I think he is identified in the documentary, but not here for some reason. He went on to teach a Yale, where he was highly thought of by his students, from what I have heard.
My violin instructor told me about taking lessons from Galamian. He traveled from Oklahoma to New York to study with Galamian over the summer. In his first lesson he was told to practice scales. He spent about ten minutes practicing and said "This is stupid. I know how to do scales. I'm here to learn how to play like the pros." When he showed up for his second lesson Galamian said "let me hear you do your scales." He did one of the basic ones and Galamian asked for progressively harder scales until he was satisfied that his student didn't practice. About ten minutes into the lesson he said "The lesson is over. Come back when you're ready to do what I tell you." At that point he knew he was in trouble because his parents paid for the trip and he was about to blow it, so he buckled down and practiced scales like his life depended on it, and won Galamian over. He went on to become the principal violinist with the Tulsa Symphony, and he attributed his successs to Galamian's emphasis on playing scales.
Music is all about the fundamentals. I had a teacher (clarinet) that said, "If you miss one day of practice, you go back two days." I was terrified of losing two days! So I never missed even a single day of practice from age 13 to 22. Practice consisted of 10 minutes of warm tones, 20 minutes of scales, and the rest pieces. No exceptions, ever. People think practicing is playing a piece over and over. It is rarely such. Some days it could be the same 8 measures of 16th notes for 6 hours. Practice is typically mundane tasks over and over and over again.
I think if I had to play in front of him, I would literally dissolve into the physical embodiment of severe nerves and a heavy weight of inadequacy. That era of teacher could be pretty brutal.
haha! I had Erick Friedman as a teacher-he always asked for crazy scales at master classes in front of all the students, like let’s hear F# major 3 octaves, and he wanted the right fingering too-not one for Gb wasn’t correct even tho it was the same pitch. Everyone was mortified to play, and we all improved a lot. But I’m glad I don’t teach that way...
@@Molybdaenmornell Its usually that the written note name correlates to a specific finger in that position. For example the norm is to play a G sharp on the D string with the third finger (In your case that would be the fourth finger), but a written A flat is played with a lowerd fourth finger. I think it has to do with playing efficiency and also it gives a more logical system that ties Gb, G, and G# to the ring finger (3rd finger) and Ab, A, and A# to the pinky (4th finger). Of course every note can be played in different positions but this is basically the standard.
Molybdaenmornell Gb begins on low 3rd finger on D string while F# would begin with a high 2nd finger. If you begin on 3 you use a different sequence of fingers going up the scale ( 3 4 1 2 3 4 1 2) than if you begin with a 2-( 2 3 4 1 2 3 4 1)
@@noelic6744 unless you know what he means. He means play a G flat or F# major scale where the harmony is a 10th above the low note. Instead of 2 notes up for the harmony, he wanted a separation of an octave in between.
Heifetz with astraight face: "G flat, tenths." Me:......I'M SO SORRY THAT I HAVE SKIPPED PRACTICING MY NORMAL SCALES ALL THESE YEARS PLEASE FORGIVE ME!!!
Wonderful anecdote that captured an aspect of Heifetz not everyone would know. And the fact that a 14 year old Itzhak Perlman was able to impress the revered Master of the violin in such a way. What a triumph!
I have 10 years under my belt. I had a decent number of songs in my repertoire. I thought I was ready to take on the world. then I listen what the first chair in my youth Symphony could do. THEN what Perlman can do. now I realize I'm a long way to go and then I should strive to be better every day. thank you Itzhak Perlman!
@@Killerbee4712 Fast is AMAZING! Such a display of pure genius. Geniuses are not made, they are born this way. They can seem out of tune and missing most notes, they are still perfect!
No way to escape the basics. no matter what we do or what we are trying to learn, it begins and ends with basics per and over again. here is an excellent example of it. Mr. Perlman, as I understand it, practices the basics every day to this day being the great violinist as he is. thank you for the reminder.
Great to see my teacher Erick Friedman playing in this clip. I remember at my audition for him, in the tradition of Heifetz, he had me play scales in C and D major.
He reminds me of the legendary Indian violinist, M S Gopalakrishnan, a violin God to anyone who watched him play. His students had to play everything from scales to a whole composition, on one string, with only one finger, at any speed, any bowing. I've heard Heifetz would keep on making it more and more and more difficult, introducing all sorts of tough bowing and variations till the student couldn't do it anymore and then he'd say "Let's work".
@Christina Minton: my teacher was Czechoslovakian ,and her name was, Haas; a brilliant master of the piano. She drilled scales into my head in all keys, major and minor particularly; the three forms, natural of course, and melodic ,and harmonic. Ascending, descending and in contrary motion through all the keys. Plus using them in broken chords, contrary and parallel motion. European teachers are demanding of this from their students; and this is for the piano. Learn scales this way, and your fingers will fly to the right notes no matter what you are studying. Especially when sight reading.
I certainly wish MY piano teacher had made me practice scales.. but, alas, she never did.. I took lessons from her for 9 years and never ONCE practiced scales.. not once. Although, I did turn out to be a half-way decent pianist later on, I'm sure I would have achieved a lot MORE having been made to practice scales on a more regular basis.
@@lancethrustworthy Personally, I don't play scales or finger exercises but prefer pieces that contain scales, (Bach), which is a musical activity. Also, I agree with Barenboim who says that one should eliminate the mechanical element from one's playing and concentrate on playing consciously. Many other masters also say that one should play music pieces not just finger exercises. But... sorry human brains are human brains, we're all wired more or less the same, it's just our choices that differ.
My first flute teacher was the same. She made me acquire a lot of musical knowledge and I am thankful to this day. It is way easier to sightread if you look at a run and think: "E major run" or "A minor triad" or whatever (sorry, if the words aren't correct, I learned music in German obviously and struggle with the translation). Nevertheless: Practice makes perfect. So sightreading is just part of the story.
Heifetz: Can you play a C major scale... Perlman: (thinks) piece of cake.. Heifetz: ..with left hand and right hand reversed... Perlman: Dang Ling Ling challenge...
