(student plays) Very nice. Not bad, but at first just one note per bow, and then divide in three. And make nice music, because scales are music. To link one note to another is already an art. That's why we play scales not only as an academic excercise, but also for phrasing. You're free to experiment. (student plays) Not bad, now not just one bow speed and one kind of pressure and one vibrato: make everything, from not vibrato to very wide vibrato, and to very narrow vibrato. And also pressure on the string, and then let go the string. Speed, crescendo, diminuendo, piano, pianissimo, mezzo piano, forte, fortissimo, subito piano. What's important at the start is to breathe. Right: what character? It depends. Dramatic: (Maxim plays) or dolce (M. plays). Okay? To play like this is boring, nobody wants that. Make music! If you can make music in scales, you can do in Beethoven, you can do anything. (student plays) What's vibrato? A decoration, yes. This beautiful hall already has a vibrato: it vibrates already. There's an acoustic. So, your instrument also vibrates, your body, your sould. Now your fingers must adapt to that. If you vibrate too much, for this hall it will be too much. You always have to listen and adapt. The most important instrument for us is the ear. (student plays) B is flat. If you compare to the other strings (M. plays) You play for the last row (of the hall) (student plays, M. plays) Violin is like a glass of wine, everything must breathe, enjoy! Very nice (student plays). That's too sharp. If you play too high, then it gets narrow. You have to do it if you are interpreting something, I'll show you an example (Maxim plays). This was dramatic. This is more relaxed: (Maxim plays) It depends on what you want. In a minor key: (Maxim plays) Intonation is part of our interpretation. Now play in groups of four. (student plays) When you go to the new string there's a new color (Maxim plays) (Student plays). Intonation, everything is flat. Attractive (?) intonation. Intonation is here, not in your fingers. (student plays). Your right hand is like a stone, everything must relax. Here it should be like a cat, and the pinky helps to find balance (student plays). At the end of the bow the pinky works. (Maxim plays). You always have to feel this. Like a cat does, the same here. (student plays) Relax, relax. Let's find the sound. (Maxim plays) Take out the sound, don't press. (student plays). You can... that's too much. (student plays). Yes, now relax with a bit of vibrato. (student plays) Not too much, a bit like this: (Maxim plays). So that everything breathes. (student plays) Very nice. Save bow. You always have to give a bit more bow for the last note. Do you know why? Because at the end the bows is lighter, so you have to compensate. (student plays) Do you see? (student plays). That's right. Don't press. Now eight (notes). Intonation. (Maxim plays) And the fingers like hammers. Don't cut out all transitions (shifts). (Maxim plays) Don't press into the string while shifting, take out the weight from the string. Like a trill (Maxim plays). And there's also different functions, this is legato (he plays), this is staccato, and the thumb is alway legatissimo. That's right, three functions. And the elbow, also legatissimo. (student plays) Not bad, but everything is in steps. Left and right hand have to be hypnothic. (student plays) Everything was perfect except for intonation, now 16. No panic! I can see it in your eyes. You can do this. (student plays) The thumb has to be very relaxed and come in advance. That's an invitation to the new position (student plays) That was too late (Maxim plays) Can you see? You are doing this (M. plays) (student plays) The thumb shouldm't press on the fingerboard, otherwise there's no freedom. Can you move like this? No, now you can. Relaxed shoulder, because the sound goes through the fingers from all of this, in every situation, everything must be relaxed. But it starts here, with the fingers. (student plays) Not bad, now 32nd notes. (student plays) You have to play it three times. (student plays) Not bad, just your right hand, when you shift, you do it in steps, but the elbow must move