I am a composer, but not a string player, so for me, having an understanding of what I’m actually asking a musician to do. Therefore I greatly appreciate the thorough nature and explicity of this video. Many thanks.
I’m watching this as well so that I’m able to explain to my violinist what to do/what I’m looking for. The more you know, the better. Haha great video!
This video has to be the best one I've ever seen on this topic. Beautifully and clearly explained and demonstrated. You are a master teacher. Thank you Prof. Bushkova!
The most useful videos on the entire web. I was studying the violin at the age of 7 at about five years and I quit. Now on 49 I have started again with a good teacher but it looks like I have a second teacher over here. Keep up the excellent work. Thank you mrs Bushkova.
Im currently studying under a former student of your mother. Its great to see your videos and feel being part (a very little part) of your family musical legacy. Keep up your great work!!!
I was having a hard time trying to explain the difference between these strokes to one of my students and this is extremely well put. Thank you so much Miss Julia!
Проф .Бушкова ,одно удовольствие слушать Ваши уроки , все так детально, понятно и интересно ,я бы сказал по мастерски Вы преподносите знания. Большое Вам Спасибо !
Thank you very much for your advices. Really straight forward golden explanation. An astonishing masterclass. Your students are no doubt privileged ones. I hope you can share more of your art.
Thankyou Profesore going on 6 months of playing. Need sautille now. (czardas) You are the one i go to for all instruction. Better and more informative than my teacher who i use only for checking - in person- on my positions and physical faults.Thankyou. spagannini
When you get sautille it just click and I do it wow. Takes some time and it needs some specific wrist motion to get a small bounce. At slower tempo semi-quavers sautille in open string, then scales/arpeggios until I can get it faster. Nice and helpful tutorial
Great video! I can do the bow stroke, but I find it difficult to synchronize left hand with sautille (left hand fingers slower than bow stroke), and also maintaining a good bounce when crossing strings. Can you give exercises or advice on these? thank you!!
My compliments to your explanation of this topic, spiccato is exactly that way (you can find the request by Vivaldi in opus 3 concertos), not fast ... Thanks
Это есть самое лучшее обяснения этого штриха, для исполнения которого даже не нужно иметь очень хорошыи́ прыгучии́ смычок, самым паршивым смычком можно спокойно играть этот штрих. Брава !!!!
So sautille and spiccato is the same stroke..?But finally we use it for either the lighter either the hevier one..?And For Beethoven violin sonatas which is used ..?Like in the cm sonata,last mouvement
Spiccato and sautillé are NOT the same strokes. They are played in different tempi and in a different way. Which one you use depends mainly on your tempo
Thanks for all your wonderful videos. Could you talk about what is the color of sound? I hear it in some videos from masterclasses. Does the same note at same volume can be different so called color?
Heifetz does (did )a very high elbow action when he plays (played) several stacatto notes near the frog . The forearm seems to act as a pendulum in that case. I found myself doing that once without anyone teachibg me that . Maybe there is a rare Italian name for that elbow move . Do bow arms have their own vocabulary ?
Юлия Робертовна, пересматриваю ваши видео. Очень много полезного и важного нахожу для себя как в преподавании, так и в понимании многих моментов для себя. Пожалуйста, могли бы вы снять отдельный ролик, посвященный скрипичным штрихам ( с их русскими и иностранными названиями ). И отдельный вопрос к штриху Colle - как будто в Русской школе его нет. Что это такое, как оно обозначается, и как играть?
Interesting. Everyone has always told me, in the US, that spiccato always starts on the string. Most of these I remember from orchestra directors, but I remember my private teachers all telling me this as well.
Please!!! give some advice about fast broad detache. Kreutzer sonata type or even FF Barber finale. How do you increase speed without loosing neither flexibility neither bow quantity?!? Please
Thanks a lot for this great video. I just wanted to ask, is it ok to use a lot of wrist for sautille? I tend to lock up if I use my lower arm and can't use my lower arm to bounce the bow as well as with mostly the wrist.
I watched many videos talking about the definition of staccato, spiccato, sautille. Can you explain when to use the different bow strokes according to the notation of the music on the score? I know it may change from context to context. Any general rules to using different bow strokes? Many thanks!
My daughter is practicing on a piece for Bach arranged by P. Klengel I think it is D Major first 3 lines staccato & the rest no staccato should we play them spiccato? Thank u
You may put it this way :) Since spiccato is slower, there is more need of controlling the bow; in sautille, the bow should bounce off by itself so there is very little control needed
Interesting, now I realize that your bow doesn't have to be of the highest quality so that it can bounce. Anyway, can a 200usd bow be adequate enough for it to bounce decently?
