I only started 3 months ago after seeing you live but I've been a fan ever since.. And hey I can kinda do spiccato now even though I have no use for it because I can't keep up with my left hand. But I'll keep working hard to follow you, my Hero!❤
Thank you Augustin! This is extremely helpful; need to try it tomorrow into my practice...BTW, I've been practicing using your harmonics tips on Sarasate...I think its starting to make a difference for the better already :)
@Augustin - How much time do you spend "warming up" so you don't injure your hands and fingers? What kind of music warmup exercises do you think are the most effective for most Classical musicians?
My teacher actually says that what you are playing is saltando or sautillé (btw what's the difference i'd like to know) and spiccato is the one that is slower or like she says "Wurfbogen". I'm a bit confused now... can someone pls explain?
The terms that are used for these techniques are really confusing... your teacher is correct - slow off-the-string strokes are usually done by bouncing each note individually, and as it gets very fast, we let the natural bounce of the bow do the work for us. Whatever we call the bowstroke, this is the key! About the terms: Sautillé is a French term, Wurfbogen and Springbogen are German, Spiccato Italian, and they all get sort of mixed around. Where I'm from (Italy) I usually used the Italian terms (even though I'm German) and we usually used spiccato as a more general term, even if, technically, in Italian there is also a distinction with balzato/saltellato (which would be sautillé), that violinists might use when talking about technique, when meaning a kind of spiccato that is not tightly controlled but where gravity does the work for us. Usually, when a composer who's not a violinist wants to indicate an off-the-string bowstroke in the music, they will just write spiccato (or even staccato), and not bother with figuring out the exact terminology, so I tend to use the term pretty broadly. (maybe too broadly!) Saltato and saltando is actually the Italian term for ricochet. Did I mention the terms are confusing? :-) so Saltato/saltando is different from saltellato.
@@AugustinHadelichViolin Thank you for explaining... I had to read it twice though because english is not my native language and the terms are indeed confusing :) I appreciate it very much that you took the time to explain to me!
Thank you so much! It is wonderful that you mention the difference between the two directions of string crossings. Could you please suggest some tips, how to tame the more difficult one? There are places that one cannot solve the problem with fingerings, like in the 5th Paganini Caprice for example... Thank you very much in advance!!!
changing strings in the "other" direction is awkward, but the fingers of your bowhand can help by doing some of the strong crossing motion for you (so it shouldn't be too much only from the arm). Other than that, it's a question of practice. It's helpful to reduce these types of crossings when they happen, but t's true that sometimes there is no way around it.
@@AugustinHadelichViolin thank you, Augustin! I very much appreciate your answering my question!!! I'll try, what you suggest. Usually, when string crossings are complex and in fast tempo, I feel that I am loosing the control of the bow through too soft fingers. I try to keep them sort of stronger, but that leads to overly stiff arm overall. I also tried a wider grip, but I have very hard time keeping it. The fingers keep slipping back towards one another. Somehow, I cannot find my way through this although I'm trying for years already. I'd love to solve this, not only because of my own playing, but also in order to be able to teach this properly. Thank you in advance for any tip or suggestion. Your willingness to help others by sharing your knowledge and mastery is truly wonderful! Yours Stepan.
Štěpán Ježek Štěpán, does it help to be aware of the counter-clockwise 🔄 arc that the bow hand needs to trace in the “backwards” string crossing ? I think also that a completely relaxed, floating arm where you allow responsive movement in the arm socket and elbow joint can assist. I mean, the quintessential example of this would be in Bach Partita III in E major Preludio in the bariolage section. I often use Kreutzer #8 (slowly, quickly, on, and off the string) to inspect the quality of my string crossings. We studied this with Nathan Cole in his Virtuoso Master Course specifically to address this. I’d be curious to know what you eventually come up with!
Вы ,Потрясающий Музыкант! Хотелось бы, чтоб Ваш опыт озвучивали и на русском языке. Не все дети муз.школ понимают о чём Вы рассказываете, но имитируют очень хорошо. А смысл? В осмысливания того, чего хочешь добиться или чему хочешь научиться!!!(простите за каламбур). Успехов Вам и Здоровья! Ждём и лекций с переводом. С П А С И Б О !🌹🌹🎻
Thanks for sharing your expertise, maestro! ❤️🎻🎼🎵🎶👏☘️🇮🇪
Tank you very much Mr. Hadelich. It has been a real pleasure. Congratulations for your musical art.
Could you make a video in which you discuss the books on your shelves?
I only started 3 months ago after seeing you live but I've been a fan ever since.. And hey I can kinda do spiccato now even though I have no use for it because I can't keep up with my left hand. But I'll keep working hard to follow you, my Hero!❤
Thank you Augustin! This is extremely helpful; need to try it tomorrow into my practice...BTW, I've been practicing using your harmonics tips on Sarasate...I think its starting to make a difference for the better already :)
Muchísimas gracias
Tengo que decir que admiro mucho tu trabajo ❤
wow, I never think about that bowing and fingering trick before, thanks a lot!
gotta give a try on my spiccato
@Augustin - How much time do you spend "warming up" so you don't injure your hands and fingers? What kind of music warmup exercises do you think are the most effective for most Classical musicians?
