You make a great point about paying attention to the physical sensation when we shift. Relying on just one thing, like listening for the note, isn't always reliable. But combining our tactile sense with our hearing will make the shift doubly effective. Cool video!
thanks! definitely adding this to my intonation practice. as another commenter noted , we might desire to play w fingers close to fingerboard and flat pads (the "Kerson Leong" method i like to call it, lol) , but as you have pointed out so well , we need to practice the extreme motions of technique for everything to start to equalize and become motions of ease. thanks again for your thorough demonstrations ! 🙏
Your examples are totally put of my range but I think the exercises are useful even for beginner scales, especially since you explain what we want to feel and get out of the exercises!
After seeing your book, I wonder, if you can suggest some good books about violin and violin playing. I read Mr. Galamian's "Principles of violin: playing and teaching". It is life changer for me. And I have another question, what is the intermediate violin player definition? a list of his/her must haves. For example I learn, I have to be good at sight reading and knowing the names of different bowing methods in different languages :) And thanks for your all good videos, I saw all of them more than twice.
Fun, I’d do exactly the opposite, focus in the uplifting motion on the fingers, using the string as a spring by not fully pressing it but reaching the “sweet spot” in which you produce a real note and then using the resistance from the string as an impulse to lift the fingers, therefore keeping them very close to the string so I can use them as a guide for the shifts and chromatisms as well as using my thumb as a pied a terre. Instead of changing of position “alla trombone “ from the air. Anyways, thank you for sharing, I’ll give it a good try!
Absolutely! The method you describe is a vital one and I have made some videos about it. In my experience, there is a special benefit from practicing alternating opposite approaches. This is something I learned from a student of Menuhin. Basically, the flux of two opposing but complimentary principles is what can drive progress. So, in this case, the active up + down motions are equally important. Also, there is this concept of practicing things on certain time scales: in order to achieve great articulation with fingers close to the string, you have to practice lifting the fingers very high and with electricity. This counter-intuitive principle is at the heart of violin mastery, in my opinion. What I present in this video is mainly on the topic of “confident motion”, rather than a full guide on finger dexterity, which would of course include the technique you mentioned. Thanks for watching. Cheers!
Below are the timestamps. What do you think of these practice techniques? Do they work for you? It's great to combine these methods with the other ways of practicing I talk about in my E-book ("64 Practice Hacks"), such as the totally opposite approach where you move very slowly and gently to ensure fluidity and smooth out any bumps or lack of control in the finger motion. This is also a type of "left-hand confidence". 00:00 - Welcome 00:27 - My new E-Book "64 Practice Hacks" 01:18 - Intro to "Left-Hand Confidence" 02:13 - METHOD 1 - Dexterity from the Air 03:28 - Variations 04:06 - What to pay attention to 05:29 - Demo - Mendelssohn Concerto Mvt. 1 06:53 - Demo - Strauss Don Juan excerpt 07:46 - Demo - Franck Violin Sonata Mvt. 2 08:17 - METHOD 2 - Air Shift 09:53 - Demo - Mendelssohn Concerto Mvt. 1 11:15 - Demo - Mendelssohn Concerto Mvt. 1 12:11 - Demo - Franck Violin Sonata Mvt. 4 13:14 - Summary, and watch Josef Hofmann video!
Hello Daniel, I have spoken to you in the past about how invaluable your instruction is, and this one is once again an amazing method of finding clarity and core sound as well as helping with knowing in our minds where the note is before playing it. My cello teacher was one for this method as well. Now with the challenge of violin from cello, this has helped me in infinite ways, so Thank you. I want to purchase your ebook as well. There is one issue that has been troubling me for some time, and that is I seem to unconsciously throw my left wrist outward, especially when playing the A major scale or any scales for that matter that involve playing a sharpened note with the third finger. I tried this exercise and found it helped a bit, however I seem to continue to do this, and it is causing some pain in my thumb. Any advice from you on this would be greatly appreciated. With many thanks from Toronto, Canada.
Thanks, Gary. There are a few ways in general to better reach with the left hand, or more precisely, accommodate the fingers so that they fall in place without any contortions. The first is the swinging of the arm under the violin. The second is the supination of the arm in order to better accommodate the pinky. The fingers should be a bit found out on the diagonal plane. It’s not easy to explain it further in text :-) see if you can experiment with that.
@@DanielKurganov Ah, yes, my teacher pointed out the fact that I fail to keep my arm under the instrument enough, so thanks for the reminder. I have been working on this a great deal since I originally commented on this video. Everything that you share is invaluable and I very much appreciate it.