beforehand. For example (M. plays) and never (M. plays). Do you understand? And now arpeggios, in four. Don't rush (in Russian: take your time). Yes, there's here in the first four notes, there's already three different colours, why? Because (M. plays) one colour (M. plays). And everything relaxed (student plays) Very relaxed! Once again (M. plays) relaxed. (student plays) Make really good music, major and minor. You have to feel everything harmonically, even when you're playing arpeggios. Music comes first, technical things must adapt to that, that's an instrument. Violin, bow, ears come later. Why do we do that? for music, not for the technique. (student plays) Once again. (M. plays) It's not relaxed. (M. plays) (student plays) You're pressing, don't press, look: (M. plays) (student plays) Relaxed. That's a mistake, here: the thumb must not come away from the fingerboard. If you need more freedom, then (M. plays), this is okay, with small hands you come further, but this you must not do. (student plays) Vibrato stays the same as here. (M. plays) That's the same, just here it's easier to play, because it's nearer to the eyes! (student plays). And the position of the fingers must be the same, here and here, never like this. (student plays) You always have a point of reference (M. plays) Let's do it separately, in one bow (student plays). Right, and then: (student plays). The thumb must come earlier (M. plays, student plays). Very nice that you do it with one vibrato, don't stop (M. plays, student plays) Go on. (student plays) Very nice, go on. In four. (student plays) No... don't press. Very nice. Don't cut. Do you see, my vibrato is very balanced. It's not forced, and every shift is very soft. It's very important not to press on the strings while shifting. And begin slowly and then like a magnet to the new note. (M. plays, student plays) That's right. In minor now, a new colour, it's very important that you make music while playing scales. (M. plays) it's sad! And now play major: (student plays) You're not very happy to play major, in your eyes! Everything sounds the same. Your hands must laugh. Can you see the colour? (student plays) Good. Don't rush and don't press. Now chromatic scale. In tempo. (student plays) You didn't practice this, you'll find the fingerings in the book. And now double stops, the same. Two people will be playing! No, just you. (student plays) B major. Have you practiced double stops? Okay, I understand, you'll try next time. It's in the book! Thank you, all the best.
Ein einzigartiger Musiker und ein grossartiger Geiger und Pedagoge, das ist schon einmalig. Und immer die gleiche Liebenswürdigkeit, Grosszügigkeit und der Wille, sein Wissen zu vermitteln. Was er da vermittelt, ist wesentlich. Die Technik im Dienste der Musik.
This master class was a true eye opener for me. I have never seen a students scale improve in such a short time. I never knew that scale is a music. If we practice like this, you will be ready for any piece.
This makes sense. Scales should always be considered as music, not just mechanical warm up. If someone can't appreciate nor feel pleasure in the beauty of singing scales, it's better he makes something other.
Danke, ich freue mich schon aufs nächste Üben, endlich habe ich verstanden, was damit gemeint ist, musikalisch Tonleiter zu spielen. Lach. Das war sehr hörbar :D Ich freue mich
Well, @ml, and then you have to adjust your vibrato to your intonation! If you play music, you will use vibrato, right? That`s why I love his approach very much. I have learned more in this 35 min. than in any other masterclass, I have to say. And I´m at it for about 50 years :-)
The violin is such an unforgiving instrument. Just the sheer spectrum of sounds you can produce is unlike any other instrument. A lot of the result is subjective of course, but the way Maxim explains the base level of musicality and phrasing a pro needs is fascinating.
Erinnert mich an meine Zeit bei Prof. Kramarov (ebenfalls russische Schule nach Kogan). Am Anfang jeder Stunde standen Tonleiter in verschiedensten Varianten. Auch die Führung des Ellbogens ist ein wesentliches Prinzip. Man muss den Saitenwechsel voraussehen.