Sautillé is not a rhythm but rather a bow stroke. Usually a sautille is used to play a series of fast notes (oftentimes a single note repeated, but also with changing notes) that requires a new bow for each note.
It is for sure from the wrist. This way, doing it from the forearm, is not efficient and applicable in really fast tempo. Check the video made by the violin masterclass channel on youtube. There is an old guy explaining this technique wonderfully.
Can you explain the role of the fingers? I have a student who was taught to do spicatto with fingers, as was I, and recently I was taught to not engage the fingers but rather use the wrist. Is this true?
That is correct - the fingers should not be engaged, just the wrist. But the fingers are still used -- they hold the bow, and they have a reactive role to the wrist.
Здравствуйте! Я совсем запутался в названиях этих штрихов. Я думал, что спиккато - в середине смычка, а сотийе - у колодки. И в других видео на ютубе - так же. Но Вы, вроде как говорите наоборот? Или я что-то не так понял? Подскажите, пожалуйста? Постоянно путаю названия этих двух штрихов.
Штрих, который мы (по-русски) называем сотийе (с французского sautillé) ВСЕГДА играется выше на смычке, чем спиккато, поскольку он быстрее. Я никогда не слышала противоречия, о котором вы пишете. в профессиональной среде - ни в России, ни в Америке, ни в любой другой стране, где преподавала. Если кто-то в TH-cam называет их наоборот, то это вряд ли профессионалы.
I have played under more than thirty different conductors and none of them ever bothered with Italian or German or French or Spanish terminology - they just told the strings to play off the string (or on the string) then we just followed whatever the concertmaster did.
I like your exact teaching very much although i am a cellist. But it is a little anoying that your speaking and playing does not communicate in time with the film. Thank you! 😏
I am a composer, but not a string player, so for me, having an understanding of what I’m actually asking a musician to do. Therefore I greatly appreciate the thorough nature and explicity of this video. Many thanks.
I’m watching this as well so that I’m able to explain to my violinist what to do/what I’m looking for. The more you know, the better. Haha great video!
This video has to be the best one I've ever seen on this topic. Beautifully and clearly explained and demonstrated. You are a master teacher. Thank you Prof. Bushkova!
Yes, this is also the first video I have seen that explains about the flatter angle of the bow hair bouncing better, which really works...
Alex I see you in so many places lol
I second that. She's the real thing, thanks, Prof.
Reference StevoTheAce71 - I too see your (Alex Saldarriaga) comments in music forums. I always agree with your comments.
The most useful videos on the entire web. I was studying the violin at the age of 7 at about five years and I quit. Now on 49 I have started again with a good teacher but it looks like I have a second teacher over here.
Keep up the excellent work.
Thank you mrs Bushkova.
==== Contents:
0:01 Introduction
1:23 Spiccato
4:00 Transition towards Sautille
5:10 Sautille
Im currently studying under a former student of your mother. Its great to see your videos and feel being part (a very little part) of your family musical legacy. Keep up your great work!!!
Oh, how lovely! Who are you studying with?
I was having a hard time trying to explain the difference between these strokes to one of my students and this is extremely well put. Thank you so much Miss Julia!
You're very welcome!
Спасибо Юлия. Очень подробное пояснение. Редко встретишь такое.
Great to see you back making videos again - I find them very useful indeed.
Thank you so much for your wonderful classes, Prof. Bushkova!
Проф .Бушкова ,одно удовольствие слушать Ваши уроки , все так детально, понятно и интересно ,я бы сказал по мастерски Вы преподносите знания. Большое Вам Спасибо !
Thank you for your expert explanations on several aspects of violin playing. It keeps helping me.
Thank you! My son has been struggling so much with spiccato, your video was so helpful.
Beautifully explained and demonstrated. Thank you for the very informative videos!
Great explanation, dear Prof. Bushkova, thanks so much for your enormous and utmost appreciated help!
Best explanation I've heard yet, thanks!
Wow! I have been thinking they're both like one in the same. Excellent work explaining the two!
Thank you so much for this. I'm writing a piece for an orchestra and trying different violin techniques. This explains a lot.
From the attacks I see your violin is very well set up .Bravo Julia .
Thank you very much for your advices. Really straight forward golden explanation. An astonishing masterclass. Your students are no doubt privileged ones. I hope you can share more of your art.
THANK YOU! So much for that, I didn't know how to do sautille. Thank you Prof. Bushkova.
You are so welcome!
Down to earth and great explanation. I understand these bow strokes the same as her
Thanks for a very clear lesson and also clarification of the terms in Italian v French. Every string player should see this.
Glad it was helpful!