Cool. I've never practiced this way, but I'm going to try it. Most youtuber teachers teach to not lift the fingers too high, but I suppose that's for another skill or sets of skills. I think for accuracy though, this would be great training exercise. Thank you!
This is such an excellent video! I am working my way through the Introduction and Rondo Capriccioso. I am starting the last 2 pages in a week or so and will use this technique. Thank you so much!!
Would these be applicable to third double stops with a 4-2 fingering? My second finger is a little inconsistent in these scenarios a la Sarasate's Carmen last mvt.
Yes! "From the air" is a great way to calibrate double stops. You have to ask yourself - if you do get your fingers onto the right place, are they there through force? "From the air" has you calibrating and thinking about accommodating the fingers with the hand/forearm/upper arm and relieving excess tension.
Bow arm confidence...I’ll have to make a video about that! I am preparing a long video on sound production “from start to finish”. Can’t wait to release that!
I like those guides a lot! I was actually already going to make a video about them. It’s a great service that Sevcik has done for all of us. It takes some demonstrating to really feel the value of his approach.
I totally agree the minimal motion is the end goal, generally speaking. I have discovered, however, that it is vital to practice lifting and extending fully with electric energy -- in order to eventually play with very little motion. That's how a lot of violin technique works I think. You can't achieve good articulation and minimal motion without spending a great deal of time exaggerating various elements during practice. Thanks for watching!
@@DanielKurganov Your technique in general is very clean, so I did know you would agree on this. I think this approach is very interesting and the higher lifting of the fingers can even have some benefits. Much similar to the benefits of full range of motion in muscle training. Keep up the good work!
@@SimonStreuffViolinEducation There is the sportive element of lifting fingers. Vengerov, for instance, always advises to practice lifting fingers high and even playing like that. You can see that in the way he plays. I'm not sure how he does it. It doesn't look like it should sound good. I do believe in more efficient motions personally, but in the practice room we often have to do counterintuitive things to build the final product. So, more than the sportive element of raising fingers high, it's actually a neurological element. Throwing the fingers accurately from high above requires a lot of "confidence" and efficiency of motion if one is to stay relaxed and loose. It's like in basketball where the idea of the follow through is what allows great players to have such aim. They pick a trajectory and follow through with it. That's what we see with Josef Hofmann in the video. No hesitation. In my experience, once this feeling is mastered, all of violin technique becomes simpler, motions become smaller, and energy is conserved. Anyway, I appreciate your thoughts, and I'm always thinking and re-thinking these concepts to better understand what the hell is going on! Be well!
@@DanielKurganov i absolutely agree with this practice Daniel. It helped me get confidant intonation and much much relaxed left hand also more beautiful vibrato. And you are very right it takes confidence and lot of practice but it was all worth it for me. For a long time I was playing with "tight compact" fingers that my teacher said could Never leave the strings. And it did offer good solid intonation but I couldn't progress cause of constant stress my left hand was in which resulted in exhaustion. So thank you for this confirmation video.
Thanks so much for all those amazing teachings... I'm an amateur viola player, and I'm searching for exercises that help my forth left hand finger to be more relaxed and independent either when using it or when using other fingers on the string. Would you give me any advice or recomendation? Thank you in advance!
Try Dounis Op.23 to begin to recalibrate the 4th finger. It's crucial that the hand and fingers remain very loose, as you know. Op.23 is clever in that it allows you to investigate such issues within very well-defined boundaries. Make sure you are accommodating the fingers with the had/wrist/forearm/upper arm, and not stretching/reaching with them to get where they need to be. This is key for the "relaxation" everyone's talkin' about.
Dear Daniel, your videos became a reference to me and I love learning from you with such clarty in explaining and generosity in sharing. I was watching something I would like to know if you could explore and share explanations and also points of view about. I am talking about the book about fifths from Rodney Friend. Do you think you could guive us some spots about it? I would love to hear it from you... Thank you for everything!!!
@@DanielKurganov thank you for your quick answer! Looking forwards to some video about fifth's subjet... Meanwhile, learning tonnes of tones from your adorable material already shared!!! Thank you! ☺️🙏
Thanks for the introduction. I been doing this for the past 15 years. How to drop fingers on the finger board. And happy to see now people talk bout this in books and live video. It’s really very helpful.please do more video like this.
I was watching a Yehudi Menuhin left hand technique video. It appears he only contacts the violin with his thumb and has a space on the other side of the neck. It doesn't appear you play this way. I find it near impossible to support the violin doing it Menuhin's way. I can see how if you could you would gain incredible freedom in the left hand but it seems impossible for me. I think many violinists do not play this way so I would say it's not necessary but I wondered if you could comment on this. Have you tried at all to play that way?