Dieses Kind macht eine mechanische Sache, er lebt nicht, was er "singt", um sich mit Musik zu verbinden Musik ist wie Liebe Je mehr du dich verliebst, desto besser bist du in dem, was du tust
(student plays) Very nice. Not bad, but at first just one note per bow, and then divide in three. And make nice music, because scales are music. To link one note to another is already an art. That's why we play scales not only as an academic excercise, but also for phrasing. You're free to experiment. (student plays) Not bad, now not just one bow speed and one kind of pressure and one vibrato: make everything, from not vibrato to very wide vibrato, and to very narrow vibrato. And also pressure on the string, and then let go the string. Speed, crescendo, diminuendo, piano, pianissimo, mezzo piano, forte, fortissimo, subito piano. What's important at the start is to breathe. Right: what character? It depends. Dramatic: (Maxim plays) or dolce (M. plays). Okay? To play like this is boring, nobody wants that. Make music! If you can make music in scales, you can do in Beethoven, you can do anything. (student plays) What's vibrato? A decoration, yes. This beautiful hall already has a vibrato: it vibrates already. There's an acoustic. So, your instrument also vibrates, your body, your sould. Now your fingers must adapt to that. If you vibrate too much, for this hall it will be too much. You always have to listen and adapt. The most important instrument for us is the ear. (student plays) B is flat. If you compare to the other strings (M. plays) You play for the last row (of the hall) (student plays, M. plays) Violin is like a glass of wine, everything must breathe, enjoy! Very nice (student plays). That's too sharp. If you play too high, then it gets narrow. You have to do it if you are interpreting something, I'll show you an example (Maxim plays). This was dramatic. This is more relaxed: (Maxim plays) It depends on what you want. In a minor key: (Maxim plays) Intonation is part of our interpretation. Now play in groups of four. (student plays) When you go to the new string there's a new color (Maxim plays) (Student plays). Intonation, everything is flat. Attractive (?) intonation. Intonation is here, not in your fingers. (student plays). Your right hand is like a stone, everything must relax. Here it should be like a cat, and the pinky helps to find balance (student plays). At the end of the bow the pinky works. (Maxim plays). You always have to feel this. Like a cat does, the same here. (student plays) Relax, relax. Let's find the sound. (Maxim plays) Take out the sound, don't press. (student plays). You can... that's too much. (student plays). Yes, now relax with a bit of vibrato. (student plays) Not too much, a bit like this: (Maxim plays). So that everything breathes. (student plays) Very nice. Save bow. You always have to give a bit more bow for the last note. Do you know why? Because at the end the bows is lighter, so you have to compensate. (student plays) Do you see? (student plays). That's right. Don't press. Now eight (notes). Intonation. (Maxim plays) And the fingers like hammers. Don't cut out all transitions (shifts). (Maxim plays) Don't press into the string while shifting, take out the weight from the string. Like a trill (Maxim plays). And there's also different functions, this is legato (he plays), this is staccato, and the thumb is alway legatissimo. That's right, three functions. And the elbow, also legatissimo. (student plays) Not bad, but everything is in steps. Left and right hand have to be hypnothic. (student plays) Everything was perfect except for intonation, now 16. No panic! I can see it in your eyes. You can do this. (student plays) The thumb has to be very relaxed and come in advance. That's an invitation to the new position (student plays) That was too late (Maxim plays) Can you see? You are doing this (M. plays) (student plays) The thumb shouldm't press on the fingerboard, otherwise there's no freedom. Can you move like this? No, now you can. Relaxed shoulder, because the sound goes through the fingers from all of this, in every situation, everything must be relaxed. But it starts here, with the fingers. (student plays) Not bad, now 32nd notes. (student plays) You have to play it three times. (student plays) Not bad, just your right hand, when you shift, you do it in steps, but the elbow must move beforehand. For example (M. plays) and never (M. plays). Do you understand? And now arpeggios, in four. Don't rush (in Russian: take your time). Yes, there's here in the first four notes, there's already three different colours, why? Because (M. plays) one colour (M. plays). And everything relaxed (student plays) Very relaxed! Once again (M. plays) relaxed. (student plays) Make really good music, major and minor. You have to feel everything harmonically, even when you're playing arpeggios. Music comes first, technical things must adapt to that, that's an instrument. Violin, bow, ears come later. Why do we do that? for music, not for the technique. (student plays) Once again. (M. plays) It's not relaxed. (M. plays) (student plays) You're pressing, don't press, look: (M. plays) (student plays) Relaxed. That's a mistake, here: the thumb must not come away from the fingerboard. If you need more freedom, then (M. plays), this is okay, with small hands you come further, but this you must not do. (student plays) Vibrato stays the same as here. (M. plays) That's the same, just here it's easier to play, because it's nearer to the eyes! (student plays). And the position of the fingers must be the same, here and here, never like this. (student plays) You always have a point of reference (M. plays) Let's do it separately, in one bow (student plays). Right, and then: (student plays). The thumb must come earlier (M. plays, student plays). Very nice that you do it with one vibrato, don't stop (M. plays, student plays) Go on. (student plays) Very nice, go on. In four. (student plays) No... don't press. Very nice. Don't cut. Do you see, my vibrato is very balanced. It's not forced, and every shift is very soft. It's very important not to press on the strings while shifting. And begin slowly and then like a magnet to the new note. (M. plays, student plays) That's right. In minor now, a new colour, it's very important that you make music while playing scales. (M. plays) it's sad! And now play major: (student plays) You're not very happy to play major, in your eyes! Everything sounds the same. Your hands must laugh. Can you see the colour? (student plays) Good. Don't rush and don't press. Now chromatic scale. In tempo. (student plays) You didn't practice this, you'll find the fingerings in the book. And now double stops, the same. Two people will be playing! No, just you. (student plays) B major. Have you practiced double stops? Okay, I understand, you'll try next time. It's in the book! Thank you, all the best.
