I like the principle of 'if we're going to be wrong, let's all be wrong together'. For me it perfectly describes how you should approach playing with others.
Absolutely great 👍 👌 👏 so clear and simple, without any disturbing ego; just constructive, helpfull: a real maestria. Fantastic!!!!! Thank you so so so much!
I surely hope you'll make more episodes on this ever confusing subject. To my ear some players sound fine despite not quite accurate intonation. Oistrakh would be an example. Others sound minutely irritating despite being accurate. There must be some formula there but I never worked it out. I think it is related to how individuals listen to what is coming out from the violin and I would be very curious what you think about this. Another issue is how is the vibrato overlapping the note. Higher, lower, centered ? Many, many thanks !
Thank you for this video! I visited London from Japan 4years ago for sightseeing. I enjoyed your Tchaikovsky’s violin concert with London philharmonic orchestra. I was so impressed. Since then, I support you!
When I was in my university orchestra, one of our French horn players simply did not understand this at all and refused to play anything other than the intonation her tuner gave her for a certain section of music. She and our conductor got into it during rehearsal over this issue when she was clearly playing out of tune with the orchestra and kept denying that she was out of tune. She ended up leaving rehearsal that day.
It was helpful in raising an awareness of additional things to worry about when playing with others! 😂. Thank you Augustin! I was so looking forward to attending your concert tonight in St. Petersburg with The Florida Orchestra. Hope you will visit us someday when this pandemic is over. Please keep safe and be well. 🙏🏻
A vexed issue… I remember Perlman’s story, of one of his teachers once asking him: “Itzhak dear, what is your concept of this F-sharp?” (rather than telling him that he was flat or sharp) 😉 Intonation is indeed no Absolute -which makes our job as string players (or singers or wind players) sooo hard and so exhilarating… (Jacob Collier has a few things to say on this as well.) Then there is the issue of how to make each note on our instruments sing and reverberate in the best possible way. The intonation issue, its possibilities and limitations, extends endlessly in every direction, I feel. Thank you for this, Augustin 🙏
Very helpful! I especially have trouble hearing the intonation of the F that you played (on the A string). I'm always second guessing when I play it. Now I'm going to practice with the piano backing track to hear how it should be tuned ^^ Thank you!!
Thanks for all the videos you are making Augustin. It would also be great if you covered topics like posture and in general how your whole body comes together when playing because it's a topic not a lot of people talk about and it's an issue that afflicts novice and advanced players alike.
I have a friend who plays consistently flat. He hears everything flat. I played a recording session with him once in a group of 10 violins and the intonation was always off thanks to him. The session was wiped clean (trashed) and a week later we redid the session without him and everything was fine. I also heard him play a Vivaldi duo with another violinist and the whole concerto was out of tune thanks to him. I felt sorry for the other violinist. I think Mutter did a recording of the Brahms double with an out-of-tune cellist (Meneses?) which resulted in many parts being badly out of tune unfortunately. I heard Stern play the Beethoven concerto with the Chicago Symphony many years ago - his intonation that time was atrocious. Intonation is very, very important.
Thank you for making this video! If you have time, could you make a video on how to make position changing unnoticeable? How does the left hand prepare for such thing? How does the right hand contribute?
interesting phenomenon - first chord of Saint Saens B minor, 3rd mov - if you play the low E in tune with the open G, then the B is not a perfect 4th with the open E, and if you adjust to be a perfect 4th, then the low E is sharp relative to the open G. my solution is just roll my 1st finger sharp a bit when breaking the chord, so both the bottom two and top two notes are both in tune.
So the concept of "in tune" is only a relative thing. There's no Absolutely "in tune". Like living or working with other persons, one has to adjust oneself to others for being "in tune" in lives and works!!
Absolute universal half ton exists. If you use this half ton, all your intervals become different than pure! Only the unison stay perfect. Nobody talks about or the intonation problem is still present...
Interesting ... Singers also would rather be sharp than flat. Zinka Milanov prided herself on singing sharp. The reasoning is if you are flat, you have less voice (resonance) sharp is more voice (resonance).
But Augustin what do you mean when you say “in tune relative to the open string”? beginner here, I feel I can learn a lot from your videos, tell me more pls!