Henryk Szeryng said that hitting the fingerboard too hard "desensitize" your finger's tip, therefore he liked to use the concept of "placing" the finger on the fingerboard better. He was maybe the most accurate violinist in terms of entonation... Just a thought.
How much Finger pressure is the right amount of pressure? Is it necessary to always touch the fingerboard while pressing the strings? Does the pressure vary depending on bowing technique or vibrato?
You can find out how much is needed, generally, by just pressing a bit more until you hear a very clean sound. Can't go wrong with that approach! But yes, you'll see that things change when you are in different parts of the fingerboard, playing double stops, pizzicato, etc. Not enough pressure is rarely someone's problem, so there's no harm in making next week "the week of very little pressure" and see how that calibrates things.
hola como estas, un gusto desde Colombia, excelentes tus videos!, de una gran ayuda, estoy estudiando, el concierto en sol mayor # 3 mozart, he tenido problemas con las articulación, en especial, en los pasajes de semicorcheas, quiero que salga en su totalidad muy limpio, tienes algun video que me pueda ayudar en ese tema, gracias! y de nuevo congratulations!!
have you ever considered making a practice/study discord server? id be willing to help you make one. it would be a good way for people to connect and share practice advice
Thank you so very much. I've been struggling for years with some shifts and nearly given up hope it will every work. Now there is improvement in two days !
Please Daniel, at 7:26 I see that you use slightly the left side of your palm to secure your hand position, I can't use this method because I turn more my hand to the fingerboard ( nearly parallel and without any tension because I take this habit since 2 years now and I feel so comfortable like this..) So I don't have contact point in third position, I try to memorize the sensation of my arm when I shift. Most of people use a contact point to find the third position but if I did it, my hand balance have to change and it's attack my intonation quality.. Please, for the next video, can you show plans with the camera on the thumb side? Sorry for my english, I'm French, thanks a lot 😊
The key is finger placement on the fingerboard. Use a flatter finger, think more of pressing down the lower string normally and the upper string as a result of flattening/turning the finger.
I practiced many years by myself without instructions,I hadn't,and I came to this technics because I felt as a need to have more flexibility with the whole hand or finger/s, grouped or separetely every time I became to have too much tension performing some types of movements or pieces;soo ,doing that I felt realeased from tension and difficulty to speed up or to find that same positioned note rightly
Можно пропагандировать ЛЮБУЮ ,,ШКОЛУ" ИГРЫ НА СКРИПКЕ, -- ИХ СОТНИ ,И ВСЕ ХОРОШИ НА СВОЙ ЛАД, НО ВСЕ АВТОРЫ ЭТИХ ШКОЛ ПОКАЗЫВАЮТ СВОЮ НЕДАЛЕКОСТЬ И ДАЖЕ БЕЗГРАМОТНОСТЬ, ПОТОМУ, ЧТО ЕЩЕ ДО ВОЙНЫ , В ПЕРВОЙ ПОЛОВИНЕ ВЕКА БЫЛА ОПУБЛИКОВАНА. КЛАССИЧЕСКАЯ ,,ШКОЛА", КОТОРОЙ НЕТ РАВНЫХ. СКАЖУ ОДИН КРИТЕРИЙ : А КАКОВО СОСТОЯНИЕ ,,БИЦЕПСА" ЛЕВОЙ РУКИ СКРИПАЧА. ( ? ) --- И НА ЭТОМ ЗАКОНЧАТСЯ ВСЕ ,,ВОПРОСЫ", -- ИБО ЭТОТ КРИТЕРИЙ ОБНАРУЖИВАЕТ СОСТОЯТЕЛЬНОСТЬ ДАННОЙ ,,ШКОЛЫ". В КЛАССИЧЕСКОМ ВАРИАНТЕ ,,БИЦЕПС" ЛЕВОЙ РУКИ НЕ ДОЛЖЕН УЧАСТВОВАТЬ В РАБОТЕ РУКИ. И ЕСТЬ ТАКАЯ ШКОЛА, КОТОРАЯ ДЕМОНСТРИРУЕТ ЭТО. ПРАВАЯ РУКА -- ОТДЕЛЬНЫЙ РАЗГОВОР НА БАЗЕ КЛАССИЧЕСКОЙ ПОСТАНОВКИ ЛЕВОЙ РУКИ. ИНАЧЕ ВЕСЬ РАЗГОВОР О ПРЕИМУЩЕСТВАХ КАКОЙ --ТО ,,ШКОЛЫ"", ИСКУССТВЕННО ,,СОЗДАННОЙ"" -- В ,,ПОЛЬЗУ БЕДНЫХ".
