, say on Bar 9, which starts with the dotted half note G-sharp?
For the record - I really like the lamp too. Has a classy style/personality to it.
I think it's a bit too fast for this. Also, due to the speed, you really don't need/gain much from a whole bow. And stopping/catching is good for the necessary sharp articulation of the short g-sharp. But you can try :) ear is the judge.
Hello Daniel! Some assistance please. I keep hearing people say you can only become a good violinist if you start when you are a child. What would you tell them? And I believe almost anyone can become good with enough hard work and practice. Do you have any list of good violinists who started as adult learners?
i watched this earlier and tried it in my practice room, i couldnt skate , i fell thru the ice, lol, going to keep trying
Does this also apply to double downs let’s put for instance the opening bars and the main theme of Lalo symphonie espagnole 1st mvt? Would that be a feasible situation to use this technique?
That’s a good question. No, that’s a different situation. Those are proper retakes, big gestures, not hiding anything.
@@DanielKurganov Ok thank you I’m bringing it back for transfer college auditions and wasn’t fully sure…appreciate this and your content🤝
Hi, I would like to know your musical history, where did you study, your technique is special your full rich sound
Thanks a lot! I started playing when I was 16, studied with in Zurich with Rudolf Koelman. And a lot of study at UA-cam university :)
Que sonido!!!!
Hi do you give violin lessons
👍👍👍👍
Please czardas moti violin technique
Hi can I ask which chinrest you're using? Thanks!
I am using a Kreddle chinrest here, with some anit-slip rug material wrapped around it.
Whats is the year number of that violin plz???? It is a talking violin. Violin is singing very perfect.....🙏🙏what is that 17??
Thank you! The violin was made in 2013 by Andrew Ryan
Is it guarneri 1704?
You are a very good teacher . We never ever meet a mastre like you. Bcz of this is a poor country in this world. Like that violin is a dream for us. God bless you🙏🙏🙏
7:47 wormhole
I will be very happy if you answer. How many grams is your bow?
I would say almost 61 g! Depends how much it eats in the morning :)
@@DanielKurganov Thank you. I am very happy to discover you
Just started watching this. I've always wondered why the second note of the Brahms needs to be down. Augustin Hadelich, Daniel Lozakovich and David Oistrakh (and maybe others) do it up (e.g. ua-cam.com/video/RFkSiNp4CRQ/v-deo.html see ca 3.25). But for some mysterious reason Oistrakh at least nevertheless comes out on an up for the F octave. (Not sure about the other two and haven't got the time or energy to check again). This F octave is on the first beat of the bar and If you do the bowing as it comes it naturally lands on a down (conventional), as does the accented Bb on the third beat with no need for retaking or any other artifice.
I'm not trying to be a smarty pants - I'm just puzzled.
Sure, there are many ways to do it. I find the retake is more elegant and avoids a huge accent and distortion of the rhythm that an up-bow there creates-all apologies to David Fyodorovich. Everything he does is convincing, but not always prescriptive.
1:05