When you are playing with Heifetz and at the end of the song he nods his head in approval, meaning he is satisfied with the way you played, that means you are really good!
This brought me to tears, I've revered Heifetz since I was a teen, and Perlman since not so much after... Seeing them doing the ending to BWV 1043 was like cherry on top!
I could listen to them play scales, arpeggios, 8ths all day long. Heifetz had such control. Can you imagine having someone like that as your teacher and have to prepare for a lesson every week? Id be a totally nervous wreck I would have liked to have heard Perlman play a little something here.
Lovely to hear. It's quite a delicate balance to find. I am a pianist with 2 young kids learning. I can tend to be a little strict, as was my teacher (I'm not teaching them - just during their daily practices). We often play for others which gives them the encouragement to work harder. Only this morning I asked my 8yo daughter how long she thought she would be playing for. She'd never really considered it. Our son immediately responded with "all my life" when asked. Guess who works the hardest and has by far the better results?? All kids are different. My dad is over 80 and plays every day and often puts on concerts for folks in nursing homes around his area. Lovely to share your music! All the best from Sydney - Dave
@@jeffs1546 I think that's true. Have you seen the movie "Whiplash"? It grappes with that exact idea. To be the best requires a single-minded focus for a very large proportion of your life and if you are not that driven innately, you need an external force (that parent screaming at the 7yo tennis player etc.). It's what it takes to be a Perlman in most cases.
The eternal Master to student relationship... and I have this feeling that there is no one violinist more like an archetypal Master than Heifetz himself!
Me before watching this video: I could practice my scales later... *ends up not to* After this video: OKAY OKAY, IM SORRY HEIFETZ, PLEASE FORGIVE ME FOR NOT PRACTICING MY SCALES, ILL DO THEM NOW
The violinist Heifetz is speaking to in the video during one of his masterclasses is Eric Friedman, not Itzhak Perlman. Itzhak Perlman is on the color video, however, telling stories of his studies with Ivan Galamian at Julliard on a day that Heifetz dropped by.
@@GB6__YT Yes, Gb and F# are enharmonic keys -- that's the joke. (The subdominant of the Gb major scale is Cb, while the leading tone of the F# major scale is E# -- you get a white key accidental whichever you decide.)
Now, Now, Let us get thee story straight, Mr. Perlman was shown in a still photo, as well as the late Mr. Galamian. It was then depicted and noted that Eric Friedman,along with others were in the video. The excerpt clips were from the Heifetz Masterclass series. Maestro Perlman was just drawing back from an accounting of his meeting. Besides, if one really wants to disprove that the use and studies of scales are invaluable. Well my first introduction to scales was when I had been asked to play Beethoven's First Symphony in C, when I was in my first year in Junior High, With th Senior High Orchestra. Then I was introduced to studying basic scales, then eventually introduced to the heavy duty studies. So the value of scales is important to develop coordination and a sense of listening.
the thing about Jascha Heifetz's epicness is his attitude. that 'i really don't give a fuck' 24/7 attitude. I LOVE IT. i remember the first time i listened to his CD and the piece was tchaik concerto and i was like WTF IS THIS, i was just shook at what i was hearing (not in a bad way). i could FEEL this 'attitude' through the CD player and it was one of the best moments of my life and was the start of my obsession with him. in my family, we call him God, like no joke, we'd be like 'yo God is the G.O.A.T broo' and we'd be referring to Jascha
C major scale up and down, 40 years, 40 months every year, 40 days every month, 40 hours every day straight please. That's one of Ling Ling basic workouts.
In our third year undergrad mid year exams in Guildhall, in London, we had to have all major, minor harmonic, minor melodic scales with related aroeggios, thirds, sixth, octavas, fingered octavas, tenths ready. Slurred, détaché, and dotted rhythm. That was not fun.
To be totally honest I'm not completely sure of that. I think it was a bit of a freak show, and in my case, working calmly on a few of those scales rather than memorize literally hundreds of fingerings would have been more beneficial. I think everyone should be able to play a simple three octava scale from any note (I used to do all of them in a sequence each morning, it takes a few minutes), but double stops imply different fingering for each scales, and you don't really need to know how to navigate g# minor melodic in sixth on demand. It doesn't make you a better player and takes an insane amount of time.
@@IZn0g0uDatAllhi from the future, if you had been forced to play the scales etc as much as you did to have to memorize them but hadn’t had to memorize the fingers would that have been all the benefit and none of the time wasted? I have returned to violin lessons after 40 years and there’s no emphasis on memory. A few things like this are quite different
I grew up and learned the violin in the public school system at 10. I was lucky enough to have the same conductor that taught me to play all the way until I graduated high school. No private lessons. Our county had the best orchestra program in NC. I was concertmistress at school, 1st stand in All County and in the youth orchestra, All State 2nd chair (the little blonde stand mate at 10 always was concertmistress) and as a senior I actually took a class from the new Maestro of our Symphony Orchestra, a world renowned conductor that had the energy, intensity, and "umph" to drive us. In 2004 we competed as a high school string orchestra and won the title of best orchestra in the nation. We were always called to play at the Governor's mansion, conferences, weddings, you name it, we did it. Before graduation I did solo weddings for $100 a pop. The school I went to was a primarily black school, and so was my orchestra family. Obviously by my name, I'm Polish. We all loved each other. The National Symphony Orchestra came to my city, and the principal 2nd violinist gave us a lesson on the music we were going to perform in a few weeks. Magnificent! At my high school senior awards I played Mendelssohn's Concerto in E minor, first movement with a retired Julliard piano professor. The time before smartphones, I have no recording. But after graduation in 2006, I stayed home and went to a small college in the city. I contracted Chronic Lyme Neuroborreliosis Complex, and didn't know it. I got peripheral neuropathy (my pinky and ring fingers are completely numb). I started having severe uncontrollable tremors in my hands, lost the ability to move my fingers in a coordinated way. My severe cognitive dysfunction made it so I could no longer read sheet music. I lost the one thing I loved to do. Here I am today still the same way, but I could have died if the doctors hadn't figured out what I had. My husband takes great care of me. But that piece of my soul is gone...