Игра гамм с вибрацией больше приносит вреда, чем пользы: 1.приучает руку к постоянной "фоновой" вибрации, потом автоматизирует этот процесс в музыке. 2. Привычка к постоянному задействованию кисти в даже среднем темпе не даёт ей реагировать на движения пальцев, менять положение в зависимости от их работы..тем самым сковывается техника. PS сейчас этот способ занятий вошёл в некую моду, и Цукерман так преподаёт. Хотя в старые времена никто не заставлял играть гаммы так- знали к чему это приводит. Вибрато- тонкая вещь и не безопасная при неправильной работе
si yo hubiera estaba en el lugar del chico, estaria recontra nerviosa :v, me muero ahi mismo con lo que me pide que haga. Tuve una experiencia similar con el maestro Hugo Arias, la verdad es que ellos son musicos ya veteranos la tecnica mejorada nosostros que estamos aprendiendo nos mandan a hacer algo que obviamente no nos saldra perfecto
A mi siempre me obligaron a tocar las escalas sin vibrato para ser mas exigente en la afinación lo cual me hizo odiar aun mas si cabe estudiar escalas. Creo que si me hubiesen permitido aportar musicalidad y expresividad a esas escalas las habría aprendido muchisimo mejor y posiblemente me habrian incluso llegado a encantar!! Una pena
I like the way Mr. Vengerov finds expression even in a scale.
yes same here
(student plays)
Very nice. Not bad, but at first just one note per bow, and then divide in three. And make nice music, because scales are music. To link one note to another is already an art. That's why we play scales not only as an academic excercise, but also for phrasing. You're free to experiment.
(student plays)
Not bad, now not just one bow speed and one kind of pressure and one vibrato: make everything, from not vibrato to very wide vibrato, and to very narrow vibrato. And also pressure on the string, and then let go the string. Speed, crescendo, diminuendo, piano, pianissimo, mezzo piano, forte, fortissimo, subito piano.
What's important at the start is to breathe. Right: what character? It depends. Dramatic: (Maxim plays) or dolce (M. plays). Okay?
To play like this is boring, nobody wants that. Make music! If you can make music in scales, you can do in Beethoven, you can do anything.
(student plays)
What's vibrato? A decoration, yes. This beautiful hall already has a vibrato: it vibrates already. There's an acoustic. So, your instrument also vibrates, your body, your sould. Now your fingers must adapt to that. If you vibrate too much, for this hall it will be too much. You always have to listen and adapt. The most important instrument for us is the ear.
(student plays)
B is flat. If you compare to the other strings (M. plays)
You play for the last row (of the hall)
(student plays, M. plays)
Violin is like a glass of wine, everything must breathe, enjoy! Very nice (student plays).
That's too sharp.
If you play too high, then it gets narrow. You have to do it if you are interpreting something, I'll show you an example (Maxim plays). This was dramatic. This is more relaxed: (Maxim plays)
It depends on what you want. In a minor key: (Maxim plays)
Intonation is part of our interpretation. Now play in groups of four. (student plays)
When you go to the new string there's a new color (Maxim plays)
(Student plays). Intonation, everything is flat.
Attractive (?) intonation. Intonation is here, not in your fingers.
(student plays). Your right hand is like a stone, everything must relax. Here it should be like a cat, and the pinky helps to find balance (student plays). At the end of the bow the pinky works. (Maxim plays). You always have to feel this. Like a cat does, the same here.
