People like Nathan gives me great hope in humanity because he shares his heart as a result of sharing his music and thanks to Joe Pereira. He was so cool.
Thanks for these videos Nathan. I'm a bassist and I think these vids are a must watch for all string players. I try my best to "parrot" your sound and incorporate your exercises into my scale routine and I've gotten great results.
Thanks David! I'm always happy when other instruments can put this to use. Somehow bassists are always the first to find my videos. I like the way you think outside your instrument!
This is different depending on what teacher you ask. Some say they are the same at different speeds. I learned that, in spiccato, every stroke is controlled, and in sautille, the work is done by the bow without controlling the individual bounces. Both can be done at many speeds. Spiccato gets trickier at faster speeds and sautille gets trickier at slower speeds.
How would you practice to break the upper limit of the spiccato speed? I really would prefer Paganini 5th caprice to be much faster than what I do, but as much as I try I can't find a way to get a lot faster without getting incredibly tense
@@diegeigergarnele7975 Actually, I was thinking of this as a good exercise for the right hand. The stroke stays steady without concern about what the left hand has to do. As you play the repeated notes, it gives you time to focus on the string crossings coming up, always looking ahead, leaning in the direction of the next string crossing, giving you time to make them smooth and building them into your technique.
I'm glad you used the last movement of the Tchaikovsky concerto to illustrate what you were talking about. This is because I feel that at this speed the hair of the bow should stay on the string but the stick bounces. This is not the same thing at all. I notice that your fast spiccato often sounds rather chippy and this may be because the hair should not be leaving the string when the speed is fast - only the stick should be bouncing. I'm interested in you view on this.
Not sure about "chippy" although these strokes will sound different at different distances (i.e. this microphone is 6 inches away) but certainly there are strokes where the stick bounces while the hair doesn't leave. However, I would consider last movement of Tchaikovsky quite assertive and virtuosic, just the kind of thing that benefits from great articulation. The Schumann Scherzo, or Mendelssohn's Midsummer Night's Dream would be closer to the string, or perhaps without the hair leaving the string. The relationship between height and speed is good within each type of spiccato sound. You can get loud and round by playing with lots of bow closer to the string, or loud and aggressive with less bow further from the string!
Thanks for your swift reply. Interestingly enough, I find that practising the passage off the string when at a slow tempo is more helpful than practising it on the string - even if the up-to-speed tempo uses a slightly different bow technique (one allows the stick to 'bounce' while not getting the hair to leave the string).
Hi Nathan! I know I'm bit late but how can I spiccato faster than 90 bpm (16th notes)? Up until the sautillé speed (for me, that's around 120 bpm), I just can't play it faster, bow just falls down to string and doesn't bounce. Also, I find it quite difficult to play in different dynamics, I would be very pleased if you have any tips. Thanks in advance!
really hope you could give a tutorial about how to tremolo at any part of the bow... also when it is measured, but just really fast. (pretty sure that's not called tremolo anymore when it is measured, but you know what I mean...) thanks!
Hi Nathan! I need a hint, when i have a normal note after spiccato, I cannot stop the bow from bouncing on it, unless the note starts close to the frog. Is there a trick to switch from spiccato notes to normal notes?
A couple things come to mind, although that can be a tricky transition: first, you can immediately roll the stick away from you. This takes away the bow's ability to bounce so much. You can also change contact point, and/or speed up the bow. These can also help. Do you have an example of such a place?
An example of overly complicating thing... one can master this concept in 60 seconds...one thing lot more important is where about on the bow to strike the strings - the rest - the speed will follow...
Absolute best video on spiccato that I've come across! Thank you so much!
People like Nathan gives me great hope in humanity because he shares his heart as a result of sharing his music and thanks to Joe Pereira. He was so cool.
This video has been very helpful as I build speed learning the spiccato parts of Kreisler's Praeludium and Allegro. Thank you!!
Thanks for these videos Nathan. I'm a bassist and I think these vids are a must watch for all string players. I try my best to "parrot" your sound and incorporate your exercises into my scale routine and I've gotten great results.
Thanks David! I'm always happy when other instruments can put this to use. Somehow bassists are always the first to find my videos. I like the way you think outside your instrument!
Thank you for the simplest and logical explanation
This video was super helpful, thank you!
