OH, the timing on this is perfect! I played from 9 y/o to 23 and then stopped because I was never going to be able to make a living. I became a nurse. I had put my violin away in 2010, but picked it back up just before Christmas and have been taking lessons every week. We are working on this right now!
That was explained so very well. Almost all violin teachers that I got to work with were terrifying and very condescending. They also couldn’t demonstrate technical aspects with expertise or in a clear way. Many students are finding amazing teachers online to compensate for the lack of teachers that can explain things and break them down as well as you are doing. Many many thanks 😊 🎶🎶
Here's the thing about being condescending. I tried that and it doesn't work very well. Not that I don't push students but I've found being a little more patient works better. I'm a very practical teacher. If I thought being condescending would get better results, I'd do it. But thankfully for both myself and my students, being nicer (while still being demanding) works better on all accounts. Glad you enjoyed the video😄
@@sonja4186 not really condescending, but certainly less patient and more pushy. Sometimes a student will need a bit of a “wake-up call” but I’ve found that being more encouraging and patient produces much better results.
@@MurphyMusicAcademy ok I get that. You try things along the way. You want to improve your students and every student is a bit different. So maybe the overconfident student needs to hear that the result is n't great yet. But if a teacher can't explain something like the initial post said, and is condescending he probably should not teach.
Such exceptional teaching!! Tysm for sharing your knowledge, and in perfect timing for me! My orchestra will play Rossini's La Gazza Ladra overture, and strings have a lot of spiccato 😅🙏🏻
Sautille versus lower bow spiccato. I always found the two bow techniques confusing. A good exercise of spiccato is Tchaikovsky's violin concerto third movement. Sautille is more suited for Monti's Czardas.
There is nothing better than Sevcik Opus 2 to help students with the basics of bowing technique. And, of course, always put whatever you are working on bow-wise into your scales
If spiccato is a challenge, understanding you is also a challenge for me (french) because of your words speed 🙄. I'm afraid I missed some details... Too bad, it's still so well detailed
@@osezleviolon6641 in my experience, you should keep listening to English videos with the same speed as Tobiah Murphy in about a year. Then, every English video is an easy peasy.
So.. I have a question.... does that really mean that each bow has its own unchangeable natural frequency? And if so, how do you adapt your spiccato to the various tempos you encounter in the litterature? Is there such a thing as "faster" or "slower" spiccato?
3 months later... I still have this question. If the bow is free to bounce, it will do so at its natural frequency, which is *might* vary a bit with the place you bounce on the bow, but not much. So then... how to you make things go faster (think Vivaldi Tempest movement) or slower, to match the rest of the tempo, without engaging your hand to nudge the bow back into motion a bit faster than it would do naturally?
I teach and play violin - yes to your first question, both the speed and looseness or tightness of bouncing, or the size of each bounce, is different for each bow, especially if the bow is more flexible or more stiff. This is the main reason I tried many bows (at least 30) before buying ones I was satisfied with. ALSO, the speed of the bounce changes in different parts of the bow. Around the balance point it is slowest. Near the tip it is fastest. Spiccato can be done at many different speeds. When you find the natural speed of the bounce for your bow, you can go slower by controlling the timing of your bow stroke, meaning, slow down and take more time between each stroke letting the bow touch/bounce on the string. You can't really go faster than the speed of the bow, but, because what I said above, the bouncing speed changes in different parts of the bow, you change what part of the bow you use to go faster or slower. That is why, in my opinion, if you really want to play a fast spiccato and sautille, you need a bow that is capable of a faster bouncing speed.
@ thank you! This answer came just as my teacher has been pushing me to build speed and synchronization with the bow and just last week we started a piece that requires a lot of fast spicatto and martele. This response could not have been more timely!
OH, the timing on this is perfect! I played from 9 y/o to 23 and then stopped because I was never going to be able to make a living. I became a nurse. I had put my violin away in 2010, but picked it back up just before Christmas and have been taking lessons every week. We are working on this right now!
You deserve way more subs man. Your videos have not only improved my technique but they have also taught me how think better as a person in general
Super instruction. Very helpful. Thank you
Fabulous, Tobiah! Thank you! Adult student here. G Ire
That was explained so very well. Almost all violin teachers that I got to work with were terrifying and very condescending. They also couldn’t demonstrate technical aspects with expertise or in a clear way. Many students are finding amazing teachers online to compensate for the lack of teachers that can explain things and break them down as well as you are doing. Many many thanks 😊 🎶🎶
Here's the thing about being condescending. I tried that and it doesn't work very well. Not that I don't push students but I've found being a little more patient works better.
I'm a very practical teacher. If I thought being condescending would get better results, I'd do it. But thankfully for both myself and my students, being nicer (while still being demanding) works better on all accounts.