First of all sorry for my english. Can you make a video about holding the violin correctly? Because when I play something like Bruch Concerto or Bach E Major Prelude my neck, right arm and shoulder start to hurt. I try to relax but I can't
Thank you so much for this helpful videos.❤❤❤ I would like to know more about double stops Intonation and in the first position at thirds my left hand hurts because of wide spaces between notes. And also I want to know how can I practice my right arm moves from the frog to the tip of the bow. Thank you in advance 😍
Perfect scale practice would help, right? 3rds, 4th, 5th, 6th, Octave, Fingered Octave, 10th and Regular scales and arpeggios. My God so much to practice. Do you use Carl Flesch Scale system for practice? Heifetz suggested to practice the 3rds first.
Have you ever experimented with weed to see if it would enhance your playing or creativity? If yes, what was your experience (positive, negative)? Actually, here's an idea (editing to throw this in)--it would be cool if you were to get high and make a second video of the Bach Gavotte from Partita #3 you played yesterday and compare the differences. What if actually had an effect where it was to actually allow you to bring it to a new level altogether?! Why not since your on lockdown with the rest of us, and many of your fans out here are already partaking. Bach with a Sativa would be perfect!
The master of intonation speaking about intonation. What else could you want??
Yes, indeed, what else 🙃🙂!!
I like the principle of 'if we're going to be wrong, let's all be wrong together'. For me it perfectly describes how you should approach playing with others.
In folk music performance, it’s known as "quorum tuning." 🤣
Agreed... saftey in numbers ... like " how is .language learned ?
"
Yes, that was very helpful - and generous of Augustin - to get an insight to how many worms there are in this can! Thank you 🙂
Absolutely great 👍 👌 👏 so clear and simple, without any disturbing ego; just constructive, helpfull: a real maestria. Fantastic!!!!!
Thank you so so so much!
I surely hope you'll make more episodes on this ever confusing subject. To my ear some players sound fine despite not quite accurate intonation. Oistrakh would be an example. Others sound minutely irritating despite being accurate. There must be some formula there but I never worked it out. I think it is related to how individuals listen to what is coming out from the violin and I would be very curious what you think about this. Another issue is how is the vibrato overlapping the note. Higher, lower, centered ? Many, many thanks !
Yes the importance of asking ...HOW we listen?
brilliant! that's very helpful, looking forward to the next one
Thank you very much for this very important lesson 🌼
Tonic & Dominant & Subdominant💜
Thank you for this video! I visited London from Japan 4years ago for sightseeing. I enjoyed your Tchaikovsky’s violin concert with London philharmonic orchestra. I was so impressed. Since then, I support you!
When I was in my university orchestra, one of our French horn players simply did not understand this at all and refused to play anything other than the intonation her tuner gave her for a certain section of music. She and our conductor got into it during rehearsal over this issue when she was clearly playing out of tune with the orchestra and kept denying that she was out of tune. She ended up leaving rehearsal that day.
It was helpful in raising an awareness of additional things to worry about when playing with others! 😂. Thank you Augustin! I was so looking forward to attending your concert tonight in St. Petersburg with The Florida Orchestra. Hope you will visit us someday when this pandemic is over. Please keep safe and be well. 🙏🏻
I have no choice but to like this video
Awesome explanation -
and beautifully simplified as well.
Thank-you maestro
The opening of the bach c major largo (in f) always makes me want to put the f sharper than normal. This helps me understand why :)
Thank You for this short cut - I so agree with you about I, IV, V and while playing we need to adjust the surrounding intonation feel and try to fit.
A vexed issue…
I remember Perlman’s story, of one of his teachers once asking him: “Itzhak dear, what is your concept of this F-sharp?” (rather than telling him that he was flat or sharp) 😉
Intonation is indeed no Absolute -which makes our job as string players (or singers or wind players) sooo hard and so exhilarating…
(Jacob Collier has a few things to say on this as well.)
Then there is the issue of how to make each note on our instruments sing and reverberate in the best possible way.
The intonation issue, its possibilities and limitations, extends endlessly in every direction, I feel.
Thank you for this, Augustin 🙏
Thank you sir, that was beautiful to listen.