Thankyou Profesore
going on 6 months of playing. Need sautille now. (czardas) You are the one i go to for all instruction. Better and more informative than my teacher who i use only for checking - in person- on my positions and physical faults.Thankyou.
spagannini
Have you seen the other video on sautille?
Very clear directions - well done.
Thank you. Your explanations and demos are very clear and.precise
Thank you for this fantastic demonstration!
Amazing explanation! Thank you Julia!
- Very nice explanation , straight to the point !!! 🎻👍
Muchas gracias por la explicación de cómo ejecutar ambas técnicas. 🤗🤗
Потрясающе точное объяснение !!! Спасибо!!1
Thank you very much for this excellent lesson. It would be useful to extend this teaching with the problem of sautillé with strings change
When you get sautille it just click and I do it wow. Takes some time and it needs some specific wrist motion to get a small bounce. At slower tempo semi-quavers sautille in open string, then scales/arpeggios until I can get it faster. Nice and helpful tutorial
Es mi Maestra favorita. Felicidades.
I never fully understood Sautille, fantastic video thanks
Excellent explanation, thank you so much.
Muy buena y clara exposición como siempre los haces Julia, la mejor.. Muchas gracias!!
Thanks. Great explanation!
Great video! I can do the bow stroke, but I find it difficult to synchronize left hand with sautille (left hand fingers slower than bow stroke), and also maintaining a good bounce when crossing strings. Can you give exercises or advice on these? thank you!!
Thank you so much for this very good explanation
That was very helpfull, thanks a lot!
Looking forward to see more videos explaining techniques and tricks)
Thanks so much, Julia! Very well explained.
Thank you. You are a very good teacher. Unfortunately I’m not a good learner.
Thank you for the informative lesson.
My compliments to your explanation of this topic, spiccato is exactly that way (you can find the request by Vivaldi in opus 3 concertos), not fast ... Thanks
Это есть самое лучшее обяснения этого штриха, для исполнения которого даже не нужно иметь очень хорошыи́ прыгучии́ смычок, самым паршивым смычком можно спокойно играть этот штрих. Брава !!!!
Спасибо :)
Awesome... Thank you... You are amazing 😉
Welcome 😊
merci julia good lessons
Awesome explanation!
fantastic. and thank you !!
Adbhut
Thanks a lot, since Peru.
Mil Gracias... 🙏🙏🙏🙏
So sautille and spiccato is the same stroke..?But finally we use it for either the lighter either the hevier one..?And For Beethoven violin sonatas which is used ..?Like in the cm sonata,last mouvement
Spiccato and sautillé are NOT the same strokes. They are played in different tempi and in a different way. Which one you use depends mainly on your tempo
Thanks for all your wonderful videos. Could you talk about what is the color of sound? I hear it in some videos from masterclasses. Does the same note at same volume can be different so called color?
Heifetz does (did )a very high elbow action when he plays (played) several stacatto notes near the frog . The forearm seems to act as a pendulum in that case. I found myself doing that once without anyone teachibg me that . Maybe there is a rare Italian name for that elbow move . Do bow arms have their own vocabulary ?
Nice thank you so much!
awesome Video!
could you explain how to learn martele?
th-cam.com/video/aioVRzYoUkE/w-d-xo.html
Thanks. Very helpful
Юлия Робертовна, пересматриваю ваши видео. Очень много полезного и важного нахожу для себя как в преподавании, так и в понимании многих моментов для себя.
Пожалуйста, могли бы вы снять отдельный ролик, посвященный скрипичным штрихам ( с их русскими и иностранными названиями ). И отдельный вопрос к штриху Colle - как будто в Русской школе его нет. Что это такое, как оно обозначается, и как играть?
Я постараюсь -- для Вас :)
Благодарю ❤
Interesting. Everyone has always told me, in the US, that spiccato always starts on the string. Most of these I remember from orchestra directors, but I remember my private teachers all telling me this as well.
They have told you correctly - spiccato always starts on the string.
Funny subtitles at the start; Sautille becomes City Year .
Please!!! give some advice about fast broad detache. Kreutzer sonata type or even FF Barber finale. How do you increase speed without loosing neither flexibility neither bow quantity?!? Please
I suggest practicing whole bow martelé, aiming for a good sound. If one can do that, the broad détaché is easy.
@@ViolinClassUSA wonderdul! It makes lot of sense, now that you told me :)) I will do that ! thank you soo much, great help! And great chanel!
Tq for sharing your goodwills
How would you describe the bowing technique for tschaikowsky op42 scherzo? Thanks
Thanks a lot for this great video. I just wanted to ask, is it ok to use a lot of wrist for sautille? I tend to lock up if I use my lower arm and can't use my lower arm to bounce the bow as well as with mostly the wrist.
