Your videos are so well made and explained. Really valuable for violinists to expand their understanding of the mechanics of the left hand. I'm so glad I stumbled upon your channel. Thank you!
Thank you! In the next video I will show how to start practicing chromatic glissando scales. I will probably give some Repertoire examples sometime later but mostly after practicing this technique a while one starts using different fingerings and avoiding shifts which does make violinplaying a lot easyer.
Thanks for the very clear explanation. Tremendously helpful to have the book brought to life like this - deserves many more views. As a very late adult starter accurate shifting has been a challenge - especially as I play without a shoulder rest. Using the thumb as an anchor very much helps to regulate the distance, as you say, compared to moving everything at once on a wing and a prayer. Combining the glissando for scale passages with the Milstein technique of "walking the thumb" as you move from one position to another seems to cover almost all scenarios and pretty much eliminates the need for a whole-hand all-or-nothing jump shift. Still much practice to be done, but things are beginning to feel more secure now.
Playing without chin and shoulder rest improves sound from the violin. Drone idea is excellent to practice chromatic glissando. I think in Paganini caprice 20, there is Scottish bagpipe drone.
Hi Viv, maybe not strictly related, but will add some explanations on the next video on those flashy glissando chromatic scales that can be found in some pieces? there's a short one in Sarasate Romanza andalusa op 22 no3 at bar ~60 and would be good to understand how to study those for both left and right hands :)
Your question is actually very related. Those chromatic glissando scales you talk about are the same technique and once one is familiar with this kind of technique they are not that difficult anymore. The third part of this series will be about how to start practicing chromatic glissando scales. That is the foundation for fast virtuoso chromatic glissandi.
@@vivolin6521 paganini play his music on the violin without chin rest and shoulder rest so did he put his chin on the instrument to hold it or did he play chin off cause I'm confused about like his violin have a trace mark some people said because his chin touched the instrument i watched your videos you said before chin rest or shoulder rest you have hold the violin with your left hand hold it on high position like 3 or 4 so your thumb can stay in one position fingers move backwards and forward behind the thumb
@@claudyphilogene9220 I am pretty sure Paganini's chin was on the violin whenever he needed it to be. One can see that on paintings of Paganini. The difference is that he had huge hands and could keep his thumb in 3rd position even when he played in very high positions.
Yes, tenths really taught me that too. Ricci taught me to reach back for tenths, that helped me stretch them and get used to keeping my thumb in third position.
Dear lady, thank you, but keeping the thumb in the 3rd position while playing in the 1st position creates tension in the hand and also vibrato is difficult.
Thank you for your comment, the reaching down into first position is mostly to train the hand to be able to do that, it is only used in certain situations in repertoire and only when one needs to be fast. Mostly one uses the extension only for second position and only for a few notes. Anything that requires vibrato would have to be played in first position with a normal hand position. I am glad you mention this because it has given me the idea to make another video about how, when and where to apply this technique.
Thanks for sharing Ricci's insight into violin playing....it is appreciated !
You're welcome! I am very glad to be able to pass on what I learnt frlm Ricci.
Your videos are so well made and explained. Really valuable for violinists to expand their understanding of the mechanics of the left hand. I'm so glad I stumbled upon your channel. Thank you!
Hallo and welcome to my channel! I am glad you find my videos helpful. Any time you have a question just ask me.
Super tutorial of teaching teaching fantastic
Augustine violinist from Malaysia
Thank you for sharing.
This is really a key point of violin playing, your insight is valuable. Thank you for sharing this generously!
You're welcome!
Super interesting. I hope in a next video you show how to use this in repertoire.
Thank you! In the next video I will show how to start practicing chromatic glissando scales. I will probably give some Repertoire examples sometime later but mostly after practicing this technique a while one starts using different fingerings and avoiding shifts which does make violinplaying a lot easyer.
Thanks for the very clear explanation. Tremendously helpful to have the book brought to life like this - deserves many more views. As a very late adult starter accurate shifting has been a challenge - especially as I play without a shoulder rest. Using the thumb as an anchor very much helps to regulate the distance, as you say, compared to moving everything at once on a wing and a prayer.
Combining the glissando for scale passages with the Milstein technique of "walking the thumb" as you move from one position to another seems to cover almost all scenarios and pretty much eliminates the need for a whole-hand all-or-nothing jump shift.
Still much practice to be done, but things are beginning to feel more secure now.
Thank you very much! I am glad this is helpful and you are feeling more secure.
Playing without chin and shoulder rest improves sound from the violin. Drone idea is excellent to practice chromatic glissando. I think in Paganini caprice 20, there is Scottish bagpipe drone.
Yes, the sound is much bigger when one takes iff the shoulder rest and you're right, in Paganini's 20th caprice he uses the drone like a bagpipe.
First!! Been waiting for this video the whole week :)
Cool! First! Thanks for watching! :)
Fantastic, thank you 👏👏👏
Thank you for watching!
Hi Viv, maybe not strictly related, but will add some explanations on the next video on those flashy glissando chromatic scales that can be found in some pieces? there's a short one in Sarasate Romanza andalusa op 22 no3 at bar ~60 and would be good to understand how to study those for both left and right hands :)
Your question is actually very related. Those chromatic glissando scales you talk about are the same technique and once one is familiar with this kind of technique they are not that difficult anymore. The third part of this series will be about how to start practicing chromatic glissando scales. That is the foundation for fast virtuoso chromatic glissandi.
I play without chin rest and shoulder rest can I use the old system to play any music like paganini
Wow! You play without a chin rest? Thats interesting. I have only done that briefly but I can't imagine playing Paganini without a chin rest.
@@vivolin6521 paganini play his music on the violin without chin rest and shoulder rest so did he put his chin on the instrument to hold it or did he play chin off cause I'm confused about like his violin have a trace mark some people said because his chin touched the instrument i watched your videos you said before chin rest or shoulder rest you have hold the violin with your left hand hold it on high position like 3 or 4 so your thumb can stay in one position fingers move backwards and forward behind the thumb
@@claudyphilogene9220 I am pretty sure Paganini's chin was on the violin whenever he needed it to be. One can see that on paintings of Paganini. The difference is that he had huge hands and could keep his thumb in 3rd position even when he played in very high positions.
@@vivolin6521 you mean not all the time
@@claudyphilogene9220 Yes. He was mobile with his chin, it was not in the same position all the time.
“Using Double stop tenth to feel the shift and fix the gesture of shifting as well” that’s what I learnt from the glissando scale
Yes, tenths really taught me that too. Ricci taught me to reach back for tenths, that helped me stretch them and get used to keeping my thumb in third position.
Dear lady, thank you, but keeping the thumb in the 3rd position while playing in the 1st position creates tension in the hand and also vibrato is difficult.
Thank you for your comment, the reaching down into first position is mostly to train the hand to be able to do that, it is only used in certain situations in repertoire and only when one needs to be fast. Mostly one uses the extension only for second position and only for a few notes. Anything that requires vibrato would have to be played in first position with a normal hand position. I am glad you mention this because it has given me the idea to make another video about how, when and where to apply this technique.
Bravissima! Grazie :-) !
Thank you very much!
Might be of some interest, but to call it Paganini's Secret?... Yair Kless
Well getting clicks is important too when world is awash and n advertising and noise.