(student plays) Relax, relax. Let's find the sound. (Maxim plays) Take out the sound, don't press. (student plays). You can... that's too much. (student plays).
Yes, now relax with a bit of vibrato. (student plays) Not too much, a bit like this: (Maxim plays). So that everything breathes. (student plays) Very nice. Save bow. You always have to give a bit more bow for the last note. Do you know why? Because at the end the bows is lighter, so you have to compensate. (student plays) Do you see? (student plays). That's right. Don't press. Now eight (notes). Intonation. (Maxim plays)
And the fingers like hammers. Don't cut out all transitions (shifts). (Maxim plays) Don't press into the string while shifting, take out the weight from the string. Like a trill (Maxim plays).
And there's also different functions, this is legato (he plays), this is staccato, and the thumb is alway legatissimo. That's right, three functions. And the elbow, also legatissimo.
(student plays)
Not bad, but everything is in steps. Left and right hand have to be hypnothic. (student plays) Everything was perfect except for intonation, now 16. No panic! I can see it in your eyes. You can do this. (student plays) The thumb has to be very relaxed and come in advance. That's an invitation to the new position (student plays) That was too late (Maxim plays) Can you see? You are doing this (M. plays)
(student plays)
The thumb shouldm't press on the fingerboard, otherwise there's no freedom. Can you move like this? No, now you can. Relaxed shoulder, because the sound goes through the fingers from all of this, in every situation, everything must be relaxed. But it starts here, with the fingers.
(student plays)
Not bad, now 32nd notes. (student plays) You have to play it three times. (student plays) Not bad, just your right hand, when you shift, you do it in steps, but the elbow must move beforehand. For example (M. plays) and never (M. plays). Do you understand? And now arpeggios, in four.
Don't rush (in Russian: take your time). Yes, there's here in the first four notes, there's already three different colours, why? Because (M. plays) one colour (M. plays). And everything relaxed (student plays) Very relaxed! Once again (M. plays) relaxed. (student plays) Make really good music, major and minor. You have to feel everything harmonically, even when you're playing arpeggios. Music comes first, technical things must adapt to that, that's an instrument. Violin, bow, ears come later. Why do we do that? for music, not for the technique. (student plays) Once again. (M. plays) It's not relaxed. (M. plays) (student plays) You're pressing, don't press, look: (M. plays) (student plays) Relaxed.
That's a mistake, here: the thumb must not come away from the fingerboard. If you need more freedom, then (M. plays), this is okay, with small hands you come further, but this you must not do. (student plays) Vibrato stays the same as here. (M. plays) That's the same, just here it's easier to play, because it's nearer to the eyes! (student plays). And the position of the fingers must be the same, here and here, never like this. (student plays) You always have a point of reference (M. plays) Let's do it separately, in one bow (student plays). Right, and then: (student plays). The thumb must come earlier (M. plays, student plays).
Very nice that you do it with one vibrato, don't stop (M. plays, student plays) Go on. (student plays) Very nice, go on.
In four. (student plays) No... don't press. Very nice. Don't cut. Do you see, my vibrato is very balanced. It's not forced, and every shift is very soft. It's very important not to press on the strings while shifting. And begin slowly and then like a magnet to the new note. (M. plays, student plays) That's right. In minor now, a new colour, it's very important that you make music while playing scales. (M. plays) it's sad! And now play major: (student plays) You're not very happy to play major, in your eyes! Everything sounds the same. Your hands must laugh. Can you see the colour? (student plays) Good.
Don't rush and don't press. Now chromatic scale. In tempo. (student plays) You didn't practice this, you'll find the fingerings in the book. And now double stops, the same. Two people will be playing! No, just you. (student plays)
B major. Have you practiced double stops? Okay, I understand, you'll try next time. It's in the book! Thank you, all the best.
Thank you!!!
Thank you so much!
Thank You so much for translation!!
Thank you so very much, we all appreciate you doing this :) have a great day and a wonderful life❤️🌼🌸🌺⭐️♥️
VERY GRATEFUL
Ein einzigartiger Musiker und ein grossartiger Geiger und Pedagoge, das ist schon einmalig. Und immer die gleiche Liebenswürdigkeit, Grosszügigkeit und der Wille, sein Wissen zu vermitteln. Was er da vermittelt, ist wesentlich.
