Thank you so much for this video. I know how much time, thoughts, and discipline to record a video like this. You are so generous! All your vids are very much appreciated.
Thank you Nathan. It is great watching your videos giving really useful tips on how to play the violin well. Loved the background for this video, very clever!!
I saw Janine Jansen doing Mendelssohn, and I thought, "that's what you can do with perfect bow changes!!!" I am looking forward to trying out this idea you've shared so I can get a really great legato! Thank you!
This completely changed my game on the Ysaye Sonata 4 later half. I was having significant problems making silent bow changes on the double stops. Your a life saver my guy (or tone saver for that matter haha)
Brilliant lesson. Thanks so much. I find it interesting to precede this work with a quick awareness exercise from ‘Warming Up’ which you kindly recommended on another video. That is, the one where we stop on various parts of the bow and feel whether we are working purely with the hair or purely with the wood or what particular ratio of both. Hope fully you do a bow change at the heel video as well... I always enjoy learning from you. Warmest Regards, Buri
Thank you so much for your videos, Nathan. I read that to avoid "the hole" in sound when changing direction of the bow you must reduce the weight on the bow. Is that correct? and if so, does rotating the hand, as you explain ,include applying less pressure on the bow?Mil gracias in advance!!👍
Hello to Nathan and the others! This ist the point of view of a Viola player. I can cange the bow on the nut and you can hear it only if you stand nearby. In a longer Distance there will be only one long tone. Between up and down movement te bow must have for a short time the velocity null. Aroud this point the speed is too low, the presure is too high, that makes a scratching sound. Luckily my viola has a big swinging mass. So, when the speed lowers, I reduce the presure, you will hear the swinging mass now. In this situation I change direction, the speed grows up and pressure arises. I reach this with a movement of the ellbow, from up-position to down-position, but there should be another possibility with fingers. The violin has not so much swinging mass, it should be more difficult.
One more amazing tips video! What do you think about de "8 theory"? Just painting a 8 with the bow; so all the movements becomes circular; the "only way" they can be, for me. Also the speed of the bow, changing direction, it should be more fast. I'm grateful, You are incredible to supporting Us! Ever learning something new :)
I like the thought of the circular motions, they're almost always more natural than back-and-forth. For example, when you're about to change bows at the tip on the G-string, the down-bow could be closer to the D-string, and then as you make the bow change, your hand goes slightly higher so that the bow curves around the G-string as it changes direction.
I do my video with my Canon SLR. But it's actually easier to get a good picture than it is to get good sound. For example, most smartphones will give you great video as long as you are using something to hold the phone steady. But sound is another issue. You should record sound on a separate device, then sync it up with the video (pretty easy to do with software). You can see my little DPA microphone on my shirt, and that runs to a Tascam portable recorder. Then I sync up the audio and video.
nicely explained,but i don't get you completely.Are you suggesting to practice in specific sections of the bow in order to get a better sound ?And are you also proposing that the angle between the bow and the string isnt standard but it depends on which part of the bow is playing the string?
For your second question, I wasn't trying to say that... but for your first question, the answer is yes! Specifically, this video asks you to imagine a smaller and smaller portion of the bow near the tip, and to practice getting good sound in that smaller and smaller fraction. Once you can get a good sound in that last inch of bow, you should be aware of what physical changes are taking place to allow you to do it. Then, stay aware of those same changes in a full bow as you approach the tip.
I once saw a instrument that had a circular "bow" and the player used a hand crank to get it going.... I know nothing of violins really. I was actually curious if such a device had ever been introduced into a keyboard type instrument. Imagine if a violin and a piano had a baby. I would be curious to hear it.
Hi Nate, would you kindly point me to the part of Mendelssohn that you played? I cannot find it in violin E minor op64. Or maybe I didn't look hard enough...
Hey nate what's your take on tailpieces and tailpiece chords? I tried a new one which I now realise actually sucks along with a Kevlar chord and the sound got terrible
Hi, I wish I knew more about this but I've always left it to the opinion of the luthier who takes care of my instrument. You have to find someone who knows about and understands how the weight and position of the tailpiece (and cord) interact. I know that it makes a difference! But I can't make a specific recommendation for you.
