Why You Shouldn't Emulate Your Favorite Artists
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- Опубліковано 6 гру 2020
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Many of us wouldn't be where we are in violin without having been inspired by some particular artist or violin performance. In fact, if I could bottle up such inspiration I might be the wealthiest violin teacher on the planet! However, such is not the case, so those that do end up so inspired usually make the greatest progress in violin and any other musical instrument. However, there is danger in imitating your favorite violinist, especially if you are not as mature in your development.
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Only recently discovered this channel, loving the videos I’ve seen so far and your insights. Thanks.
Excellent video and a much needed topic that you don't find on UA-cam. Each video is definitely worth the wait, every time I see that notification I know there's something very valuable coming up. Thanks Tobiah! Wish your content would reach more people. Sharing this right now with other violinists.
Thanks so much! I'm super busy these days so getting around to making videos has been quite difficult, but I'm so glad I finally got the chance to do another one!
@@MurphyMusicAcademy Quality over quantity, take your time. How much it takes I'm now sure its not your usual "how to play with a straight bow video" (which are great videos but there's already like a million of them).
Wow thanks. It made all more clear. God bless you :)
Yes, I agree. Drilling the fundamentals is more fundamental than emulating artists who are too "deep" for our understanding. I also love to find my own musicality and I am unapologetic about it.
It is a pity, that almost nobody, and exactle not this gay, nows about real violin foundamentals. And ofcouse emulation is not right way, but reall way to see, that real tehnique is prodact of personal way of artist, no teachers I saw on youtube especially, that know what thay do.
but, but, T.M., ur my favorite artist. 😉- not a 'man-crush' but an admirer of your pedagogical prowess. when is next live stream, if you please?
I really like your videos. But do you have to have the Beethoven sonata playing in the background? Makes it harder for me to concentrate on what you're saying. One vote for no background music.
Or at least make it something unobtrusive. Like...oh, I don't know...John Cage.
Let me add 27,000 more votes in there for you.
Don't play a recording. Why don't you demonstrate instead? Put your money where your mouth is.
Ha ha you nailed it with the Mendelsohn concerto ... When I was learning the Bruch I used (of all violinists) Yehudi as inspiration. I got a good beatimg from my teacher. I ended up using the metronome and many, many repetitions from slow to on tempo to get it right again. After that I started to notice how the recording deviated from what is written to achieve the nuance that the violinist wanted.
God who ever you emulate technically, don't emulate Menuhin. His later breakdown was all due to deep rooted flaws in his technique. Violinists with great technique played well into their 70s and 80s and even more than that.
Same for cello, it seems the fundamentals of music theory are strict, but posture, certain ergonomics and bow hold can vary drastically and produce lovely sound
This makes a lot of sense, but I would argue that there are exceptions. I'm self-teaching, for reasons I won't bore you with, so set out to look for a model. My criteria were simple:
a) Do they have a similar physique?
b) Does their technique look organised, efficient and natural?
You won't be too surprised to hear that all roads pointed to Nathan Milstein. Especially as I actively dislike the feel of a shoulder-rest and decided early on to play restless. I can return to his playing again and again for insight and inspiration, even as I know that I'll never achieve a fraction of his mastery...
So for sure - trying to base your approach on someone with an unusual physique like a Heifetz, or an extremely complex and subtle technique like an Oistrakh, or a host of personal quirks like a Kavakos is clearly going to end badly - at least until you develop a very advanced understanding of what they are doing, as you say.
But you could surely do worse than trying to learn from maestros like Milstein or Zukerman, who exemplify the fundamental principle that less is more and are ideal technical models...
I had a swimmer's build and later a bodybuilders build when I was growing up snd it did not stop me from sounding like anybody I wanted to imitate. I had a long neck so I had to have something to hold the fiddle up.
Physique has nothing to do with how you will sound, but your fingers will and your technique for your bow arm will, as well.
p.s. whats the matter with Joshua Bell - he seems great to me - btw, I just started the Sevcik opus one book - Does it make me odd that I really enjoy reading and playing those exercises?
I certainly enjoy them. I find a kind of meditation in practicing technique.