Imo, in jazz improv, spending all the time practicing scales hurts the music. Imo, Practice repretoire, record it. Then practice what you created in the recording.
Also find rhythmic patterns and practice them in different modes. If you want to be like coltrane, then practice scales. if you like dexter better ( like I do), Practice like I suggested.
This is a video of reality besides capability as such. We need real teachers and few are lucky enough to find them. There are also good teachers and one has to glean as much knowledge as possible from them, regardless of their sometimes demanding attitudes. After all, it's finally the student who gets what he was seeking or at least some of that! For me the violin was difficult to appreciate in my early days due to lack of exposure to the best. Later I was fortunate to witness live, some really high standards. We should be thankful for violins and violin players.
Reminds me of the story that Liszt told about his encounter with Beethoven. Beethoven asked the 11 year old if he could instantly transpose the Bach fugue he had just performed into another, unrelated key. "Fortunately, I could" recounted Liszt. Like Liszt, Itzhak Perlman must have had not only flawless technique, but nerves of steel to have performed in front of such an uncompromising and austere legend and not frozen, fumbled, or simply burst into tears.
Many years ago, a professional woodwind musician told me: "You'll only ever need 10% of what you can do, but you won't get hired unless you have the 100%". I still have no idea what his actual limits were, but he was /good/.
According to what his students have said and written about him, there was no telling what exercise he might ask and when. If you did pass the first round, he would make it tougher and tougher, asking you to play faster or slower or 3 or 4 octaves in legato, detache, staccato, spiccato, and increasingly ridiculous bowings, or play it descending first and what not and when you couldn't do it anymore, you knew your limits and he'd say, "Let's work..." Friedman once challenged a student to play 3 or 4 octaves on the G string alone to give them an idea of what might happen...
Back in the mid 1950's when I was a music loving history student at Columbia, I knew a number of musicians who lived on the upper west side of Manhattan including the wonderful violinist Beryl Senofsky. Beryl had recently won the Queen Elizabeth Violin Competition at which, Heifetz,was one of the judges. One aft.,I ran into Beryl on 93rd and Broadway and he told me he had just gotten off the phone with Heifetz in Ca. telling me that the last thing Heifetz told him was " don't forget to practice scales or you'll play like Isaac" (Stern)! Beryl,also, told me Heifetz used the word "whore" to describe Stern's playing!
As great and talented and gifted as Heifetz was.., I still like Maestro Pearlman's interpretations and TONE much better.. ( not to mention his demeanor too..). ONE NOTE.., and I can tell it's Itzack Pearlman playing.. My Aunt, Uncle, and my mother were all harpists in the LA Philharmonic... My Uncle got to do some recording with Heifetz... But I prefer Itzack Pearlman.. any day..❤️
Have a lot of respect for these men they are the last of the true masters Heifetz will always be the god of violin Eric was a great violinist also praise by Heifetz good site thanks
It's clearly labeled who it was. It's probably from the master class vids that are also on TH-cam. And there's never a hint that they are showing Perlman other than the current video and the photo. This whole thing is from the PBS special. Amazing all the complaints like they were trying to trick us.
~ Por Nate Robinson ~ Muchas gracias para su muy importante explanation de Maestro Heifetz via scales y mi amigo en Master Classes, Erick Friedman, playing scales on film!!! Mi espanol esta muy horrific, pero yo trato ahabla 'better' con practicar!!! En Espana, yo tocar mi violin en Brahms Concierto pero en Espanol!!! Brahms muy bueno en Espanol!!! Heifetz was tough but had a wink in his mischievous eye! Erick, Varoujan, Robert W., Carol Sindell, Claire Hodgekins, Adam Han Gorski, & I were first original pupils in JH Violin Master Classes at USC ~ Cuando su en Heifetz Class? Aren't you desde L.A.?? Con JH wishes desde Chicago ~ Elisabeth Matesky
Once I was enchanted by a little girl who played violin in a music school despite serious burns in her hands ... she was holding the violin in her hands as if they caused pain, her sound as well as the sense of time and phrases in each song were out of this world - you have to to experience for yourself ... unfortunately the talent of this child was lost because other violinists were looking for more typical wonderful children in the children, virtuosos ect.
do professional musicians memorize scales and arpeggios? Is it like the ABCs to them and they can play them when told to do so? because if so, I have no chance at becoming even a quarter of what perlman was when he was fourteen.
yes. several of my teachers all used the flesh scale system. has everything you will ever need for the left hand. I had most of it memorized at one point.
Besides do you realize how much music has scales and arpeggios built into them not to mention all the double stops? You should practice them, not to become half the violininst perlman was but to become your full potential.
allaboutviolin I do practice them, but I haven't memorized them on the top of my head. I need sheets to do them, so that's why I'm asking if professionals make scales and arpeggios like their alphabet because at some point I want to learn it permanently as well.
Kurt S You will after you repeat it every single time you practise which you should In my opinion, I've always told my students that scales are very important. Singing might help you as well, just make sure you practise everything slow and right ;)) .
My fellows with perfect pitch probably noticed Heifetz asked for C Major twice with an arpeggio at the end. But Erik played it in B Major. He got the Eb and Gb right though. Also that look Heifetz gave a 0:54, if he looked at me like that I would have messed up my tenths right then and there.