Hi Gengar Kane. I happened to stumble across an explanation by a gut string maker about the impact of the tailpiece and tailstring/gut, comparing baroque and modern ones: www.damianstrings.com/baroque%20set-up.htm Though the aim is different (improve gut string sound), I hope it helps a bit; at least to have a starting point when going through ideas with your luthier. If I understand correctly, it concludes that the thickness of the tailgut shall fit the entire setup. P.S.: Here, I just found additional FAQs and hints regarding tailpieces and tail-guts, also Kevlar ones, and the impact of the material and the gut-length, as well: www.thestrad.com/ask-the-experts-choosing-a-new-violin-tailpiece/ Good luck! ~ Michael
It's more a way to "fool yourself" into thinking that you always have more bow, more room to develop the sound and connect it to the next bow. It's worth it to practice that last couple inches of bow to make sure that you can make a good sound there!
Hi Nathan, A very fine video production! However, as a violin teacher myself, I can say that you complicate the bowing issue with a lot of subjective impressions. When one learns to walk, it is not necessary to analyze every muscle and every motion; a child would never get on his feet!
I hear you, and as I have 3 young kids myself I see this in action! I would never teach a beginner this way. This is more for those who have run into difficulties and are looking for a fresh idea.
Hi Marcelo, you may find it helpful to turn on the closed captioning for the video. If that doesn't help, I have included the text of the video in the description. Google translate should be able to help put that into Portuguese or any other language, at least approximately! Hope that helps.
Thanks for the lesson Nathan. Greetings from Athens Greece!!
Thank you so much for this video. I know how much time, thoughts, and discipline to record a video like this. You are so generous! All your vids are very much appreciated.
Thank you!
Thanks for all your great videos. I learn something so helpful each and every time!
Thank you Nathan. It is great watching your videos giving really useful tips on how to play the violin well. Loved the background for this video, very clever!!
Thanks! I strive for authenticity. :)
Thank you for your time
I saw Janine Jansen doing Mendelssohn, and I thought, "that's what you can do with perfect bow changes!!!" I am looking forward to trying out this idea you've shared so I can get a really great legato! Thank you!
Let me know how it works for you!
This completely changed my game on the Ysaye Sonata 4 later half. I was having significant problems making silent bow changes on the double stops. Your a life saver my guy (or tone saver for that matter haha)
Great, thanks for letting me know! There are so many tips I've collected over the years that sometimes surface at the right moment.
Brilliant lesson. Thanks so much. I find it interesting to precede this work with a quick awareness exercise from ‘Warming Up’ which you kindly recommended on another video. That is, the one where we stop on various parts of the bow and feel whether we are working purely with the hair or purely with the wood or what particular ratio of both.
Hope fully you do a bow change at the heel video as well... I always enjoy learning from you.
Warmest Regards, Buri
A good teacher...and a sense of humour...
Very great and useful video! Thank you so much for explaining this:)
Thank you so much for your videos, Nathan.
I read that to avoid "the hole" in sound when changing direction of the bow you must reduce the weight on the bow. Is that correct? and if so, does rotating the hand, as you explain ,include applying less pressure on the bow?Mil gracias in advance!!👍
I appreciate your deadpan humor! 😂
Thank you!
Hello to Nathan and the others!
This ist the point of view of a Viola player. I can cange the bow on the nut and you can hear it only if you stand nearby. In a longer Distance there will be only one long tone.
Between up and down movement te bow must have for a short time the velocity null. Aroud this point the speed is too low, the presure is too high, that makes a scratching sound. Luckily my viola has a big swinging mass. So, when the speed lowers, I reduce the presure, you will hear the swinging mass now. In this situation I change direction, the speed grows up and pressure arises.
I reach this with a movement of the ellbow, from up-position to down-position, but there should be another possibility with fingers.
The violin has not so much swinging mass, it should be more difficult.
Brilliant!!!
Excelente canal!!!!
One more amazing tips video! What do you think about de "8 theory"? Just painting a 8 with the bow; so all the movements becomes circular; the "only way" they can be, for me. Also the speed of the bow, changing direction, it should be more fast. I'm grateful, You are incredible to supporting Us! Ever learning something new :)
I like the thought of the circular motions, they're almost always more natural than back-and-forth. For example, when you're about to change bows at the tip on the G-string, the down-bow could be closer to the D-string, and then as you make the bow change, your hand goes slightly higher so that the bow curves around the G-string as it changes direction.