Как таковые, школы игры на скрипке,-- уже сказано. Школа игры на фортепиано также -- пройденный этап, ещё в 19 --м ВЕКЕ этот вопрос был ЗАКРЫТ гениальным пианистом ФЕРЕНЦЕМ ЛИСТОМ. То, как ,,ЗДОРОВО", допустим играет пианист МАЦУЕВ,-- то это пример, как можно добиться ,,СТИХИЙНО" , за счет множества. УСИЛИЙ ВСЕВОЗМОЖНЫХ ТАЛАНТОВ добиться приблизительно ,,подобие " равных достижений ,например, РАХМАНИНОВУ. Уж не говорю про искусство самого ,,ВОКАЛА", используемого гениальным певцом, артистом ,-- ФЕДОРОМ ШАЛЯПИНЫМ. ,,ВЕЛОСИПЕДЫ " ДАВНО ИЗОБРЕТЕНЫ, КАК ,,ВЕЛОСИПЕД" АНТОНИО СТРАДИВАРИ, ГВАРНЕРИ, АМАТИ ,--- А НАША ,,ЗАДАЧА" СУМЕТЬ ПОВТОРИТЬ, РАЗГАДАТЬ ИХ СЕКРЕТЫ, НЕ БОЛЕЕ....
А ЦЕНЗУРУ ЮТУБА ПРОШУ НЕ ВМЕШИВАТЬСЯ В ВОПРОСЫ УЗКО ПРОФЕССИОНАЛЬНЫЕ, , -- НЕ ПАРЕЧЕРКИВАТЬ, -- ЭТО УЛЕЛ ВЫСОКИХ ПРОФЕССИОНАЛОВ, ЕСЛИ КТО ИЗ НИХ СПОСОБЕН НА ЭТО.
@@DanielKurganov might have been a temporary issue. I'm from France, and I purchased the book without any issues a couple of months back. Thanks for the tips, I wrote some of them down to keep them in sight at all times
![How to Practice Violin Better [Brahms Violin Sonata No.3] - PART II](http://i.ytimg.com/vi/Nd1ZlXHRHbM/mqdefault.jpg)
![How to Practice Violin Better [Brahms Violin Sonata No.3] - PART II](/img/tr.png)
![2-finger exercise for shifting, vibrato, sound production & high positions [violin technique]](/img/n.gif)
You make a great point about paying attention to the physical sensation when we shift. Relying on just one thing, like listening for the note, isn't always reliable. But combining our tactile sense with our hearing will make the shift doubly effective. Cool video!
thanks! definitely adding this to my intonation practice. as another commenter noted , we might desire to play w fingers close to fingerboard and flat pads (the "Kerson Leong" method i like to call it, lol) , but as you have pointed out so well , we need to practice the extreme motions of technique for everything to start to equalize and become motions of ease. thanks again for your thorough demonstrations ! 🙏
Exactly! And Kerson Leong is certainly a good one to learn from.
Your examples are totally put of my range but I think the exercises are useful even for beginner scales, especially since you explain what we want to feel and get out of the exercises!
After seeing your book, I wonder, if you can suggest some good books about violin and violin playing. I read Mr. Galamian's "Principles of violin: playing and teaching". It is life changer for me.
And I have another question, what is the intermediate violin player definition? a list of his/her must haves. For example I learn, I have to be good at sight reading and knowing the names of different bowing methods in different languages :)
And thanks for your all good videos, I saw all of them more than twice.
The Galamian book is great. I would also recommend Simon Fischer’s books Practice, and Basics.
@@DanielKurganov Thank you, I get them and start to read. And your last video about using mirrors is amazing.
Fun, I’d do exactly the opposite, focus in the uplifting motion on the fingers, using the string as a spring by not fully pressing it but reaching the “sweet spot” in which you produce a real note and then using the resistance from the string as an impulse to lift the fingers, therefore keeping them very close to the string so I can use them as a guide for the shifts and chromatisms as well as using my thumb as a pied a terre. Instead of changing of position “alla trombone “ from the air. Anyways, thank you for sharing, I’ll give it a good try!