This video is slightly misleading in that the scales you hear are played by my JH Violin Master Class class-mate, Erick Friedman during, I believe, a break during our over 2 weeks of non stop filming at Hancock Auditorium onthe USC campus. Our original Heifetz Master Classes were filmed with each of us having our own one half hourperformance/lesson with Mr. Heifetz - apart from our 3 days a week Master Classes of 6 hours per day length ~Yes! Mr. Heifetz was the ultimate stickler for Scales, and rightly so! He would never allow us to begin playing awork of Unaccompanied Bach, a Violin & Piano Sonata or Concerto until we had played whatever scale or scaleconfigurations came to his mind ~ The most challenging Scale ever insisted upon by Jascha Heifetz was the Bbb(B double flat scale 'with appropriate fingering!'). After witnessing all other 6 class-mates fail this rather outrageousrequest, I figured out How to actually play a Bbb scale and did it. Mr. Heifetz was very surprised, saying, "Good, Liz!" I couldn't resist telling this true story here referencing Itzhak Perlman's 'short' on Scales!!! Any violinist's or string players who knew/studied with Jascha Heifetz or his wondrous musical 'pal's', Piatigorsky & Primrose, will not be shocked at my "TH-cam Reveal of June 12, 2018"!! To all violinists! try playing a Bbb (B double flat) scale in 3 (three) octaves!!! Elisabeth Matesky - JH Violin Master Class - Khachaturian, JH-7, Elisabeth Matesky (Russian version from Library of Congress Master Performers)
This feels like a very stupid question to ask, especially to an actual student of Heifetz whom I am most certainly not qualified enough to talk to, but what in the world is the difference between and A scale and a Bbb scale?
10ths. Is that an octave plus a third? Playing in octaves is still a fantasy for me. The finger spacing changes as you go up. Maybe 10th is possible if you stick to high positions.
2:14 Imagine being nodded at by Heifetz, God, I would burst into tears
Holy shit right!!!!
@Bilbo_Gamers: I'd just quit right there (while I was ahead, so to speak . . .).
Probably you wouldn’t, because you would know that you are pretty good already ;)
why do you idolize men? Worship God and only God!
@@davidshubin2889 PRAISE THE LING LING
The pupil in this video is not Itzhak Perlman, but Erick Friedman,also an extraordinary talent.
Paul Harris well, obviously it's not itzhak. But thanks for clarifying who it was.
Paul Harris Thanks, I thought he looked a bit old for 14, and different from the other photos.
I think he is identified in the documentary, but not here for some reason. He went on to teach a Yale, where he was highly thought of by his students, from what I have heard.
@@yugandali If it were Perlman, he would not be playing standing up. Perlman contracted polio at age 4 and walks with crutches: he plays sitting down.
Those scales were hideous though.
My violin instructor told me about taking lessons from Galamian. He traveled from Oklahoma to New York to study with Galamian over the summer. In his first lesson he was told to practice scales. He spent about ten minutes practicing and said "This is stupid. I know how to do scales. I'm here to learn how to play like the pros." When he showed up for his second lesson Galamian said "let me hear you do your scales." He did one of the basic ones and Galamian asked for progressively harder scales until he was satisfied that his student didn't practice. About ten minutes into the lesson he said "The lesson is over. Come back when you're ready to do what I tell you." At that point he knew he was in trouble because his parents paid for the trip and he was about to blow it, so he buckled down and practiced scales like his life depended on it, and won Galamian over. He went on to become the principal violinist with the Tulsa Symphony, and he attributed his successs to Galamian's emphasis on playing scales.
Amazing! Yes, we have to constantly be humble. Mastery doesn't come overnight.
So lucky to have a great teacher and to have the humility to surrender his talent to that teacher
Music is all about the fundamentals. I had a teacher (clarinet) that said, "If you miss one day of practice, you go back two days." I was terrified of losing two days! So I never missed even a single day of practice from age 13 to 22. Practice consisted of 10 minutes of warm tones, 20 minutes of scales, and the rest pieces. No exceptions, ever. People think practicing is playing a piece over and over. It is rarely such. Some days it could be the same 8 measures of 16th notes for 6 hours. Practice is typically mundane tasks over and over and over again.
Practice scales 40 hours every day.
I swear I’ve heard that story, that wasn’t Mr Marquis was it? I’m in Tulsa area.
Heifetz: "Play..."
Me: "A horrid rendition of Marry Had a Little Lamb? You got it!"
(plays "Twinkle Twinkle Little Star" by mistake)
Heifetz: “Play...”
Me:”...myself out? Absolutely, Maestro. My sincerest apologies; I have no idea what I’m doing here, either.”
No no, a jazz rendition
@@allyw7405 damn 🔥🔥🔥
I think if I had to play in front of him, I would literally dissolve into the physical embodiment of severe nerves and a heavy weight of inadequacy. That era of teacher could be pretty brutal.
haha! I had Erick Friedman as a teacher-he always asked for crazy scales at master classes in front of all the students, like let’s hear F# major 3 octaves, and he wanted the right fingering too-not one for Gb wasn’t correct even tho it was the same pitch. Everyone was mortified to play, and we all improved a lot. But I’m glad I don’t teach that way...
@@stradivarius54 I'm not a violinist (pianist here). Why does Gb get a different fingering than F#?
@@Molybdaenmornell Its usually that the written note name correlates to a specific finger in that position. For example the norm is to play a G sharp on the D string with the third finger (In your case that would be the fourth finger), but a written A flat is played with a lowerd fourth finger.
I think it has to do with playing efficiency and also it gives a more logical system that ties Gb, G, and G# to the ring finger (3rd finger) and Ab, A, and A# to the pinky (4th finger). Of course every note can be played in different positions but this is basically the standard.
Molybdaenmornell Gb begins on low 3rd finger on D string while F# would begin with a high 2nd finger. If you begin on 3 you use a different sequence of fingers going up the scale ( 3 4 1 2 3 4 1 2) than if you begin with a 2-( 2 3 4 1 2 3 4 1)
"Do not be afraid of scales; MAKE the scales afraid of YOU!" - Heifetz. (As paraphrased from memory.)
. : .
lmao: "g flat in tenths, major"
That to me sounded like the most intimidating line ever. lol
@@noelic6744 unless you know what he means. He means play a G flat or F# major scale where the harmony is a 10th above the low note. Instead of 2 notes up for the harmony, he wanted a separation of an octave in between.
So anyway I started playing in Gb, 10ths, major.
I missed cause my fingers ain't so good, but imagine if I hadn'ta had my Flesch!
I would have been like, "Err, how do I do that?"
God, this is more scary than horror films being made these days!
I absolutely thought the same thing. What would happen if you got it wrong...?!
Heifetz with astraight face: "G flat, tenths."