Bravo Augustino
👏👏👏👏
Very helpful! I especially have trouble hearing the intonation of the F that you played (on the A string). I'm always second guessing when I play it. Now I'm going to practice with the piano backing track to hear how it should be tuned ^^
Thank you!!
Thanks for all the videos you are making Augustin. It would also be great if you covered topics like posture and in general how your whole body comes together when playing because it's a topic not a lot of people talk about and it's an issue that afflicts novice and advanced players alike.
I think you have a beautiful sound and the intonation color is very nice and wonderful, thanks for the video and sorry for my english
Gracias! 🎶
Wonderful-thank hoy !!
Look forward to the next one sir!!
I have a friend who plays consistently flat. He hears everything flat. I played a recording session with him once in a group of 10 violins and the intonation was always off thanks to him. The session was wiped clean (trashed) and a week later we redid the session without him and everything was fine. I also heard him play a Vivaldi duo with another violinist and the whole concerto was out of tune thanks to him. I felt sorry for the other violinist. I think Mutter did a recording of the Brahms double with an out-of-tune cellist (Meneses?) which resulted in many parts being badly out of tune unfortunately. I heard Stern play the Beethoven concerto with the Chicago Symphony many years ago - his intonation that time was atrocious. Intonation is very, very important.
Thank you for making this video! If you have time, could you make a video on how to make position changing unnoticeable? How does the left hand prepare for such thing? How does the right hand contribute?
interesting phenomenon - first chord of Saint Saens B minor, 3rd mov - if you play the low E in tune with the open G, then the B is not a perfect 4th with the open E, and if you adjust to be a perfect 4th, then the low E is sharp relative to the open G. my solution is just roll my 1st finger sharp a bit when breaking the chord, so both the bottom two and top two notes are both in tune.
Thanks Augustín!
So the concept of "in tune" is only a relative thing. There's no Absolutely "in tune".
Like living or working with other persons, one has to adjust oneself to others for being "in tune" in lives and works!!
Absolute universal half ton exists. If you use this half ton, all your intervals become different than pure! Only the unison stay perfect. Nobody talks about or the intonation problem is still present...
I want to cry
bravo slatkishu
great stuff. Thanks!
its really GREAT! Thank YOU)
BRAVO !
Thank you.
How much time per day did you devote to practicing the instrument when you were a student and how much time do you devote now?
Алексей Голимбиевский I think I once heard him say seven to eight hours a day when he was younger, in one of his ask Augustins.
Thanks a lot !!!
From my singing i often want to go to the just interval, especially the thirds---but sigh yeah. hahaha
Interesting ... Singers also would rather be sharp than flat. Zinka Milanov prided herself on singing sharp. The reasoning is if you are flat, you have less voice (resonance) sharp is more voice (resonance).
But Augustin what do you mean when you say “in tune relative to the open string”? beginner here, I feel I can learn a lot from your videos, tell me more pls!
First of all sorry for my english. Can you make a video about holding the violin correctly? Because when I play something like Bruch Concerto or Bach E Major Prelude my neck, right arm and shoulder start to hurt. I try to relax but I can't
When alls said and done it has to be 1 play with others and .......listen
Thank you so much for this helpful videos.❤❤❤
I would like to know more about double stops Intonation and in the first position at thirds my left hand hurts because of wide spaces between notes.
And also I want to know how can I practice my right arm moves from the frog to the tip of the bow.
Thank you in advance 😍
Perfect scale practice would help, right?
3rds, 4th, 5th, 6th, Octave, Fingered Octave, 10th and Regular scales and arpeggios. My God so much to practice. Do you use Carl Flesch Scale system for practice? Heifetz suggested to practice the 3rds first.
Can you also cover bow grip/hold in the future?
Have you ever experimented with weed to see if it would enhance your playing or creativity? If yes, what was your experience (positive, negative)? Actually, here's an idea (editing to throw this in)--it would be cool if you were to get high and make a second video of the Bach Gavotte from Partita #3 you played yesterday and compare the differences. What if actually had an effect where it was to actually allow you to bring it to a new level altogether?! Why not since your on lockdown with the rest of us, and many of your fans out here are already partaking. Bach with a Sativa would be perfect!
Bad Beethoven you are bad Beethoven!
😆😆😆😆😆😆😆😆 He is too classical to be smoking weed buddy.