Thank you Nathan! Enjoying your videos and teachings!
beautiful
سپاس از شما..بسیار بهره بردم از این آموزش شما
great job explaining this perfectly:)
Thanks. Very good
Nathan muito bom Spicato
Extremely helpful!! Thank you so much!!
Muito bom esse estudo
What are the différence between spiccato and sautille
This is different depending on what teacher you ask. Some say they are the same at different speeds. I learned that, in spiccato, every stroke is controlled, and in sautille, the work is done by the bow without controlling the individual bounces. Both can be done at many speeds. Spiccato gets trickier at faster speeds and sautille gets trickier at slower speeds.
8:45 best moment :D Great teaching!
Haha, I had to look up what you were talking about! It's true, even some of my "great ideas" take practice. :)
This is awesome! But I hope you could have included more of your wrist movement in the video.. thank you for this lesson, though!
you are awsome!!
My bow arm hurts doing extended spicato. Does it take time to get used to?
How would you practice to break the upper limit of the spiccato speed? I really would prefer Paganini 5th caprice to be much faster than what I do, but as much as I try I can't find a way to get a lot faster without getting incredibly tense
Try playing each note with 8 strokes per note, then decrease to 4, 2 and then as printed.
@@karinkelleher great exercise for the left hand but I was more concerned about the right hand. My spiccato cant get faster than what it is rn
@@diegeigergarnele7975 Actually, I was thinking of this as a good exercise for the right hand. The stroke stays steady without concern about what the left hand has to do. As you play the repeated notes, it gives you time to focus on the string crossings coming up, always looking ahead, leaning in the direction of the next string crossing, giving you time to make them smooth and building them into your technique.
I'm glad you used the last movement of the Tchaikovsky concerto to illustrate what you were talking about. This is because I feel that at this speed the hair of the bow should stay on the string but the stick bounces. This is not the same thing at all. I notice that your fast spiccato often sounds rather chippy and this may be because the hair should not be leaving the string when the speed is fast - only the stick should be bouncing. I'm interested in you view on this.
Not sure about "chippy" although these strokes will sound different at different distances (i.e. this microphone is 6 inches away) but certainly there are strokes where the stick bounces while the hair doesn't leave. However, I would consider last movement of Tchaikovsky quite assertive and virtuosic, just the kind of thing that benefits from great articulation. The Schumann Scherzo, or Mendelssohn's Midsummer Night's Dream would be closer to the string, or perhaps without the hair leaving the string.
The relationship between height and speed is good within each type of spiccato sound. You can get loud and round by playing with lots of bow closer to the string, or loud and aggressive with less bow further from the string!
Thanks for your swift reply. Interestingly enough, I find that practising the passage off the string when at a slow tempo is more helpful than practising it on the string - even if the up-to-speed tempo uses a slightly different bow technique (one allows the stick to 'bounce' while not getting the hair to leave the string).
Hi Nathan! I know I'm bit late but how can I spiccato faster than 90 bpm (16th notes)? Up until the sautillé speed (for me, that's around 120 bpm), I just can't play it faster, bow just falls down to string and doesn't bounce. Also, I find it quite difficult to play in different dynamics, I would be very pleased if you have any tips. Thanks in advance!
Try using just two fingers, your thumb and pointer finger on the bow. Don't move your arm, just your wrist.
@juliejules7780 thanks so much, i'll try that 🙏
That first demo reminded me of the movie Dunkirk a bit...
really hope you could give a tutorial about how to tremolo at any part of the bow... also when it is measured, but just really fast. (pretty sure that's not called tremolo anymore when it is measured, but you know what I mean...) thanks!
So basically how to play fast detache (on the string)?
What do you mean high bounce and low bounce ?
How high the bow bounce and the opposite for low
remarkable!
Hi Nathan! I need a hint, when i have a normal note after spiccato, I cannot stop the bow from bouncing on it, unless the note starts close to the frog. Is there a trick to switch from spiccato notes to normal notes?
A couple things come to mind, although that can be a tricky transition: first, you can immediately roll the stick away from you. This takes away the bow's ability to bounce so much. You can also change contact point, and/or speed up the bow. These can also help. Do you have an example of such a place?
the exact phrase from Tchaikovsky concert you played in the end of the video for example. That transition from E to A on 10:16
bravo
Nathan Milstein
An example of overly complicating thing... one can master this concept in 60 seconds...one thing
lot more important is where about on the bow to strike the strings - the rest - the speed will follow...