Die Technik im Dienste der Musik.
What a patient teacher.
Starring Thimothée Chalamet as the violin student
Please put English subtitle...
I wrote the whole translation in a comment
This master class was a true eye opener for me. I have never seen a students scale improve in such a short time. I never knew that scale is a music. If we practice like this, you will be ready for any piece.
Russian violin school requires scales on a regular basis.
Mmmm...NO
Vielen Dank, Niko, und vielen Dank, Maxim Vengerov, für diese MasterClass!
Priceless pearls of wisdom ⭐️⭐️⭐️
Thank you both 🙏🙏
😇🎻
Such a beautiful tone/sound by Max...and great to have that live for others to follow...thank you Max
thanks for posting!
Dankeschön für diese videos 👏👏👏
Love this masterklass!
This makes sense. Scales should always be considered as music, not just mechanical warm up. If someone can't appreciate nor feel pleasure in the beauty of singing scales, it's better he makes something other.
Danke ebenfalls für die Inspiration🥰
Thank you for sharing this. Diamond of knowledge.
Danke für diese Videos!
Danke, ich freue mich schon aufs nächste Üben, endlich habe ich verstanden, was damit gemeint ist, musikalisch Tonleiter zu spielen. Lach. Das war sehr hörbar :D Ich freue mich
Wow, Maxim ist ein fantastischer Lehrer 🤩
Well, @ml, and then you have to adjust your vibrato to your intonation! If you play music, you will use vibrato, right? That`s why I love his approach very much. I have learned more in this 35 min. than in any other masterclass, I have to say. And I´m at it for about 50 years :-)
Meraviglioso...
Sehr schön❤
Ключевое слово здесь :Не торопись)). А также : nicht panik. And for the first time in my life I liked the scales practicing 💗Fantastic
bravo Mr MAXIM
The violin is such an unforgiving instrument. Just the sheer spectrum of sounds you can produce is unlike any other instrument. A lot of the result is subjective of course, but the way Maxim explains the base level of musicality and phrasing a pro needs is fascinating.
What is this song? Does anyone have the sheet music?
Just kidding!
It's the song of beauty ;)
Großartig! Vielen Dank!
Danke! Das habe ich gebraucht!
Profile pic 10/10 😂
@@annagould3288 thank you. I had to take it immediately after I saw it
Bravoi
es wäre mir eine ehre eine stunde bei ihm zu haben.
aku juga. 45 menit pun tak apa😊
English subtitles would be highly appreciated. Danke!
same here....
It’s not working
@@sd67b where is the button for English transaction:)
@@Anna-887 There is no button for English :(
@@sd67b I don’t have that option ☹️ and I wonder why.
Erinnert mich an meine Zeit bei Prof. Kramarov (ebenfalls russische Schule nach Kogan). Am Anfang jeder Stunde standen Tonleiter in verschiedensten Varianten. Auch die Führung des Ellbogens ist ein wesentliches Prinzip. Man muss den Saitenwechsel voraussehen.
ACH,Ist das toll ,wahr, innig ...reich , ich fühle mich verwandt ,dankbar,danke , alles allerliebste ,großer Meister ,Musiker , wahrhaftiger Künstler ....mmmm....
Hast du was geschluckt?
Wie ?
21:28 - "Не торопись". Всё что я понял из разговора
Я перевел все на английцкий
Dieses Kind macht eine mechanische Sache, er lebt nicht, was er "singt", um sich mit Musik zu verbinden Musik ist wie Liebe Je mehr du dich verliebst, desto besser bist du in dem, was du tust
Ok
Dieses Kind spielt Tonleidern vor Vengerov hahaha
и на последок прекрасный B Dur !!!
Please clarify the difference between playing as
a soloist verses an orchestral audition.
❤️
💖💖
16:18 terimakasih tips nya
sama sama
mewali😊
how much masterclass?
He made the violin sing :-)
Is there any kind soul that can do an English CC?
jeden tone muss sein musik
I need english subtitles 🙏
I translated the whole thing in a comment to the video
I want English subtitles !