Me:......I'M SO SORRY THAT I HAVE SKIPPED PRACTICING MY NORMAL SCALES ALL THESE YEARS PLEASE FORGIVE ME!!!
I was really confused when he said that at first... I didn't realize he was referring to the interval until he played it.
ERICK FRIEDMAN plays in this video, NOT PERLMAN
+Kayta Vicaer
Rainbow trout have scales, weight-loss clinics have scales,why not fiddles??
Jascha Heifetz made a deal with the devil. No one knows what Jascha got, but the devil got some violin lessons.
I was terrified watching him do the scales test thing
Gb in 10ths... 0_o
Wonderful anecdote that captured an aspect of Heifetz not everyone would know. And the fact that a 14 year old Itzhak Perlman was able to impress the revered Master of the violin in such a way. What a triumph!
I have 10 years under my belt. I had a decent number of songs in my repertoire. I thought I was ready to take on the world.
then I listen what the first chair in my youth Symphony could do.
THEN what Perlman can do.
now I realize I'm a long way to go and then I should strive to be better every day.
thank you Itzhak Perlman!
"What's a scale?"
(from the violinist-edition of 'Famous Last Words')
Scales are too musical, too melodic. Play Flight of the Bumblebee fast!
@@u.v.s.5583 Yeah, who cares if you miss 95% of your notes? If you can play it slow, you can play it fast, and make 10 million dollars
@@Killerbee4712 Fast is AMAZING! Such a display of pure genius. Geniuses are not made, they are born this way. They can seem out of tune and missing most notes, they are still perfect!
No way to escape the basics. no matter what we do or what we are trying to learn, it begins and ends with basics per and over again. here is an excellent example of it. Mr. Perlman, as I understand it, practices the basics every day to this day being the great violinist as he is. thank you for the reminder.
No structure can survive on a faulty foundation.
Great to see my teacher Erick Friedman playing in this clip. I remember at my audition for him, in the tradition of Heifetz, he had me play scales in C and D major.
He reminds me of the legendary Indian violinist, M S Gopalakrishnan, a violin God to anyone who watched him play. His students had to play everything from scales to a whole composition, on one string, with only one finger, at any speed, any bowing.
I've heard Heifetz would keep on making it more and more and more difficult, introducing all sorts of tough bowing and variations till the student couldn't do it anymore and then he'd say "Let's work".
What an honor to have been in the sight of Jascha Heifetz
Nate Robinson porfavor, enséñanos lo que tu maestro te enseñó sobre las escalas
He was your teacher?! Wow, that's amazing. I'm extremely happy for you, you must be an awesome violinist.
@@srinitaaigaura Oh, my, God.
@Christina Minton: my teacher was Czechoslovakian ,and her name was, Haas; a brilliant master of the piano. She drilled scales into my head in all keys, major and minor particularly; the three forms, natural of course, and melodic ,and harmonic. Ascending, descending and in contrary motion through all the keys. Plus using them in broken chords, contrary and parallel motion. European teachers are demanding of this from their students; and this is for the piano. Learn scales this way, and your fingers will fly to the right notes no matter what you are studying. Especially when sight reading.
For YOUR brain, maybe. We're not all wired up the same.
I certainly wish MY piano teacher had made me practice scales.. but, alas, she never did.. I took lessons from her for 9 years and never ONCE practiced scales.. not once. Although, I did turn out to be a half-way decent pianist later on, I'm sure I would have achieved a lot MORE having been made to practice scales on a more regular basis.
@@lancethrustworthy Personally, I don't play scales or finger exercises but prefer pieces that contain scales, (Bach), which is a musical activity. Also, I agree with Barenboim who says that one should eliminate the mechanical element from one's playing and concentrate on playing consciously. Many other masters also say that one should play music pieces not just finger exercises.
But... sorry human brains are human brains, we're all wired more or less the same, it's just our choices that differ.
I agree. European teaching of music will always excel the american way.
My first flute teacher was the same. She made me acquire a lot of musical knowledge and I am thankful to this day. It is way easier to sightread if you look at a run and think: "E major run" or "A minor triad" or whatever (sorry, if the words aren't correct, I learned music in German obviously and struggle with the translation). Nevertheless: Practice makes perfect. So sightreading is just part of the story.
Notice how the camera ominously zooms in on the word "scales" at 0:38 😂😂😂
underrated comment 😂😂😂 that's subtle editing genius.
Huh lol
Why do I get a Parks and Rec vibe at that shot 😂😂 So menacing but in a comedic way
I think I'm overly obsessed with violin now thanks to TwoSetViolin videos😂
Same lol
Me too lmao
Same xD
And I play Bass
@@salottin woah a slapper!
@@schadenfreudebabe
O
EM
GEE
Meanwhile in my world __
C major one octave
and no slurs
Start where you are. Play it well, with good pitch and tonality. The rest will come :)
Studio Kingma ...NOT.
Dude, shut up. G major one octave is what's hot...
@@nimluikham11 music gypsy
Heifetz: Can you play a C major scale...
Perlman: (thinks) piece of cake..
Heifetz: ..with left hand and right hand reversed...
Perlman: Dang Ling Ling challenge...
When you are playing with Heifetz and at the end of the song he nods his head in approval, meaning he is satisfied with the way you played, that means you are really good!
Scales, scales, scales. The foundation for all musicians.
This brought me to tears, I've revered Heifetz since I was a teen, and Perlman since not so much after... Seeing them doing the ending to BWV 1043 was like cherry on top!
That’s not Perlman playing with Heifetz, it’s Erick Friedman.
I could listen to them play scales, arpeggios, 8ths all day long.
Heifetz had such control. Can you imagine having someone like that as your teacher and have to prepare for a lesson every week? Id be a totally nervous wreck
I would have liked to have heard Perlman play a little something here.
Heifetz did not fuck around. Thats obvious.
Revshare Global. That is the quote of the century. I need to work on my scales.
seems to me the whole lesson of heifetz's life is you can get a lot done if you just quit fucking around
Actually he could, if he wanted to, fuck around all morning, practice in the loo, and still be home in time for cornflakes that night.