Glad you enjoyed the video😄
If a teacher is condescending and can't explain things, he probably isn't interested in teaching @danyahal7
@murphysmusicacademy you actually tried being condescending? No surprise that did n't work. Your enthousiasm like in the video's probably works better
@@sonja4186 not really condescending, but certainly less patient and more pushy. Sometimes a student will need a bit of a “wake-up call” but I’ve found that being more encouraging and patient produces much better results.
@@MurphyMusicAcademy ok I get that. You try things along the way. You want to improve your students and every student is a bit different. So maybe the overconfident student needs to hear that the result is n't great yet.
But if a teacher can't explain something like the initial post said, and is condescending he probably should not teach.
Great that you're posting again😊.
Your instruction video's are very helpfull.
Yeah, I've had a bit of writer's block lately. Hopefully I can be consistent in the future.
Merci❤
I like the way you explain violin techniques 🎻❤️
Such exceptional teaching!! Tysm for sharing your knowledge, and in perfect timing for me! My orchestra will play Rossini's La Gazza Ladra overture, and strings have a lot of spiccato 😅🙏🏻
Great explanation - thanks for the video 😊
Can you do a video on the best foot positions when playing?
I don’t that’s really a thing, bro. Typically just a good stance, feet just a bit more than hip-width apart will do it
Thanks so much
Thank you!
Sautille versus lower bow spiccato. I always found the two bow techniques confusing. A good exercise of spiccato is Tchaikovsky's violin concerto third movement. Sautille is more suited for Monti's Czardas.
It actually works
What that thing where you slide up and it sounds like separate tiny notes at 00:12 ? Is that still considered spicato? Or upbow staccato? Tutorial?
Ricochet. Where you allow a number of bounces within a single bow stroke
@@MurphyMusicAcademy I hate that thing
So you have to time the sliding notes to match with the bounces?
thoughts on heifetz doing spicatto? I find it extremely interesting seeing where he does it in the bow and the way he does it
Very clear explanation! Are there any specific etudes you tend to use for students just learning spiccato and sautille?
There is nothing better than Sevcik Opus 2 to help students with the basics of bowing technique. And, of course, always put whatever you are working on bow-wise into your scales
If spiccato is a challenge, understanding you is also a challenge for me (french) because of your words speed 🙄. I'm afraid I missed some details... Too bad, it's still so well detailed
There's a cc button on the right corner 🙄
I always watch him with 0,75 slow Motion 😂
@@moriokayuri but the subtitles are not always correct when people speak very fast. For exemple some words are missing or completely off the mark
@@osezleviolon6641 in my experience, you should keep listening to English videos with the same speed as Tobiah Murphy in about a year. Then, every English video is an easy peasy.
So.. I have a question.... does that really mean that each bow has its own unchangeable natural frequency? And if so, how do you adapt your spiccato to the various tempos you encounter in the litterature? Is there such a thing as "faster" or "slower" spiccato?
3 months later... I still have this question. If the bow is free to bounce, it will do so at its natural frequency, which is *might* vary a bit with the place you bounce on the bow, but not much. So then... how to you make things go faster (think Vivaldi Tempest movement) or slower, to match the rest of the tempo, without engaging your hand to nudge the bow back into motion a bit faster than it would do naturally?
I teach and play violin - yes to your first question, both the speed and looseness or tightness of bouncing, or the size of each bounce, is different for each bow, especially if the bow is more flexible or more stiff. This is the main reason I tried many bows (at least 30) before buying ones I was satisfied with. ALSO, the speed of the bounce changes in different parts of the bow. Around the balance point it is slowest. Near the tip it is fastest.
Spiccato can be done at many different speeds.
When you find the natural speed of the bounce for your bow, you can go slower by controlling the timing of your bow stroke, meaning, slow down and take more time between each stroke letting the bow touch/bounce on the string. You can't really go faster than the speed of the bow, but, because what I said above, the bouncing speed changes in different parts of the bow, you change what part of the bow you use to go faster or slower. That is why, in my opinion, if you really want to play a fast spiccato and sautille, you need a bow that is capable of a faster bouncing speed.
@ thank you! This answer came just as my teacher has been pushing me to build speed and synchronization with the bow and just last week we started a piece that requires a lot of fast spicatto and martele. This response could not have been more timely!
Was that a piece you played in the opening 10 seconds? I swear I've heard something similar, but cannot recall it.
That was Rush E, lol
Such as nice loving man
Are you Spiderman?
I wondered the same. Some kind of a far relationship maybe...? 😂
I found it easier to sautille than to spiccato 😭. I was always told spiccato is easier than sautille
@@מימוןבןאברהם 100% agree. I’ve found it much easier to teach sautille as well. Spiccato has so many little variables that must be accounted for
!