Absolutely! The method you describe is a vital one and I have made some videos about it. In my experience, there is a special benefit from practicing alternating opposite approaches. This is something I learned from a student of Menuhin. Basically, the flux of two opposing but complimentary principles is what can drive progress. So, in this case, the active up + down motions are equally important. Also, there is this concept of practicing things on certain time scales: in order to achieve great articulation with fingers close to the string, you have to practice lifting the fingers very high and with electricity. This counter-intuitive principle is at the heart of violin mastery, in my opinion. What I present in this video is mainly on the topic of “confident motion”, rather than a full guide on finger dexterity, which would of course include the technique you mentioned. Thanks for watching. Cheers!
The quality and attention to detail in your videos is amazing. Great work! I'll be trying these in my next practice session.
Thank you!
Daniel, your advice in this video was a real revelation !!!! thanks 1000 times !!!!
Thanks, Daniel, you are doing a great job, and I highly recommend your new ebook, I've learned a lot from it.
Thank you! I’m glad you find it useful. I have several other books I am working on at the moment.
Excellent tips Daniel! There’s always to learn something new... Thanks!
Below are the timestamps. What do you think of these practice techniques? Do they work for you? It's great to combine these methods with the other ways of practicing I talk about in my E-book ("64 Practice Hacks"), such as the totally opposite approach where you move very slowly and gently to ensure fluidity and smooth out any bumps or lack of control in the finger motion. This is also a type of "left-hand confidence".
00:00 - Welcome
00:27 - My new E-Book "64 Practice Hacks"
01:18 - Intro to "Left-Hand Confidence"
02:13 - METHOD 1 - Dexterity from the Air
03:28 - Variations
04:06 - What to pay attention to
05:29 - Demo - Mendelssohn Concerto Mvt. 1
06:53 - Demo - Strauss Don Juan excerpt
07:46 - Demo - Franck Violin Sonata Mvt. 2
08:17 - METHOD 2 - Air Shift
09:53 - Demo - Mendelssohn Concerto Mvt. 1
11:15 - Demo - Mendelssohn Concerto Mvt. 1
12:11 - Demo - Franck Violin Sonata Mvt. 4
13:14 - Summary, and watch Josef Hofmann video!
Brilliant and very thoughtful. 🙏
Just tried on the third movement of Sibelius. It works very well!! Even fpr the thirds, octaves... Every passage
Thank you so much
Excellent! It’s an interesting addition to the tool box :)
Just bought E-Book!
Thanks! I hope you find it useful. Let me know what you think!
great videos. also love your beautiful tone!
Hello Daniel, I have spoken to you in the past about how invaluable your instruction is, and this one is once again an amazing method of finding clarity and core sound as well as helping with knowing in our minds where the note is before playing it. My cello teacher was one for this method as well. Now with the challenge of violin from cello, this has helped me in infinite ways, so Thank you. I want to purchase your ebook as well. There is one issue that has been troubling me for some time, and that is I seem to unconsciously throw my left wrist outward, especially when playing the A major scale or any scales for that matter that involve playing a sharpened note with the third finger. I tried this exercise and found it helped a bit, however I seem to continue to do this, and it is causing some pain in my thumb. Any advice from you on this would be greatly appreciated. With many thanks from Toronto, Canada.
Thanks, Gary. There are a few ways in general to better reach with the left hand, or more precisely, accommodate the fingers so that they fall in place without any contortions. The first is the swinging of the arm under the violin. The second is the supination of the arm in order to better accommodate the pinky. The fingers should be a bit found out on the diagonal plane. It’s not easy to explain it further in text :-) see if you can experiment with that.
@@DanielKurganov Ah, yes, my teacher pointed out the fact that I fail to keep my arm under the instrument enough, so thanks for the reminder. I have been working on this a great deal since I originally commented on this video. Everything that you share is invaluable and I very much appreciate it.
Cool. I've never practiced this way, but I'm going to try it. Most youtuber teachers teach to not lift the fingers too high, but I suppose that's for another skill or sets of skills. I think for accuracy though, this would be great training exercise. Thank you!
You have to lift the fingers high in order to then learn how to not lift the fingers high. Violin is full of alternating opposites...
I see. Thank you!
This is such an excellent video! I am working my way through the Introduction and Rondo Capriccioso. I am starting the last 2 pages in a week or so and will use this technique. Thank you so much!!
Thanks Darlene
Would these be applicable to third double stops with a 4-2 fingering? My second finger is a little inconsistent in these scenarios a la Sarasate's Carmen last mvt.
Yes! "From the air" is a great way to calibrate double stops. You have to ask yourself - if you do get your fingers onto the right place, are they there through force? "From the air" has you calibrating and thinking about accommodating the fingers with the hand/forearm/upper arm and relieving excess tension.