Yes.
I am glad my teachers didn't make too much demands on me. Otherwise I would have quit. I did not quit and still enjoy playing in my 80's.
Lovely to hear. It's quite a delicate balance to find. I am a pianist with 2 young kids learning. I can tend to be a little strict, as was my teacher (I'm not teaching them - just during their daily practices). We often play for others which gives them the encouragement to work harder. Only this morning I asked my 8yo daughter how long she thought she would be playing for. She'd never really considered it. Our son immediately responded with "all my life" when asked. Guess who works the hardest and has by far the better results?? All kids are different.
My dad is over 80 and plays every day and often puts on concerts for folks in nursing homes around his area. Lovely to share your music! All the best from Sydney - Dave
Well that is why you’re not Perlman
@@jeffs1546 I think that's true. Have you seen the movie "Whiplash"? It grappes with that exact idea. To be the best requires a single-minded focus for a very large proportion of your life and if you are not that driven innately, you need an external force (that parent screaming at the 7yo tennis player etc.). It's what it takes to be a Perlman in most cases.
The eternal Master to student relationship... and I have this feeling that there is no one violinist more like an archetypal Master than Heifetz himself!
Heifetz listened to Perlman perform at Juilliard. The black and white excerpt you see is from his masterclasses, which were recorded at USC in 1962.
The result of practising 40hrs a day.
Ling Ling method always works!
Me before watching this video: I could practice my scales later... *ends up not to*
After this video: OKAY OKAY, IM SORRY HEIFETZ, PLEASE FORGIVE ME FOR NOT PRACTICING MY SCALES, ILL DO THEM NOW
Itzhak Perlman is a lovely man with a great sense of humour. A really good raconteur!
"G flat, in tenth!"
"Uhhh... sure..."
"If you can play slowly, you can play quickly!"
Unless you are Contrabassi, then you are late because you have no eyes and your ears are in your feet
The violinist Heifetz is speaking to in the video during one of his masterclasses is Eric Friedman, not Itzhak Perlman. Itzhak Perlman is on the color video, however, telling stories of his studies with Ivan Galamian at Julliard on a day that Heifetz dropped by.
Erick
"G flat, tenths."? I only know that in F#...
Right, why play a Cb when you can play an E#?
VisionsOfJenna Cb is enharmonically equivalent to B, while E# is enharmonically equivalent to F
@@VIsionsOfJenna I prefer B# and Fb
@@GB6__YT
Yes, Gb and F# are enharmonic keys -- that's the joke. (The subdominant of the Gb major scale is Cb, while the leading tone of the F# major scale is E# -- you get a white key accidental whichever you decide.)
Love the bow gesture after the last stroke, like a kenjutsu cut. Looks pretty damn badass.
This video single handedly makes me practice scales
Even if i couldn't do it in tenths or fingered octave and not always in tune, it helped me a lot
Now, Now, Let us get thee story straight, Mr. Perlman was shown in a still photo, as well as the late Mr. Galamian. It was then depicted and noted that Eric Friedman,along with others were in the video. The excerpt clips were from the Heifetz Masterclass series. Maestro Perlman was just drawing back from an accounting of his meeting. Besides, if one really wants to disprove that the use and studies of scales are invaluable. Well my first introduction to scales was when I had been asked to play Beethoven's First Symphony in C, when I was in my first year in Junior High, With th Senior High Orchestra. Then I was introduced to studying basic scales, then eventually introduced to the heavy duty studies. So the value of scales is important to develop coordination and a sense of listening.
the thing about Jascha Heifetz's epicness is his attitude. that 'i really don't give a fuck' 24/7 attitude. I LOVE IT. i remember the first time i listened to his CD and the piece was tchaik concerto and i was like WTF IS THIS, i was just shook at what i was hearing (not in a bad way). i could FEEL this 'attitude' through the CD player and it was one of the best moments of my life and was the start of my obsession with him. in my family, we call him God, like no joke, we'd be like 'yo God is the G.O.A.T broo' and we'd be referring to Jascha
7th time watching this.... Just appreciating heifetz and perlman together.
That's a Ling Ling workout
The ULTIMATE Ling Ling workout
It turns out Ling Ling is actually an old Jewish guy LOL
Stg😂😂
Not even close
C major scale up and down, 40 years, 40 months every year, 40 days every month, 40 hours every day straight please. That's one of Ling Ling basic workouts.
In our third year undergrad mid year exams in Guildhall, in London, we had to have all major, minor harmonic, minor melodic scales with related aroeggios, thirds, sixth, octavas, fingered octavas, tenths ready. Slurred, détaché, and dotted rhythm.
That was not fun.
But it most definitely helped your playing, though.
To be totally honest I'm not completely sure of that. I think it was a bit of a freak show, and in my case, working calmly on a few of those scales rather than memorize literally hundreds of fingerings would have been more beneficial.
I think everyone should be able to play a simple three octava scale from any note (I used to do all of them in a sequence each morning, it takes a few minutes), but double stops imply different fingering for each scales, and you don't really need to know how to navigate g# minor melodic in sixth on demand. It doesn't make you a better player and takes an insane amount of time.
@@IZn0g0uDatAllhi from the future, if you had been forced to play the scales etc as much as you did to have to memorize them but hadn’t had to memorize the fingers would that have been all the benefit and none of the time wasted? I have returned to violin lessons after 40 years and there’s no emphasis on memory. A few things like this are quite different
@@M_SC No we learnt to “make them up” through systematic fingerings and by anticipating both notes in double stops.
Still not fun.
Thank you my friend and i really enjoyed it. Here i come to support this channel. Greeting from California.
Very interesting Maestro Ithzak Perlman 🎻 🌷 Thank you for documentary!