Hi Nathan, what is this 'leather' piece you put on your shoulder? it is specifically for violins? where can i buy one?
Maestro, may I know what device did you use for recording videos? It may be really helpful for taping audition videos :)
I do my video with my Canon SLR. But it's actually easier to get a good picture than it is to get good sound. For example, most smartphones will give you great video as long as you are using something to hold the phone steady. But sound is another issue. You should record sound on a separate device, then sync it up with the video (pretty easy to do with software). You can see my little DPA microphone on my shirt, and that runs to a Tascam portable recorder. Then I sync up the audio and video.
Thank you very much for your advice! :-)
nicely explained,but i don't get you completely.Are you suggesting to practice in specific sections of the bow in order to get a better sound ?And are you also proposing that the angle between the bow and the string isnt standard but it depends on which part of the bow is playing the string?
For your second question, I wasn't trying to say that... but for your first question, the answer is yes! Specifically, this video asks you to imagine a smaller and smaller portion of the bow near the tip, and to practice getting good sound in that smaller and smaller fraction. Once you can get a good sound in that last inch of bow, you should be aware of what physical changes are taking place to allow you to do it. Then, stay aware of those same changes in a full bow as you approach the tip.
I need more rosin on my bow.... it doesn’t have half the bite and tone yours does
I once saw a instrument that had a circular "bow" and the player used a hand crank to get it going.... I know nothing of violins really. I was actually curious if such a device had ever been introduced into a keyboard type instrument. Imagine if a violin and a piano had a baby. I would be curious to hear it.
Hi Nate, would you kindly point me to the part of Mendelssohn that you played? I cannot find it in violin E minor op64. Or maybe I didn't look hard enough...
Hey nate what's your take on tailpieces and tailpiece chords? I tried a new one which I now realise actually sucks along with a Kevlar chord and the sound got terrible
Has a lot of overtones but the sound lost its core, its root
Hi, I wish I knew more about this but I've always left it to the opinion of the luthier who takes care of my instrument. You have to find someone who knows about and understands how the weight and position of the tailpiece (and cord) interact. I know that it makes a difference! But I can't make a specific recommendation for you.
Nathan Cole Thanks !
Hi Gengar Kane. I happened to stumble across an explanation by a gut string maker about the impact of the tailpiece and tailstring/gut, comparing baroque and modern ones:
www.damianstrings.com/baroque%20set-up.htm
Though the aim is different (improve gut string sound), I hope it helps a bit; at least to have a starting point when going through ideas with your luthier. If I understand correctly, it concludes that the thickness of the tailgut shall fit the entire setup.
P.S.: Here, I just found additional FAQs and hints regarding tailpieces and tail-guts, also Kevlar ones, and the impact of the material and the gut-length, as well:
www.thestrad.com/ask-the-experts-choosing-a-new-violin-tailpiece/
Good luck!
~ Michael
Frau Kapitaen Thanks so much!
So the main idea is that, the higher you go up the bow, the amount of bow used gets shorter?
It's more a way to "fool yourself" into thinking that you always have more bow, more room to develop the sound and connect it to the next bow. It's worth it to practice that last couple inches of bow to make sure that you can make a good sound there!
Nathan Cole ahh, that makes much more sense. Thank you!
Brasil legenda please
sera??
Hi Nathan,
A very fine video production! However, as a violin teacher myself, I can say that you complicate the bowing issue with a lot of subjective impressions. When one learns to walk, it is not necessary to analyze every muscle and every motion; a child would never get on his feet!
I hear you, and as I have 3 young kids myself I see this in action! I would never teach a beginner this way. This is more for those who have run into difficulties and are looking for a fresh idea.
Squarewave2 I am like what you describe. However I love Mr Cole's explanations and most of them do help a lot.
please no l do not know the inglish linguee
Hi Marcelo, you may find it helpful to turn on the closed captioning for the video. If that doesn't help, I have included the text of the video in the description. Google translate should be able to help put that into Portuguese or any other language, at least approximately! Hope that helps.
Nathan Cole thank you so much your video help me thank God bless you more. 👍🎼🎻☺
but you're deliberately making accents in your demonstration!