Perfekt LG Stefan Sack professioneller Violin Viola player Technik Ivan Galamian
Great content here, brother🙏🎻❤️😍
great exercise!! I’ve applied on Paganini caprice #17 and help a lot!!! thanks!!
Can you give some advice for the other hand ?😅
Bow arm confidence...I’ll have to make a video about that! I am preparing a long video on sound production “from start to finish”. Can’t wait to release that!
@@DanielKurganov Can't wait to see the sound production video :) thank you for your work Daniel
There is a Sevick study on the Mendelssohn first movement. Has anyone seen it? What do you think of it?
I like those guides a lot! I was actually already going to make a video about them. It’s a great service that Sevcik has done for all of us. It takes some demonstrating to really feel the value of his approach.
Awesome! I can't wait to purchase your ebook!
Great exercises! I do prefer to keep the fingers closer to the string though, even when I practice lifting them.
I totally agree the minimal motion is the end goal, generally speaking. I have discovered, however, that it is vital to practice lifting and extending fully with electric energy -- in order to eventually play with very little motion. That's how a lot of violin technique works I think. You can't achieve good articulation and minimal motion without spending a great deal of time exaggerating various elements during practice. Thanks for watching!
@@DanielKurganov Your technique in general is very clean, so I did know you would agree on this. I think this approach is very interesting and the higher lifting of the fingers can even have some benefits. Much similar to the benefits of full range of motion in muscle training. Keep up the good work!
@@SimonStreuffViolinEducation There is the sportive element of lifting fingers. Vengerov, for instance, always advises to practice lifting fingers high and even playing like that. You can see that in the way he plays. I'm not sure how he does it. It doesn't look like it should sound good. I do believe in more efficient motions personally, but in the practice room we often have to do counterintuitive things to build the final product. So, more than the sportive element of raising fingers high, it's actually a neurological element. Throwing the fingers accurately from high above requires a lot of "confidence" and efficiency of motion if one is to stay relaxed and loose. It's like in basketball where the idea of the follow through is what allows great players to have such aim. They pick a trajectory and follow through with it. That's what we see with Josef Hofmann in the video. No hesitation. In my experience, once this feeling is mastered, all of violin technique becomes simpler, motions become smaller, and energy is conserved. Anyway, I appreciate your thoughts, and I'm always thinking and re-thinking these concepts to better understand what the hell is going on! Be well!
@@DanielKurganov i absolutely agree with this practice Daniel. It helped me get confidant intonation and much much relaxed left hand also more beautiful vibrato. And you are very right it takes confidence and lot of practice but it was all worth it for me. For a long time I was playing with "tight compact" fingers that my teacher said could Never leave the strings. And it did offer good solid intonation but I couldn't progress cause of constant stress my left hand was in which resulted in exhaustion. So thank you for this confirmation video.
Well, I started lessons in my 60s and I am now on Suzuki Book 6. Everything came easily, but I cannot grasp vibrato no matter what!
Thank you so much cc in spanish
Thanks so much for all those amazing teachings... I'm an amateur viola player, and I'm searching for exercises that help my forth left hand finger to be more relaxed and independent either when using it or when using other fingers on the string. Would you give me any advice or recomendation? Thank you in advance!
Try Dounis Op.23 to begin to recalibrate the 4th finger. It's crucial that the hand and fingers remain very loose, as you know. Op.23 is clever in that it allows you to investigate such issues within very well-defined boundaries. Make sure you are accommodating the fingers with the had/wrist/forearm/upper arm, and not stretching/reaching with them to get where they need to be. This is key for the "relaxation" everyone's talkin' about.
Dear Daniel, your videos became a reference to me and I love learning from you with such clarty in explaining and generosity in sharing.
I was watching something I would like to know if you could explore and share explanations and also points of view about. I am talking about the book about fifths from Rodney Friend. Do you think you could guive us some spots about it? I would love to hear it from you... Thank you for everything!!!
I appreciate Rodney and his work. I think his book should be several pages long :)
@@DanielKurganov thank you for your quick answer!
Looking forwards to some video about fifth's subjet... Meanwhile, learning tonnes of tones from your adorable material already shared!!! Thank you! ☺️🙏
Great video! Reminds me of the S.Eberhardt‘s „Free attack“ exercises from his book.
I just discovered this book recently - it's exactly what I'm talking about! I like his way of implementing it.
Amazing turorial
Thanks for the introduction. I been doing this for the past 15 years. How to drop fingers on the finger board. And happy to see now people talk bout this in books and live video. It’s really very helpful.please do more video like this.
Thank you. If the lighting could be 10% less intense, it would be perfect!
Noted!