I grew up and learned the violin in the public school system at 10. I was lucky enough to have the same conductor that taught me to play all the way until I graduated high school. No private lessons. Our county had the best orchestra program in NC. I was concertmistress at school, 1st stand in All County and in the youth orchestra, All State 2nd chair (the little blonde stand mate at 10 always was concertmistress) and as a senior I actually took a class from the new Maestro of our Symphony Orchestra, a world renowned conductor that had the energy, intensity, and "umph" to drive us. In 2004 we competed as a high school string orchestra and won the title of best orchestra in the nation. We were always called to play at the Governor's mansion, conferences, weddings, you name it, we did it. Before graduation I did solo weddings for $100 a pop.
The school I went to was a primarily black school, and so was my orchestra family. Obviously by my name, I'm Polish. We all loved each other. The National Symphony Orchestra came to my city, and the principal 2nd violinist gave us a lesson on the music we were going to perform in a few weeks. Magnificent! At my high school senior awards I played Mendelssohn's Concerto in E minor, first movement with a retired Julliard piano professor. The time before smartphones, I have no recording.
But after graduation in 2006, I stayed home and went to a small college in the city. I contracted Chronic Lyme Neuroborreliosis Complex, and didn't know it. I got peripheral neuropathy (my pinky and ring fingers are completely numb). I started having severe uncontrollable tremors in my hands, lost the ability to move my fingers in a coordinated way. My severe cognitive dysfunction made it so I could no longer read sheet music. I lost the one thing I loved to do. Here I am today still the same way, but I could have died if the doctors hadn't figured out what I had. My husband takes great care of me. But that piece of my soul is gone...
Now that is a sad story.
After watching this clip, I rush to practice my scales and arpeggios ON PIANO!!!
Scales are the most important things in music.If you are very very good in scales than you can play any violine piece’s hard part.
Imo, in jazz improv, spending all the time practicing scales hurts the music. Imo, Practice repretoire, record it. Then practice what you created in the recording.
Also find rhythmic patterns and practice them in different modes.
If you want to be like coltrane, then practice scales. if you like dexter better ( like I do), Practice like I suggested.
This is a video of reality besides capability as such.
We need real teachers and few are lucky enough to find them.
There are also good teachers and one has to glean as much knowledge as possible from them, regardless of their sometimes demanding attitudes.
After all, it's finally the student who gets what he was seeking or at least some of that!
For me the violin was difficult to appreciate in my early days due to lack of exposure to the best. Later I was fortunate to witness live, some really high standards.
We should be thankful for violins and violin players.
Reminds me of the story that Liszt told about his encounter with Beethoven. Beethoven asked the 11 year old if he could instantly transpose the Bach fugue he had just performed into another, unrelated key. "Fortunately, I could" recounted Liszt. Like Liszt, Itzhak Perlman must have had not only flawless technique, but nerves of steel to have performed in front of such an uncompromising and austere legend and not frozen, fumbled, or simply burst into tears.
Well, it's sad that Erick was already dead for so long when this documentary was made.
This must've been so epic to watch
An example of a performance being only tip of the iceberg of everything the performer knows and is able to do.
Many years ago, a professional woodwind musician told me: "You'll only ever need 10% of what you can do, but you won't get hired unless you have the 100%".
I still have no idea what his actual limits were, but he was /good/.
Is very interesting Maestro Itzhak Perlman! I love your video's together !❤️🎻🌹
According to what his students have said and written about him, there was no telling what exercise he might ask and when. If you did pass the first round, he would make it tougher and tougher, asking you to play faster or slower or 3 or 4 octaves in legato, detache, staccato, spiccato, and increasingly ridiculous bowings, or play it descending first and what not and when you couldn't do it anymore, you knew your limits and he'd say, "Let's work..."
Friedman once challenged a student to play 3 or 4 octaves on the G string alone to give them an idea of what might happen...
Back in the mid 1950's when I was a music loving history student at Columbia, I knew a number of musicians who lived on the upper west side of Manhattan including the wonderful violinist Beryl Senofsky. Beryl had recently won the Queen Elizabeth Violin Competition at which, Heifetz,was one of the judges. One aft.,I ran into Beryl on 93rd and Broadway and he told me he had just gotten off the phone with Heifetz in Ca. telling me that the last thing Heifetz told him was " don't forget to practice scales or you'll play like Isaac" (Stern)! Beryl,also, told me Heifetz used the word "whore" to describe Stern's playing!
I'm pretty sure Stern knows his scales though
one of many things stern had a reputation for was playing out of tune but when i heard him (late in his life) he sounded fine
😂
This is how the students became famous violinists, with teachers like Heifetz.
This title is misleading
“Play (...something ridiculous difficult)” and I am going to listen to you with disappointed face. What a great teacher! 😂
As great and talented and gifted as Heifetz was.., I still like Maestro Pearlman's interpretations and TONE much better.. ( not to mention his demeanor too..). ONE NOTE.., and I can tell it's Itzack Pearlman playing..
My Aunt, Uncle, and my mother were all harpists in the LA Philharmonic... My Uncle got to do some recording with Heifetz... But I prefer Itzack Pearlman.. any day..❤️
i love how he says heifetz was a stickler with scales when his teacher was the literally THE ivan galamian
Itzhak Perlman seems mad chill, just to talk to
Perlman is such a great storyteller. I could listen for a long time.
Wonderful ! Thank you for posting :)
Gosh! Heifetz talks just as he plays the violin.
Haha, I love the Al Hirschfeld at the end!
Ahhhh, tenths... I should practice them at some point.
On my scale, 1 to 10, Mr Heifets 1s 10. Love both of these magnificent violin players.
Have a lot of respect for these men they are the last of the true masters Heifetz will always be the god of violin Eric was a great violinist also praise by Heifetz good site thanks
Oh to have been a fly on that wall!
JH would probably have swatted you with his bow! (This guy took no prisoners!)
The history of violin playing could be divided into BH and AH: Before Heifetz and After Heifetz.
What is the piece played at 2:10?
Bach concerto for two violins 3rd movement
It's clearly labeled who it was. It's probably from the master class vids that are also on TH-cam. And there's never a hint that they are showing Perlman other than the current video and the photo. This whole thing is from the PBS special. Amazing all the complaints like they were trying to trick us.
Now this is how great he was ! ! ! ! You should appreciate it ! ! !
"When teachers were still revered!"