As far as Bell goes, he’s a fine player. It’s just I used to be obsessed with him when I was a teenager. I’m not so much anymore, and I wouldn’t try to imitate his musical style. But that isn’t to say he’s not a fantastic violinist
aku baru menyadari masalah di jempolku. matur suksma. salam dari pulau bali 😇
I can't play like any of my idols. Their hands are different and I cannot hold the bow like they did at all.
i really like Pinchas Zukerman, and try to imitate his posture which i consider perfect violin position. but its very hard
Haha, I’d make an exception for that one
Great video! This is a very important topic! My teacher doesn't like using shoulder rest and after a couple years, I started struggling with shifting and vibrato because I have long neck. But my teacher didn't let me use shoulder rest. So I brought one despite of his disagreement and God bless it! That was the best decision ever! My playing improved dramatically and I finally felt one with the violin. Many people have a rigid mindset towards music in fact people should actually experiment with their own instrument and find the best method for them. Appreciating music with both mind and body will help you grow as a musician. Just like jimi hendrix's controversial thumb position on guitar. At the end the music is what matters not body posture. So find the most optimum method for yourself and ditch the unnecessary stress related to being like someone else
A shoulder rest has nothing to do with the length of your neck, it sits between your shoulder and your collar bone. The chinrest fills the space to your neck.
@@jimmierustler5607 this is exactly what I was talking about *face palm *
@@harisankar2688 No it isn't. You said "My teacher doesn't like using shoulder rest and after a couple years,I started struggling with shifting and vibrato because I have long neck."
This doesnt make any sense, your neck and whether it's long or short shouldnt really effect whether or not you use a shoulder rest, regardless of your neck the violin should be on your collarbone with the shoulder rest filling the space to your shoulder or, if you don't use a shoulder rest, your hand. In no way is having a long neck any justification for not using a shoulder rest. By all means if you enjoy using a shoulder rest use one, but i disagree that there is some fundamental genetic factor determining whether or not you "should" use one, and if there is it almost certainly isn't the length of your neck.
@@jimmierustler5607 oof! Never mind. What I said flew right over your head. No point in talking anymore
@@harisankar2688 Think it went over your head too buddy
When I was studying at a young age, I didn't listen to anyone at all. I did not listen to or watch recordings of the performances.
No Merphy is only bla bla)..
You have an opinion dude, that's all. It's just an opinion. You speak with authority like a Republican with no facts.
Emulation is one of the best ways to learn the violin. When I was a child, my father would put on a Heifetz recording and I had to play just like him and I have a reputation for being able to do that.
But he wouldn't stop there. He would put on Aaron Rosand, Oistrakh, Milstein, Francescatti, and any other recording we had of the same concerto or showpiece and I had to imitate them as well.
What did it do for me? It allowed me to play in a variety of styles. The goal after that? I was to play the way that I felt it after the recordings. It allowed me to find my voice while being able to imitate others. It's also how we learn speech. You have to imitate others. So you don't know what you're talking about at all. I would be very very curious If you ever picked up the violin and actually played for somebody and played in a manner where they would want to listen. I hate people who talk like this because you don't have anything to back it up. You just have an opinion, no different than any other Republican creep.
9 months late, apologies. But I am going to side with the creator. Comparing two completely different things doesn't really work too well. When it comes to playing an instrument, tone is a major thing that creates individuality. If someone in their entire career of music couldn't create their own signature sound, then what is the point of being a musician? Sounding good is awesome don't get me wrong! Bu when you take Midori Goto or Janine Janson who have that spicy tone and try to replicate it without having the intent of creating your own version of that sound, it doesn't seem to have much integrity to it does it? Then again, that's just my opinion on it. Had to put that part out there just in case if I get flamed back, then I can make sure it's just an opinion!
Don't stick your sick Demoncrat insults into music.
Libtard sighted? Hey liberal, don't you know the meaning of the word is "to be open and accept differences". Oh sure listening to other musicians is extremely important. Imitating can also help a beginner to an intermediate and even most experts. But there's only so far you will progress until you find out what works for your mind and body. Go home troll.