Thank you
Tried that out today
🎻
Violin Day 12/13/2020
Mrs S @ SS
Your channel is so great , tnx for the content 💎🙌🏻
Great Daniel ,who made your fiddle?
Andrew Ryan
Fantastic advice!!!
Can u please discus about how to became a virtuoso violinist
Practice
practice
The same way u get to Carnegie Hall
Passion, patience and creativity! I’ll let you know when I get there...
@@DanielKurganov wow
I was watching a Yehudi Menuhin left hand technique video. It appears he only contacts the violin with his thumb and has a space on the other side of the neck. It doesn't appear you play this way. I find it near impossible to support the violin doing it Menuhin's way. I can see how if you could you would gain incredible freedom in the left hand but it seems impossible for me. I think many violinists do not play this way so I would say it's not necessary but I wondered if you could comment on this. Have you tried at all to play that way?
Very use ful
nice and helpful
Henryk Szeryng said that hitting the fingerboard too hard "desensitize" your finger's tip, therefore he liked to use the concept of "placing" the finger on the fingerboard better.
He was maybe the most accurate violinist in terms of entonation... Just a thought.
I'm very passionate about learning how to play violin but my violin's so cheap it doesn't even make that sound when you tap the strings like that 😭
How much Finger pressure is the right amount of pressure? Is it necessary to always touch the fingerboard while pressing the strings? Does the pressure vary depending on bowing technique or vibrato?
You can find out how much is needed, generally, by just pressing a bit more until you hear a very clean sound. Can't go wrong with that approach! But yes, you'll see that things change when you are in different parts of the fingerboard, playing double stops, pizzicato, etc. Not enough pressure is rarely someone's problem, so there's no harm in making next week "the week of very little pressure" and see how that calibrates things.
hola como estas, un gusto desde Colombia, excelentes tus videos!, de una gran ayuda, estoy estudiando, el concierto en sol mayor # 3 mozart, he tenido problemas con las articulación, en especial, en los pasajes de semicorcheas, quiero que salga en su totalidad muy limpio, tienes algun video que me pueda ayudar en ese tema, gracias! y de nuevo congratulations!!
have you ever considered making a practice/study discord server? id be willing to help you make one. it would be a good way for people to connect and share practice advice
Amazing idea! Can you email me? daniel.kurganov@gmail.com
Thank you sir❤
Intonation & articulation 🖤 such perfect it is enjoying to listen and watch You! Thanks!
Super helpful - teacher never mentioned the elbow! Many thanks!
Daniel, did you change the chinrest?
Good eye! I am trying out the “Stradivari” chinrest from Goetz.
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Thank you so very much. I've been struggling for years with some shifts and nearly given up hope it will every work. Now there is improvement in two days !
❤
Great lesson, thanks a lot 👏
Please Daniel, at 7:26 I see that you use slightly the left side of your palm to secure your hand position, I can't use this method because I turn more my hand to the fingerboard ( nearly parallel and without any tension because I take this habit since 2 years now and I feel so comfortable like this..)
So I don't have contact point in third position, I try to memorize the sensation of my arm when I shift.
Most of people use a contact point to find the third position but if I did it, my hand balance have to change and it's attack my intonation quality..
Please, for the next video, can you show plans with the camera on the thumb side?
Sorry for my english, I'm French, thanks a lot 😊
Thank you for practise ideas! Can you make a video about fifth on violin? How to practise them effectively
The key is finger placement on the fingerboard. Use a flatter finger, think more of pressing down the lower string normally and the upper string as a result of flattening/turning the finger.
I like your violin. Who made it? Thanks.
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Thanks for the tips Daniel! QQ, what mic are you using? sounds clear!
I love Ribbon mics! Samar AL95 is amazing and cheap. I use two in stereo (Faulkner or Blumlein arrangement).
What is the size of v iolin you are demonastring with
Wonderful teaching!
Thank you so much.
I would really appreciate it if you can reveal the actual amount of time you spend on your practice daily.
