The student has a very beautiful sound! And he learns quickly.

❤ l am so happy seizing the opportunity to watch your videos !!! Your approach in violin teaching is extraordinary. I am a professor of violin too for the last 50 years and l knew about the Galamian method from 1975. The Galamian scales & the complementary book with the bow patterns helped me a lot. That year, 1975, in Bulgaria they weren't very famous because of the communism and were given to me by a friend from America. It is a very valuable tool for violinists of all levels.

You, dear Bayla, are such a treasure. Rictor

I like the to-the-point manner of explanations. Her remark about letting go to reinforce the release at the ends of martele bow strokes is helpful. Sometimes, students understand that you must release, but still end up pinching in practice. It was nice to sit-in on this lesson!

@JustFiddler

23 күн бұрын

i see

@leonardoiglesias2394

16 күн бұрын

@@lakatos1683 you musnt release anything. Releasing is like WHAT you do after you kick the ball…it doesnt matter…you have to get the ball in the right place with the right force. Releasing doesnt mean anything. The problem is not the release, its the WORK your hands must do, and how to train them. TRAIN THE MUSCLES. Analize what you do with your muscles in order to transmit thar energy to the instrument. MUSCLES play the violin at the end. The brain tells the muscles to play the violin, and the muscles must be trained to do the work. Most string players have underdeveloped muscles. Because nobody talks about GYM work for string instruments playing. NOBODY.

This is the very best I’ve ever heard anyone break down Galamian’s bow and sound production concept! Even though my background is mostly from the Russian School (Erick Friedman and Sidney Harth) I find this description so thoughtful!

@jimmy1119

9 күн бұрын

ha ha

Awesome teacher. Strong student. Pleasure to watch.

This was so wonderful to watch! Thank you

Hi Bayla! This was great. On the bass we also use what you are teaching in this video. We have to modify some things, but basically it's the same for us, too.

Awesome teaching!

So when you say “ scything “are you doing that just once on the up bow or do you do several motions of the scything on one bow .

matur suksma

When I was helping with my mother’s beginning string classes, we called this “prepare, attack, release.”

Better to say "If you want a note to start emphatically you can hold the bow On the string and start it cleanly ".That is when you want to do that .

What piece is this that he is preparing to play?

@valerioiaccio6647

18 күн бұрын

Mozart violin concerto KV 219

@leonardoiglesias2394

18 күн бұрын

Sibelius violin concerto nr 6.

@valerioiaccio6647

18 күн бұрын

@@leonardoiglesias2394 hahahahaha

@Twilight91423

18 күн бұрын

Mozart Violin Concerto No.5 1st Movement

I'm far, far not so far, but thanks👌❣️🎶🎶

This is just a made up rule because someone said so. Instead of learning how to play the violin following someone's rules because "that's how you play the instrument", we should understand the affective qualities of any given piece, or passage, feel what the music is communicating, and choose our bow articulation to serve that affect. If the music calls for it, there is nothing wrong producing a note with no hard consonant, or as the lady says, with a "banana sound", a definition I am familiar with because a former teacher of mine (from the same kind of school) would use it as well, and it's nothing more than an insulting way of labeling what in historically informed performance we call "messa di voce", a way of bowing that was loathed by the 20th century school violinists who would instead sustain the tone always the same way and put vibrato on every possible note (continuous vibrato). This is a very old fashioned way of playing string instruments by today's standards, and yes, the messa di voce, aside from being documented in the treatises of multiple masters from the past, can be an expressive, touching, and vocal way to play certain notes.

@renatefrenzel575

12 күн бұрын

Ich finde auch, dass der Geist, die Energie und die Satzbezeichnung eines Stückes die passende Artikulation und die Technik dazu finden lässt.

@merricc6911

11 күн бұрын

Thanks for writing my very thought. In less than 40 seconds into this video, my mind went to Geminiani’s very practical treatise on violin playing and not only a messa di voce that swells in the middle (banana) but messe di voce with varying shapes to express different affects. It’s fine to learn about a prominent teacher’s approach but it always has to be contextualized, as you said.

