Thank you for this video! It works well for me when I play fast repetitive notes, but I fail to apply it to - say - a Mozart violin concerto (specifically: KV 219, 1st mvt.). My tempo (~110) is so slow that the bow doesn't bounce by itself very well (and my finger flexibility is far worse than at a higher tempo), but it's still too fast for doing the whole-arm spiccato that you describe in lesson #29 (it would look unnatural). What's the right technique to apply?
you are sooooooo awesome professor!!! I'm now studying music and my biggest problem is the technic! but with your videos and my violin teacher it's getting better ! :) I love the way you are teaching, and it's awesome that you are doing this for free on youtube !! But now you have so many fans, that it's very nice :) you can be really proud of you! thanks
hey profesor v , first i like u lessons , second u mad good , third u really good . and i was wonder if u could please teach how to play the scales or at least tell me where can i fin sombodyt that can teach me ,
Hi Justin, in this type there is very little wrist movement, just the smallest amount. In the other type I teach, it's all about wrist and fingers (You can view parts 1 and 3 for that info). If you can do both types, you can choose which one is easiest for you at faster tempos. There is no rule. Many people only do one or the other.
@professorV could you please tell me if the bowing for the tarantella from sarasate's introduction and tarantella op 43 is sautille or spiccato, and how to attempt learning it? Thank you.
hi professor V im from venezuela i have troubles with my bow because i dont use all and my teacher always tell to me that and my sound is not bad but i want use all any exercise that you recommend to me thanks
Hi Henry, I couldn't play it with the original bowing, I did it as sautille, as do most. See Milstein or Mintz here on youtube to see sautille. Markov has an interesting bowing, but it's not the original either.
I find when I play sautille on the string, say, like Midori, I get a much crisper consonant sound on every stroke. When I play off the string like Perlman or Oliveira, I get a much smoother, flightier sound but less consonance. I like both and I was wondering if you advocate the same player using different techniques based on the piece. I only ask because I wonder if it will hold me back in developing my technique if I am using different techniques. Will it confuse my muscle memory perhaps?
Funny anecdote with sautille, my teacher always reffered to it as hard-bubble, if you can immagine the gritty, semi-off the string/on the string attacks as hard bubbles (smile)
Hi Rakoon, This will probably be a controversial topic, but I think there should always be more than one approach to any technique (this is what has worked for me). Hope you get your stroke worked out in no time! TE
thanks heaps mate. i've been working on this for a while, and i can get it going, but not consistently. Slower sautille will really help practice shifting, which i have to do in my current piece
thanks!
omarov3penguin 1 month ago
Thank you for this video! It works well for me when I play fast repetitive notes, but I fail to apply it to - say - a Mozart violin concerto (specifically: KV 219, 1st mvt.). My tempo (~110) is so slow that the bow doesn't bounce by itself very well (and my finger flexibility is far worse than at a higher tempo), but it's still too fast for doing the whole-arm spiccato that you describe in lesson #29 (it would look unnatural). What's the right technique to apply?
outputresistance 11 months ago
you are sooooooo awesome professor!!! I'm now studying music and my biggest problem is the technic! but with your videos and my violin teacher it's getting better ! :) I love the way you are teaching, and it's awesome that you are doing this for free on youtube !! But now you have so many fans, that it's very nice :) you can be really proud of you! thanks
anirulfluri 2 years ago
Hi anirulfluri, Your message is very kind. Thanks for posting it and all the best to you!
professorV 2 years ago
dude, ur awesome!!!
woodmaster413 2 years ago
OMG! This is good for vivaldi's summer presto
shitface157 2 years ago
the name from my brother is richard fuchs
TheJustinOo 2 years ago
My teachers been helping me with this stroke.
I haven't had a lesson in a while because of scheduling issues, and these videos were very helpful. It's such a fun stroke to play. :D
However, could you possibly help me out with string crossings? I have such a hard time crossing while doing it. my bow just kinda messes up on me.
whoryhobopowers 2 years ago
man i really suck. can u send me a video or detailed tips on how to do this?
mingyfrog 2 years ago
My husband came running with the flyswatter LOL
Thanks for another great lesson, professorV! I'll go try sautille now.
amjPeace 2 years ago
hey profesor v , first i like u lessons , second u mad good , third u really good . and i was wonder if u could please teach how to play the scales or at least tell me where can i fin sombodyt that can teach me ,
croketasmat6 2 years ago
is your wrist allowed to move at all. especially at speeds like "Czardas"?
JustinK078 3 years ago
Hi Justin, in this type there is very little wrist movement, just the smallest amount. In the other type I teach, it's all about wrist and fingers (You can view parts 1 and 3 for that info). If you can do both types, you can choose which one is easiest for you at faster tempos. There is no rule. Many people only do one or the other.
professorV 3 years ago
@professorV could you please tell me if the bowing for the tarantella from sarasate's introduction and tarantella op 43 is sautille or spiccato, and how to attempt learning it? Thank you.
TheComedydude1 1 month ago
hi professor V im from venezuela i have troubles with my bow because i dont use all and my teacher always tell to me that and my sound is not bad but i want use all any exercise that you recommend to me thanks
jdrd1983 3 years ago
good good
jozemir 3 years ago
hi professor V. I would ask you how can I study the original bowing of caprice 5 by paganini.
henry89it 3 years ago
Hi Henry, I couldn't play it with the original bowing, I did it as sautille, as do most. See Milstein or Mintz here on youtube to see sautille. Markov has an interesting bowing, but it's not the original either.
professorV 3 years ago
thank you very much!!
henry89it 3 years ago
hey do you know were i can find kayser 36 Elementary & Progressive Studies, Op. 20 - Complete to lisen to
danielwowman 3 years ago
i find this video very clear and precise. Its the best one i've seen so far. Thank you for posting it.
stmgt 3 years ago
I find when I play sautille on the string, say, like Midori, I get a much crisper consonant sound on every stroke. When I play off the string like Perlman or Oliveira, I get a much smoother, flightier sound but less consonance. I like both and I was wondering if you advocate the same player using different techniques based on the piece. I only ask because I wonder if it will hold me back in developing my technique if I am using different techniques. Will it confuse my muscle memory perhaps?
johntomfoolery 3 years ago
hey i dont mean to be a burden but can u post one on finger octaves?
violaplayer1995 4 years ago
thanks. i was teling everybody that new how to play violin. do u kno how to do really fast spicatto? lol. thx.
violaplayer1995 4 years ago
Funny anecdote with sautille, my teacher always reffered to it as hard-bubble, if you can immagine the gritty, semi-off the string/on the string attacks as hard bubbles (smile)
fiddlinmatt 4 years ago
Hi Rakoon, This will probably be a controversial topic, but I think there should always be more than one approach to any technique (this is what has worked for me). Hope you get your stroke worked out in no time! TE
professorV 4 years ago
thanks heaps mate. i've been working on this for a while, and i can get it going, but not consistently. Slower sautille will really help practice shifting, which i have to do in my current piece
rakoon3434 4 years ago