~ Por Nate Robinson ~ Muchas gracias para su muy importante explanation de Maestro Heifetz via scales y mi amigo en Master Classes, Erick Friedman, playing scales on film!!! Mi espanol esta muy horrific, pero yo trato ahabla 'better' con practicar!!! En Espana, yo tocar mi violin en Brahms Concierto pero en Espanol!!! Brahms muy bueno en Espanol!!! Heifetz was tough but had a wink in his mischievous eye! Erick, Varoujan, Robert W., Carol Sindell, Claire Hodgekins, Adam Han Gorski, & I were first original pupils in JH Violin Master Classes at USC ~ Cuando su en Heifetz Class? Aren't you desde L.A.?? Con JH wishes desde Chicago ~ Elisabeth Matesky
scales makes you think and concentrate. if you know scales from your head and be flexible on spot with fingering, you will know everything.
I'm a complete amateur violinist but I had a teacher from Ukraine for about a year in college and she taught me a few scales.
Scales arpeggios well played can give a solid foundation .
This is what I have learned from Mr. Heifetz
Funny story about scales
thAn_yOU Ursula Bagdasarjanz
Musik HQCH thAn_yOU
thAnkYOU Connor Conchobhar
Ushnish Sengupta thAnkYOU
thAn___yOU raysilverwoman
Isn't that Pinch as Zukerman in those old film clips with Heifetz?
Once I was enchanted by a little girl who played violin in a music school despite serious burns in her hands ... she was holding the violin in her hands as if they caused pain, her sound as well as the sense of time and phrases in each song were out of this world - you have to to experience for yourself ... unfortunately the talent of this child was lost because other violinists were looking for more typical wonderful children in the children, virtuosos ect.
and only you could tell that she was wonderful because you're so wonderful
do professional musicians memorize scales and arpeggios? Is it like the ABCs to them and they can play them when told to do so? because if so, I have no chance at becoming even a quarter of what perlman was when he was fourteen.
yes. several of my teachers all used the flesh scale system. has everything you will ever need for the left hand. I had most of it memorized at one point.
Scales every morning mate ;)
Besides do you realize how much music has scales and arpeggios built into them not to mention all the double stops? You should practice them, not to become half the violininst perlman was but to become your full potential.
allaboutviolin I do practice them, but I haven't memorized them on the top of my head. I need sheets to do them, so that's why I'm asking if professionals make scales and arpeggios like their alphabet because at some point I want to learn it permanently as well.
Kurt S You will after you repeat it every single time you practise which you should In my opinion, I've always told my students that scales are very important. Singing might help you as well, just make sure you practise everything slow and right ;)) .
Can someone please help and tell me what piece they play at 2:05!! I am going crazy looking for it 😂
Hi, sanashura, That is the Bach Concerto for Two Violins in D minor (the Double Concerto). You will love it!
Wonderful! So gifted!
That's the way music students should be taught! Learn the scales and arpeggios and practice the long notes
My fellows with perfect pitch probably noticed Heifetz asked for C Major twice with an arpeggio at the end. But Erik played it in B Major. He got the Eb and Gb right though.
Also that look Heifetz gave a 0:54, if he looked at me like that I would have messed up my tenths right then and there.
This video is slightly misleading in that the scales you hear are played by my JH Violin Master Class class-mate, Erick Friedman during, I believe, a break during our over 2 weeks of non stop filming at Hancock Auditorium onthe USC campus. Our original Heifetz Master Classes were filmed with each of us having our own one half hourperformance/lesson with Mr. Heifetz - apart from our 3 days a week Master Classes of 6 hours per day length ~Yes! Mr. Heifetz was the ultimate stickler for Scales, and rightly so! He would never allow us to begin playing awork of Unaccompanied Bach, a Violin & Piano Sonata or Concerto until we had played whatever scale or scaleconfigurations came to his mind ~ The most challenging Scale ever insisted upon by Jascha Heifetz was the Bbb(B double flat scale 'with appropriate fingering!'). After witnessing all other 6 class-mates fail this rather outrageousrequest, I figured out How to actually play a Bbb scale and did it. Mr. Heifetz was very surprised, saying, "Good, Liz!"
I couldn't resist telling this true story here referencing Itzhak Perlman's 'short' on Scales!!! Any violinist's or string players who knew/studied with Jascha Heifetz or his wondrous musical 'pal's', Piatigorsky & Primrose, will not be shocked at my "TH-cam Reveal of June 12, 2018"!! To all violinists! try playing a Bbb (B double flat) scale in 3 (three) octaves!!!
Elisabeth Matesky - JH Violin Master Class - Khachaturian, JH-7, Elisabeth Matesky (Russian version from Library of Congress Master Performers)
This feels like a very stupid question to ask, especially to an actual student of Heifetz whom I am most certainly not qualified enough to talk to, but what in the world is the difference between and A scale and a Bbb scale?
Elisabeth matesky How does Bbb differ from A?
Perhaps they are identical on a piano but not a violin.
😮
Very interesting Maestro Ithzak Perlman! 🌺
“No, no, no.... not so fast... I would like to hear some scales ” -Heifetz
😳
I had a Russian teacher once. I know the pain. 😅
One of the greatest violinists of the modern era asks you to play scales for him, but no pressure! ;-) Luckily Perlman is a master as well.
Это не Перельман играет.
Why is there no proper of Erick Friedman, the great violinist in this video?!
2:07 "He probably would have preferred to be unfriendly at times, but he was the great Heifetz and he couldn't help it." What?!?!?
Did he just say "Throwback" at 1:55?
Yeah, what about it
What's his name?
Ok so?
Not a huge fan of this but who doesnt know him? Wow seeing the process is Amazing
Can anyone judge what level is Schon Rosmarin on?
Song at the end??
3rd movement bach concerto 2 violins d minor
Does anyone know the piece they were playing at the end?
Heifetz seems so prim and proper . it drives me crazy
10ths. Is that an octave plus a third? Playing in octaves is still a fantasy for me. The finger spacing changes as you go up. Maybe 10th is possible if you stick to high positions.