@DanielKurganov

4 күн бұрын

1. It's a rule made up by one of the greatest pedagogues in history, who trained some rather fine violinists, so I guess you can do with that what you'd like. What most people don't understand until they've done a lot of teaching is that what a student needs to hear is rarely "THE WHOLE TRUTH", in this case being that there are 100000 ways to begin a note, obviously. The right step, at the right time, for the right student. Most students have issues with their sound production and technique, if we judge at a professional level. Many are over-pressing without getting strong results. The art of clarity is doing more with less. What Galamian called the Départ, or what one can call the Ictus -- the clear beginning of a note -- is something that must be learned before any serious talk about color and 10000 ways to start a note occurs. This is the "rule" that Galamian established, and it makes perfect sense. The relationship to the string is very important for students to learn. it must come before the Messa di Voce. 2. The Banana Bow is not the same as a Messa di Voce. The Banana bow is the aesthetically unpleasant and unconscious mannerism that many modern players today exhibit, causing an inability to sustain long sung lines across bow changes, and inability to play legato. Messa di Voce is a very intentional and beautiful effect that is totally different.

Tutorial on how to make a violin sound like a MIDI .

@Martini0621

2 күн бұрын

😂

@yorgosarnis5207

16 сағат бұрын

Experiencing the properties of articulating in any hall, let alone a concert hall, I would say Mr. Galamian's suggestion is a must for basic understanding of string playing. MIDI is a whole different concept of articulating than the aforementioned concept.

@Martini0621

14 сағат бұрын

@@yorgosarnis5207 As I understand it MIDI refers to: nobody plays an instrument but AI produces a sound similar to someone playing an instrument, always perfect and always in the same quality.

@yorgosarnis5207

13 сағат бұрын

Correct! However the very essence of articulation (made clear in this great vid) is that no sound, whatever the dynamic-expression- cantabile-niente nature, can begin without a definite begin or "bite". It clarifies a misunderstood myth about "tender" playing

This is a completely irrational aproach. No knowledge about the physics of violin playing. Sad for the students. But….they could also start using their brains instead of following absurd and irrational rules and methods.

@amezcuaist

14 күн бұрын

In violin history you will find many examples of bad advice from well known pedagogues . The most blatant was to keep your elbow close to the body .

@leonardoiglesias2394

14 күн бұрын

@@amezcuaist yes!! Great example!! Still today, I‘ve heard people critisizing the way Kavakos holds his bow instead of hearing and watching one of the best bow-technicians of all times. If not the very best. But probably its easier to stick to formulas and systems and dogmas than analizing the real problems and working hard enough to solve them, as Heifetz would say.

@DanielKurganov

4 күн бұрын

​@@leonardoiglesias2394 "I am against dogma". "The elbow must not be close to the body". "ABSOLUTELY ridiculous". Love these adjacent statements... Meanwhile, some of the greatest violin playing can be heard today from people with low elbows e.g. Shunske Sato...and the ABSOLUTELY ridiculous method has produced some of the greatest players of this century. Tell P. Zukerman about how Galamian's "Dogmas" are ridiculous. Your [self-defeating] curmudgeonry prevents you from understanding why great pedagogues said what they said, when they said it, and to whom. The art of teaching lies largely in that higher level understanding and experience, not in your one's ability to identify options and throw mud thinking they're smart.

ABSOLUTELY ridiculous. I can decide to start the Bruch Concerto from NOTHING. NOTHING. What kind of absurd rule, dogma is that, that I have to start a note with a little accent( no matter how small or big…)? Singers and actors also start some words from NOTHING. Modern composers even use a sign to tell they want a note coming from NOTHING.

@alexanderchadwick5346

18 күн бұрын

Galamian was wrong about quite a lot. Even on technical matters he gave bad advice on both vibrato and pizzicato. His best students were already virtuosos when he met them, so he benefits from an unearned reputation.

@DanielKurganov

17 күн бұрын

What a silly comment. It’s clear to every good teacher that the beauty of learning is in the diversity of possibilities. Just because someone has a way, and believes in it strongly, it doesn’t mean that they will proclaim there can be no other way. No one person knows all legitimate ways. So you are building a straw man with your negative comment. If this way doesn’t work for you or suite your experience, aesthetic feel or abilities, there are many other ways to choose from.

@hamwhacker

17 күн бұрын

I think the point is that you want to be in control and choose whether you start from nothing (like a clarinet) or articulate the start of certain phrases or notes within passages depending on the music. I think each player should be able to choose what they want to do and not be governed by rules. Mozart Violin Concerto fast movements probably do benefit from clear articulation of most notes. But I myself do like (more) the idea of starting from nothing. Not least that’s how the human voice works, and we are tying to sing on the violin a lot of the time.

@academiabarrocamonterrey7173

16 күн бұрын

La voz humana no siempre inicia desde cero, existen consonantes y vocales, de ahí lavariedad ​@@hamwhacker

@leonardoiglesias2394

16 күн бұрын

@@hamwhacker you can start Sibelius from nothing. Not Brahms. I am against the Galamian dogma.