Could be his son. Didn’t he had the same hairstyle when he was young?😄
I think so:).
ah... i see 😃
no captions in english...😭
(student plays)
Very nice. Not bad, but at first just one note per bow, and then divide in three. And make nice music, because scales are music. To link one note to another is already an art. That's why we play scales not only as an academic excercise, but also for phrasing. You're free to experiment.
(student plays)
Not bad, now not just one bow speed and one kind of pressure and one vibrato: make everything, from not vibrato to very wide vibrato, and to very narrow vibrato. And also pressure on the string, and then let go the string. Speed, crescendo, diminuendo, piano, pianissimo, mezzo piano, forte, fortissimo, subito piano.
What's important at the start is to breathe. Right: what character? It depends. Dramatic: (Maxim plays) or dolce (M. plays). Okay?
To play like this is boring, nobody wants that. Make music! If you can make music in scales, you can do in Beethoven, you can do anything.
(student plays)
What's vibrato? A decoration, yes. This beautiful hall already has a vibrato: it vibrates already. There's an acoustic. So, your instrument also vibrates, your body, your sould. Now your fingers must adapt to that. If you vibrate too much, for this hall it will be too much. You always have to listen and adapt. The most important instrument for us is the ear.
(student plays)
B is flat. If you compare to the other strings (M. plays)
You play for the last row (of the hall)
(student plays, M. plays)
Violin is like a glass of wine, everything must breathe, enjoy! Very nice (student plays).
That's too sharp.
If you play too high, then it gets narrow. You have to do it if you are interpreting something, I'll show you an example (Maxim plays). This was dramatic. This is more relaxed: (Maxim plays)
It depends on what you want. In a minor key: (Maxim plays)
Intonation is part of our interpretation. Now play in groups of four. (student plays)
When you go to the new string there's a new color (Maxim plays)
(Student plays). Intonation, everything is flat.
Attractive (?) intonation. Intonation is here, not in your fingers.
(student plays). Your right hand is like a stone, everything must relax. Here it should be like a cat, and the pinky helps to find balance (student plays). At the end of the bow the pinky works. (Maxim plays). You always have to feel this. Like a cat does, the same here.
(student plays) Relax, relax. Let's find the sound. (Maxim plays) Take out the sound, don't press. (student plays). You can... that's too much. (student plays).
Yes, now relax with a bit of vibrato. (student plays) Not too much, a bit like this: (Maxim plays). So that everything breathes. (student plays) Very nice. Save bow. You always have to give a bit more bow for the last note. Do you know why? Because at the end the bows is lighter, so you have to compensate. (student plays) Do you see? (student plays). That's right. Don't press. Now eight (notes). Intonation. (Maxim plays)
And the fingers like hammers. Don't cut out all transitions (shifts). (Maxim plays) Don't press into the string while shifting, take out the weight from the string. Like a trill (Maxim plays).
And there's also different functions, this is legato (he plays), this is staccato, and the thumb is alway legatissimo. That's right, three functions. And the elbow, also legatissimo.
(student plays)
Not bad, but everything is in steps. Left and right hand have to be hypnothic. (student plays) Everything was perfect except for intonation, now 16. No panic! I can see it in your eyes. You can do this. (student plays) The thumb has to be very relaxed and come in advance. That's an invitation to the new position (student plays) That was too late (Maxim plays) Can you see? You are doing this (M. plays)
(student plays)
The thumb shouldm't press on the fingerboard, otherwise there's no freedom. Can you move like this? No, now you can. Relaxed shoulder, because the sound goes through the fingers from all of this, in every situation, everything must be relaxed. But it starts here, with the fingers.
(student plays)
Not bad, now 32nd notes. (student plays) You have to play it three times. (student plays) Not bad, just your right hand, when you shift, you do it in steps, but the elbow must move beforehand. For example (M. plays) and never (M. plays). Do you understand? And now arpeggios, in four.
Don't rush (in Russian: take your time). Yes, there's here in the first four notes, there's already three different colours, why? Because (M. plays) one colour (M. plays). And everything relaxed (student plays) Very relaxed! Once again (M. plays) relaxed. (student plays) Make really good music, major and minor. You have to feel everything harmonically, even when you're playing arpeggios. Music comes first, technical things must adapt to that, that's an instrument. Violin, bow, ears come later. Why do we do that? for music, not for the technique. (student plays) Once again. (M. plays) It's not relaxed. (M. plays) (student plays) You're pressing, don't press, look: (M. plays) (student plays) Relaxed.