If you are able to produce even sautille in TRIPLETS and string crossing, you can use your type of motion!
Thanks 🙏🎻🙏
I watched many videos talking about the definition of staccato, spiccato, sautille. Can you explain when to use the different bow strokes according to the notation of the music on the score? I know it may change from context to context. Any general rules to using different bow strokes? Many thanks!
No, there are no general rules. Everything depends on the music and its character.
Спасибо! Отлично! А есть видео о незаметном переходе спиккато-сотийе (финалы "Цыганки" Равеля и Концерта Чайковского)? Нигде не встречал.
Holy poggers, this actually worked! This video helped me so much, thank you so much
I'd be surprised if it didn't! Good luck with further successes
My daughter is practicing on a piece for Bach arranged by P. Klengel I think it is D Major first 3 lines staccato & the rest no staccato should we play them spiccato? Thank u
Unfortunately, I cannot answer this question because I do not know which piece you mean...
Oooh helpful
got it thx
The movement made at 1:31 is called “marcato”
"Marcato" is not a movement! it is an articulation
Similar to “martelé”, but without staying on the string.
It looks like in Spiccato, the wrist is firmer (less movement), in sautille it is freer (more movement)... Is that a good maxim?
You may put it this way :) Since spiccato is slower, there is more need of controlling the bow; in sautille, the bow should bounce off by itself so there is very little control needed
@@ViolinClassUSA понял, спасибо!
Interesting, now I realize that your bow doesn't have to be of the highest quality so that it can bounce. Anyway, can a 200usd bow be adequate enough for it to bounce decently?
Actually, yes! Some cheaper bows can be very "bouncy." But some others can be very hard to get off the string... So it really depends on the stick...
Hi can you explain me the rythm of sautille when you play music
Sautillé is not a rhythm but rather a bow stroke. Usually a sautille is used to play a series of fast notes (oftentimes a single note repeated, but also with changing notes) that requires a new bow for each note.
Spiccato is slower 5o moderate soeed and bites the string, if it goes faster it becomes sautille
Is sautille done by the forearm or the wrist?
5:18
I mean I had watched some tutorials said using the wrist, so I’m a little confused
It is for sure from the wrist. This way, doing it from the forearm, is not efficient and applicable in really fast tempo. Check the video made by the violin masterclass channel on youtube. There is an old guy explaining this technique wonderfully.
Caius Hiticas I think I know who that guy is, I’ve watched his tutorials too😆
Hello, could you translate it into Spanish in subtitles. Thank you!
A bit confusing. The first paradigm looks like collé.
In the Russian school, we never used collé, so I do not teach collé. Spiccato from the strings does not use fingers in the same way that collé does.
Can you explain the role of the fingers? I have a student who was taught to do spicatto with fingers, as was I, and recently I was taught to not engage the fingers but rather use the wrist. Is this true?
That is correct - the fingers should not be engaged, just the wrist. But the fingers are still used -- they hold the bow, and they have a reactive role to the wrist.
Здравствуйте! Я совсем запутался в названиях этих штрихов. Я думал, что спиккато - в середине смычка, а сотийе - у колодки. И в других видео на ютубе - так же. Но Вы, вроде как говорите наоборот? Или я что-то не так понял? Подскажите, пожалуйста? Постоянно путаю названия этих двух штрихов.
Штрих, который мы (по-русски) называем сотийе (с французского sautillé) ВСЕГДА играется выше на смычке, чем спиккато, поскольку он быстрее. Я никогда не слышала противоречия, о котором вы пишете. в профессиональной среде - ни в России, ни в Америке, ни в любой другой стране, где преподавала. Если кто-то в TH-cam называет их наоборот, то это вряд ли профессионалы.
@@ViolinClassUSA Спасибо большое за разъяснение!
Очень нравятся Ваши видеоуроки!:)
Очень полезное и интересное видео! А есть на русском языке?
Спасибо. Субтитры на русском будут в скором будущем
@@ViolinClassUSA шикарно!!!👍👍👍👍👍
I have played under more than thirty different conductors and none of them ever bothered with Italian or German or French or Spanish terminology - they just told the strings to play off the string (or on the string) then we just followed whatever the concertmaster did.
Yes, that sounds recognizable :)) Good that those conductors are not violin teachers and that there always is a concertmaster!
@@ViolinClassUSA Julia, all of your videos are gems!!! Thank you for taking the time to produce them!!!!
3:53
You must include some passage with both strokes. Otherwise the video is very much instructive.
Hindustani Ram Ram ji
I like your exact teaching very much although i am a cellist. But it is a little anoying that your speaking and playing does not communicate in time with the film. Thank you! 😏