Learning from the best ,thank you sir
Thank you so much Master Hadelich!!!💖👏👏👏👏👏
Everything seems to be easier watching your videos. Thanks Augustin.
This is really helpful. Thank you so much for making great informative videos. 🙏♥️
So how can we get private classes from you? Where do I send my money?
Thanks! This perfectly answers my question on your other video :)
Can someone tell me, isn’t that sautillè? What’s the different between it and sautillè?
I thought this was sautillè also
My teacher actually says that what you are playing is saltando or sautillé (btw what's the difference i'd like to know) and spiccato is the one that is slower or like she says "Wurfbogen". I'm a bit confused now... can someone pls explain?
The terms that are used for these techniques are really confusing... your teacher is correct - slow off-the-string strokes are usually done by bouncing each note individually, and as it gets very fast, we let the natural bounce of the bow do the work for us. Whatever we call the bowstroke, this is the key!
About the terms: Sautillé is a French term, Wurfbogen and Springbogen are German, Spiccato Italian, and they all get sort of mixed around. Where I'm from (Italy) I usually used the Italian terms (even though I'm German) and we usually used spiccato as a more general term, even if, technically, in Italian there is also a distinction with balzato/saltellato (which would be sautillé), that violinists might use when talking about technique, when meaning a kind of spiccato that is not tightly controlled but where gravity does the work for us.
Usually, when a composer who's not a violinist wants to indicate an off-the-string bowstroke in the music, they will just write spiccato (or even staccato), and not bother with figuring out the exact terminology, so I tend to use the term pretty broadly. (maybe too broadly!)
Saltato and saltando is actually the Italian term for ricochet. Did I mention the terms are confusing? :-) so Saltato/saltando is different from saltellato.
@@AugustinHadelichViolin Thank you for explaining... I had to read it twice though because english is not my native language and the terms are indeed confusing :) I appreciate it very much that you took the time to explain to me!
I'm glad gravity is on my side because the rest certainly is not..
So thankful for these videos!
Thank you so much!
It is wonderful that you mention the difference between the two directions of string crossings. Could you please suggest some tips, how to tame the more difficult one? There are places that one cannot solve the problem with fingerings, like in the 5th Paganini Caprice for example... Thank you very much in advance!!!
changing strings in the "other" direction is awkward, but the fingers of your bowhand can help by doing some of the strong crossing motion for you (so it shouldn't be too much only from the arm). Other than that, it's a question of practice. It's helpful to reduce these types of crossings when they happen, but t's true that sometimes there is no way around it.
@@AugustinHadelichViolin thank you, Augustin! I very much appreciate your answering my question!!!
I'll try, what you suggest.
Usually, when string crossings are complex and in fast tempo, I feel that I am loosing the control of the bow through too soft fingers. I try to keep them sort of stronger, but that leads to overly stiff arm overall. I also tried a wider grip, but I have very hard time keeping it. The fingers keep slipping back towards one another.
Somehow, I cannot find my way through this although I'm trying for years already. I'd love to solve this, not only because of my own playing, but also in order to be able to teach this properly. Thank you in advance for any tip or suggestion. Your willingness to help others by sharing your knowledge and mastery is truly wonderful!
Yours Stepan.
Štěpán Ježek Štěpán, does it help to be aware of the counter-clockwise 🔄 arc that the bow hand needs to trace in the “backwards” string crossing ? I think also that a completely relaxed, floating arm where you allow responsive movement in the arm socket and elbow joint can assist. I mean, the quintessential example of this would be in Bach Partita III in E major Preludio in the bariolage section. I often use Kreutzer #8 (slowly, quickly, on, and off the string) to inspect the quality of my string crossings. We studied this with Nathan Cole in his Virtuoso Master Course specifically to address this. I’d be curious to know what you eventually come up with!
Very clean very good
Hi Augustin. You are brilliant!!!!! Would you consider recording Rota’s improvvisso? He wrote two that i know of. Thx
kevin horne Improvviso en re minore? There’s more than one? 😱 I only know of the one!
These are awesome! Thanks!
excellent video 🥰
Fantastic!
Wwow. Thank you so much. 🥰
Bien!!!
❤❤❤
Вы ,Потрясающий Музыкант!
Хотелось бы, чтоб Ваш опыт озвучивали и на русском языке.
Не все дети муз.школ понимают о чём Вы рассказываете, но имитируют очень хорошо.
А смысл? В осмысливания того, чего хочешь добиться или чему хочешь научиться!!!(простите за каламбур).
Успехов Вам и Здоровья!
Ждём и лекций с переводом.
С П А С И Б О !🌹🌹🎻
👍👍👍