Not nearly enough:)
Good job Daniel
Very intersting! Thank you for sharing! Great! 👍👏👏👏
I practiced many years by myself without instructions,I hadn't,and I came to this technics because I felt as a need to have more flexibility with the whole hand or finger/s, grouped or separetely every time I became to have too much tension performing some types of movements or pieces;soo ,doing that I felt realeased from tension and difficulty to speed up or to find that same positioned note rightly
Можно пропагандировать ЛЮБУЮ ,,ШКОЛУ" ИГРЫ НА СКРИПКЕ, -- ИХ СОТНИ ,И ВСЕ ХОРОШИ НА СВОЙ ЛАД, НО ВСЕ АВТОРЫ ЭТИХ ШКОЛ ПОКАЗЫВАЮТ СВОЮ НЕДАЛЕКОСТЬ И ДАЖЕ БЕЗГРАМОТНОСТЬ, ПОТОМУ, ЧТО ЕЩЕ ДО ВОЙНЫ , В ПЕРВОЙ ПОЛОВИНЕ ВЕКА БЫЛА ОПУБЛИКОВАНА. КЛАССИЧЕСКАЯ ,,ШКОЛА", КОТОРОЙ НЕТ РАВНЫХ. СКАЖУ ОДИН КРИТЕРИЙ : А КАКОВО СОСТОЯНИЕ ,,БИЦЕПСА" ЛЕВОЙ РУКИ СКРИПАЧА. ( ? ) --- И НА ЭТОМ ЗАКОНЧАТСЯ ВСЕ ,,ВОПРОСЫ", -- ИБО ЭТОТ КРИТЕРИЙ ОБНАРУЖИВАЕТ СОСТОЯТЕЛЬНОСТЬ ДАННОЙ ,,ШКОЛЫ". В КЛАССИЧЕСКОМ ВАРИАНТЕ ,,БИЦЕПС" ЛЕВОЙ РУКИ НЕ ДОЛЖЕН УЧАСТВОВАТЬ В РАБОТЕ РУКИ. И ЕСТЬ ТАКАЯ ШКОЛА, КОТОРАЯ ДЕМОНСТРИРУЕТ ЭТО. ПРАВАЯ РУКА -- ОТДЕЛЬНЫЙ РАЗГОВОР НА БАЗЕ КЛАССИЧЕСКОЙ ПОСТАНОВКИ ЛЕВОЙ РУКИ. ИНАЧЕ ВЕСЬ РАЗГОВОР О ПРЕИМУЩЕСТВАХ КАКОЙ --ТО ,,ШКОЛЫ"", ИСКУССТВЕННО ,,СОЗДАННОЙ"" -- В ,,ПОЛЬЗУ БЕДНЫХ".
Как таковые, школы игры на скрипке,-- уже сказано. Школа игры на фортепиано также -- пройденный этап, ещё в 19 --м ВЕКЕ этот вопрос был ЗАКРЫТ гениальным пианистом ФЕРЕНЦЕМ ЛИСТОМ. То, как ,,ЗДОРОВО", допустим играет пианист МАЦУЕВ,-- то это пример, как можно добиться ,,СТИХИЙНО" , за счет множества. УСИЛИЙ ВСЕВОЗМОЖНЫХ ТАЛАНТОВ добиться приблизительно ,,подобие " равных достижений ,например, РАХМАНИНОВУ. Уж не говорю про искусство самого ,,ВОКАЛА", используемого гениальным певцом, артистом ,-- ФЕДОРОМ ШАЛЯПИНЫМ. ,,ВЕЛОСИПЕДЫ " ДАВНО ИЗОБРЕТЕНЫ, КАК ,,ВЕЛОСИПЕД" АНТОНИО СТРАДИВАРИ, ГВАРНЕРИ, АМАТИ ,--- А НАША ,,ЗАДАЧА" СУМЕТЬ ПОВТОРИТЬ, РАЗГАДАТЬ ИХ СЕКРЕТЫ, НЕ БОЛЕЕ....
А ЦЕНЗУРУ ЮТУБА ПРОШУ НЕ ВМЕШИВАТЬСЯ В ВОПРОСЫ УЗКО ПРОФЕССИОНАЛЬНЫЕ, , -- НЕ ПАРЕЧЕРКИВАТЬ, -- ЭТО УЛЕЛ ВЫСОКИХ ПРОФЕССИОНАЛОВ, ЕСЛИ КТО ИЗ НИХ СПОСОБЕН НА ЭТО.
🙏🏻🙏🏻
kalau bisa translet ke bahasa indonesia😎😎😎
I really want to buy the ebook with my credit card but the system forces me to get a Paypal account. Too bad.
Sorry about that! I am not sure why that happens to you. Maybe try a different browser? You should definitely see credit card as an option...
How do I get a copy of e book
I seem to be unable to finalise the purchase of ur eBook on your site, could u help please?
Dear Nicolas, sorry about that. What is the issue you’re experiencing? Also, which country are you located in?
@@DanielKurganov might have been a temporary issue. I'm from France, and I purchased the book without any issues a couple of months back. Thanks for the tips, I wrote some of them down to keep them in sight at all times
terimakasih
sama sama
mewali