That's a mistake, here: the thumb must not come away from the fingerboard. If you need more freedom, then (M. plays), this is okay, with small hands you come further, but this you must not do. (student plays) Vibrato stays the same as here. (M. plays) That's the same, just here it's easier to play, because it's nearer to the eyes! (student plays). And the position of the fingers must be the same, here and here, never like this. (student plays) You always have a point of reference (M. plays) Let's do it separately, in one bow (student plays). Right, and then: (student plays). The thumb must come earlier (M. plays, student plays).
Very nice that you do it with one vibrato, don't stop (M. plays, student plays) Go on. (student plays) Very nice, go on.
In four. (student plays) No... don't press. Very nice. Don't cut. Do you see, my vibrato is very balanced. It's not forced, and every shift is very soft. It's very important not to press on the strings while shifting. And begin slowly and then like a magnet to the new note. (M. plays, student plays) That's right. In minor now, a new colour, it's very important that you make music while playing scales. (M. plays) it's sad! And now play major: (student plays) You're not very happy to play major, in your eyes! Everything sounds the same. Your hands must laugh. Can you see the colour? (student plays) Good.
Don't rush and don't press. Now chromatic scale. In tempo. (student plays) You didn't practice this, you'll find the fingerings in the book. And now double stops, the same. Two people will be playing! No, just you. (student plays)
B major. Have you practiced double stops? Okay, I understand, you'll try next time. It's in the book! Thank you, all the best.
Игра гамм с вибрацией больше приносит вреда, чем пользы: 1.приучает руку к постоянной "фоновой" вибрации, потом автоматизирует этот процесс в музыке. 2. Привычка к постоянному задействованию кисти в даже среднем темпе не даёт ей реагировать на движения пальцев, менять положение в зависимости от их работы..тем самым сковывается техника. PS сейчас этот способ занятий вошёл в некую моду, и Цукерман так преподаёт. Хотя в старые времена никто не заставлял играть гаммы так- знали к чему это приводит. Вибрато- тонкая вещь и не безопасная при неправильной работе
Думаете, вы лучше Венгерова разбираетесь? Надо и так, и так гаммы играть .
@@MishaSkripach Ну ваше какое дело что я думаю? Не переживайте. Играйте как хотите.
@@violino2003 Никто из-за вас не переживает. Это вы распереживались за скрипачей, которые в ваших переживаниях не нуждаются.
@@MishaSkripach Даже если так, вам то какое дело?
@@violino2003 А вам какое дело? Что считаю нужным, то и пишу.
Welches Buch? Kann jemand mich melden?
Er mein bestimmt das Buch "Das Skalensystem" von Carl Flesch
Es könnte auch das Buch von Elisabeth Gilels mit 4 Oktaven Tonleiter sein - Forse il libro della Gilels, quasi sicuramente in realtà
@@christopherfust9478 Danke! Ich verde nachscauen.
@@larsengenovese492 Grazie!
si yo hubiera estaba en el lugar del chico, estaria recontra nerviosa :v, me muero ahi mismo con lo que me pide que haga. Tuve una experiencia similar con el maestro Hugo Arias, la verdad es que ellos son musicos ya veteranos la tecnica mejorada nosostros que estamos aprendiendo nos mandan a hacer algo que obviamente no nos saldra perfecto
Practice scales? Of course without vibrato to hear clear intonation!
I wouldn't bet against the Great Russian School of violin playing...
It's important to practice them both with and without vibrato!
Both ways are necessary. A relaxed vibrato helps to connect the tones
@@francois8752 you will loose. In Moscow and Saint Petersburg schools are different
A mi siempre me obligaron a tocar las escalas sin vibrato para ser mas exigente en la afinación lo cual me hizo odiar aun mas si cabe estudiar escalas. Creo que si me hubiesen permitido aportar musicalidad y expresividad a esas escalas las habría aprendido muchisimo mejor y posiblemente me habrian incluso llegado a encantar!! Una pena