Hi Augustin, Thank you so much for your kind generosity. I love your violin teaching series ; you're helping me so much with my shifts, slides, and intonation...adding more weapons to my playing the violin as a hobby. I absolutely love your Paganini caprice cartoon video with those cats... totally Awesome!!! you're one of my favorite among my very short list of greatest violin virtuosos. from Your fan, Tony
Bravo!!!! My grandpa studied with a teacher who told him a story about Heifetz, having to do with intonation. The story might be a myth but it's out there. It was told that Heifetz was once asked how he managed to play so perfectly in tune. Heifetz said he didn't actually play perfectly in tune, he just knew how to adjust his fingers so quickly that nobody noticed. I know that all string players adjust their fingers while they play - perhaps you can discuss this on your next intonation video.
Something I'd be interested hear about is how you tune to piano (some of us play with piano a *bit* more than orchestras). For example, in something like the Sibelius concerto or some sonatas where you need your open G to match the piano do you tune your fifths tighter? Is there a certain chord you prefer to tune to with the piano, or does it depend on the key? I saw you in the audience some time ago listening to the orchestra after you finished an amazing Britten concerto, it instantly made me fall in love. Never seen a soloist do that before. Several orchestral violinists I studied with told me to take the A from the winds when they're warning up because the A they give to tune isn't what they'll actually play. I've likewise never heard another soloist talk about intonation like this.
I don't tune fifths tighter with piano, but I do listen to the piano closely while playing and make sure to adjust when there are unisons or octaves. I also pay attention not to play leadingtones too sharp when I play with piano.
great question -- in tonal music (particularly from the romantic period) the B sharp would usually be sharper than the C natural, if the B sharp is a leading tone towards a C# resolution. But this might be different if you are playing with piano and the piano plays a B sharp with you; then you can't be too high. Another instance where it's different is in a lot of contemporary and twelve-tone music - in twelve-tone music C and B# are considered the same note for all intents and purposes. "Expressive intonation" is all about enhancing and supporting the tensions and resolutions of dissonances in tonal music.
Wouldn't Paganini use intonation tricks to make himself sound better--for example in Concerto 1 by scoring the orchestral parts in E flat major while he simply played in D (but like a semi-tone higher)? Your playing still sounds great but you're getting that "Covid-lockdown" burnout glaze in your eyes...if it gets worse, you may be invited to play on the Ellen show. Smoke a phatty, binge on Netflix for a day, get some good rest and come back wide-eyed, energetic and expand on your Paganini lexicon with an amazing rendition of his 7-variation "Nel cor piu non mi sento." You can be like that Sanes dude, and be given the title of Saint if you can pull it off. St. Augustin--has a nice ring to it!
Hi Augustin, Thank you so much for your kind generosity. I love your violin teaching series ; you're helping me so much with my shifts, slides, and intonation...adding more weapons to my playing the violin as a hobby. I absolutely love your Paganini caprice cartoon video with those cats... totally Awesome!!! you're one of my favorite among my very short list of greatest violin virtuosos. from Your fan, Tony
Bravo!!!! My grandpa studied with a teacher who told him a story about Heifetz, having to do with intonation. The story might be a myth but it's out there. It was told that Heifetz was once asked how he managed to play so perfectly in tune. Heifetz said he didn't actually play perfectly in tune, he just knew how to adjust his fingers so quickly that nobody noticed. I know that all string players adjust their fingers while they play - perhaps you can discuss this on your next intonation video.
ah i see. matur suksma
I naturally do that. I am no Heifetz of course
Heifetz capping😂
We are not worthy ! Many , many thanks !
Wonderfully explained such a complex and confusing subject as nowadays violin intonation is.Thank you!!!!
Thank You for this 2nd part also - to be in tune with the bass - yes!
Fascinating insight for me. Thank you!
Something I'd be interested hear about is how you tune to piano (some of us play with piano a *bit* more than orchestras). For example, in something like the Sibelius concerto or some sonatas where you need your open G to match the piano do you tune your fifths tighter? Is there a certain chord you prefer to tune to with the piano, or does it depend on the key?
I saw you in the audience some time ago listening to the orchestra after you finished an amazing Britten concerto, it instantly made me fall in love. Never seen a soloist do that before.
Several orchestral violinists I studied with told me to take the A from the winds when they're warning up because the A they give to tune isn't what they'll actually play. I've likewise never heard another soloist talk about intonation like this.
I don't tune fifths tighter with piano, but I do listen to the piano closely while playing and make sure to adjust when there are unisons or octaves. I also pay attention not to play leadingtones too sharp when I play with piano.
I’ve been using the Intonia app. It’s quite helpful, especially for this 74 year student. 🎻
🙏🥰
1:20 You can see the pain on his face from playing out of tune. Must be a rare occurence.
He looks like he's in pain when he tries to play things just lightly out of tune. It was a helpful video thank you.
Bravo!!
Hey you play a lot Brazil i loves you and we wait for you here again.
hey augustin, would u say that a b sharp should sound like a c natural ? or should it sound a bit sharper ?
great question -- in tonal music (particularly from the romantic period) the B sharp would usually be sharper than the C natural, if the B sharp is a leading tone towards a C# resolution. But this might be different if you are playing with piano and the piano plays a B sharp with you; then you can't be too high.
Another instance where it's different is in a lot of contemporary and twelve-tone music - in twelve-tone music C and B# are considered the same note for all intents and purposes. "Expressive intonation" is all about enhancing and supporting the tensions and resolutions of dissonances in tonal music.
@@AugustinHadelichViolin This is so helpful and insightful. Thank you Augustin.
I recently asked my teacher about A Sharp vs B Flat. She told me they should be played differently.
Tem como colocar legenda em português nos vídeos , obrigado.
bro forgot the viola 😥
Wouldn't Paganini use intonation tricks to make himself sound better--for example in Concerto 1 by scoring the orchestral parts in E flat major while he simply played in D (but like a semi-tone higher)? Your playing still sounds great but you're getting that "Covid-lockdown" burnout glaze in your eyes...if it gets worse, you may be invited to play on the Ellen show. Smoke a phatty, binge on Netflix for a day, get some good rest and come back wide-eyed, energetic and expand on your Paganini lexicon with an amazing rendition of his 7-variation "Nel cor piu non mi sento." You can be like that Sanes dude, and be given the title of Saint if you can pull it off. St. Augustin--has a nice ring to it!