your playing still looks like you are very uncomfortable on the violin. Don't worry though, stuff like that takes a long time to develop. You should really work on structuring your left hand; by this i mean your hand should be balanced on the fingerboard when you switch to different positions. I'm pretty sure that this applies to violin (I play cello), so i think when you bow, your bow should be close to parallel with your bridge. try to sharpen your technique too.
Try to vary the speed and length of your vibrato, which is beautiful by the way. You draw a great sound. I think in the sarasate you should go for a more outrageous interpretation... slide more-- can you be a gypsy? It's tough but I'm sure you could do it.
furthermore i don't agree with the wrist comment in full. Some very famous violin teachers I know would say otherwise. I think your bowing mechanic is proper.
If she practices 3 bow strokes she needs always remember these, why:
legato - sounding point, bow to tip, even, wrist reflex at the frog. This is to make legato passages very even. Next is to learn how to add a little pressure with your first finger at a time to add power. You can control sound by your first finger instantly.
detache - stiff wrist for bow crossing accuracy, do so with your arm, not wrist, detache all parts of bow and learn how to control it.
Great playing. One thing I can say is that the intonation needs to be more secure. In the sarasate whenever you start a new phrase in a higher position it is really fuzzy. Maybe use your left hand to articulate the note you play so you can hear it before you play it. The intonation in the Bach needs to be worked in slow tempo at this point because it's all over in every bar. I only mean to give 2 cents it really is wonderful playing and work you are doing.
hmmm... Can't comment on Sarasata -- don't teach it.
But your Bach... A lot of things.
Sounding point -- each string has a different sounding point that makes your bow technique effective. When you play the allegro parts, your detache is kind of ruined by your wrist moving. Your wrist is suppose not to move.
There are a lot of string crosses that need to be cleaned up, and you need a lot of bow work. It can all be fixed.
Your hand seems "attached" tot he finger board. Shouldn't be...
I agree with the last comment for sure. It looks, almost feels like you're squeezing the neck in a way. also the bow goes crooked and it's not helping the string crossings, or maintaining the sounding point that cageynerd is talking about.
I somewhat agree with both of you. Her hands seem weaker than they should be, so she is compensation with her over hand grip to the neck. it usually means the person holds the neck tighter and applies less pressure to the strings- yet requires more effort. It typically does not create a very crisp sound. You can especially her it in the lower register - her notes seem lighter than they should, like they have a tad more air in them.
I feel like at this point she could use more help with body function aspects of her playing, because while she has a basically good technical setup, what gets in her way the most is tension in key areas of her body.
Someone needs to teach her or she needs to focus on what muscles need to be tense and in use and what ones do not need to be. Awareness of these things would improve the sound, and how comfortable she looks and probably feels.
You are supposed to play music. Notes are one thing, but the feeling is not there. Work on that. Try to sing the phrases.
Fabimusi 1 year ago
Why isn't she in a supermarked, packing bags for people???
fagarasan 1 year ago
you have a very serious afination trouble.
duendemacabron 1 year ago
It is quite far from any kind of "decent" playing. Keep on practicing. 3 hours a day at least.
djdonis 1 year ago
your playing still looks like you are very uncomfortable on the violin. Don't worry though, stuff like that takes a long time to develop. You should really work on structuring your left hand; by this i mean your hand should be balanced on the fingerboard when you switch to different positions. I'm pretty sure that this applies to violin (I play cello), so i think when you bow, your bow should be close to parallel with your bridge. try to sharpen your technique too.
what were you auditioning for?
aevanaevan 1 year ago
you are really good. i love your vibrato. i think your intonation is pretty good too! i hope you made whatever you were auditioning for
emilywilliams420 2 years ago
When I was then years old I playd better and with heart.... not like ice...........
gaetanodefilippis 2 years ago
the piece seems too easy to audition with
kuvhlubkojibleegxwbo 2 years ago 2
''Great playing...'' what?
herospower 2 years ago 2
Your vibrato is beautiful! I personally prefer your type of wrist vibrato rather than one that comes from the entire arm.
overthehillnevermore 3 years ago
Try to vary the speed and length of your vibrato, which is beautiful by the way. You draw a great sound. I think in the sarasate you should go for a more outrageous interpretation... slide more-- can you be a gypsy? It's tough but I'm sure you could do it.
fiddlinmatt 3 years ago
furthermore i don't agree with the wrist comment in full. Some very famous violin teachers I know would say otherwise. I think your bowing mechanic is proper.
pviola314 3 years ago
If she practices 3 bow strokes she needs always remember these, why:
legato - sounding point, bow to tip, even, wrist reflex at the frog. This is to make legato passages very even. Next is to learn how to add a little pressure with your first finger at a time to add power. You can control sound by your first finger instantly.
detache - stiff wrist for bow crossing accuracy, do so with your arm, not wrist, detache all parts of bow and learn how to control it.
colle - little pressure and pull.
cageynerd 3 years ago
Great playing. One thing I can say is that the intonation needs to be more secure. In the sarasate whenever you start a new phrase in a higher position it is really fuzzy. Maybe use your left hand to articulate the note you play so you can hear it before you play it. The intonation in the Bach needs to be worked in slow tempo at this point because it's all over in every bar. I only mean to give 2 cents it really is wonderful playing and work you are doing.
pviola314 3 years ago
thnx for posting this! i appreciate your confidence :)
brizil1302 3 years ago
hmmm... Can't comment on Sarasata -- don't teach it.
But your Bach... A lot of things.
Sounding point -- each string has a different sounding point that makes your bow technique effective. When you play the allegro parts, your detache is kind of ruined by your wrist moving. Your wrist is suppose not to move.
There are a lot of string crosses that need to be cleaned up, and you need a lot of bow work. It can all be fixed.
Your hand seems "attached" tot he finger board. Shouldn't be...
cageynerd 3 years ago
I agree with the last comment for sure. It looks, almost feels like you're squeezing the neck in a way. also the bow goes crooked and it's not helping the string crossings, or maintaining the sounding point that cageynerd is talking about.
fiddlinmatt 3 years ago
I somewhat agree with both of you. Her hands seem weaker than they should be, so she is compensation with her over hand grip to the neck. it usually means the person holds the neck tighter and applies less pressure to the strings- yet requires more effort. It typically does not create a very crisp sound. You can especially her it in the lower register - her notes seem lighter than they should, like they have a tad more air in them.
DennyLyons 3 years ago
yeah that's part of it defitely
I feel like at this point she could use more help with body function aspects of her playing, because while she has a basically good technical setup, what gets in her way the most is tension in key areas of her body.
Someone needs to teach her or she needs to focus on what muscles need to be tense and in use and what ones do not need to be. Awareness of these things would improve the sound, and how comfortable she looks and probably feels.
fiddlinmatt 3 years ago