Pinchas Zukerman teaches Daniel Khalikov by videoconference
Nancy Zhou & Pinchas Zukerman
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Simon Fischer, teaching tone production (several clips):
On holding the violin:
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Zakhar Bron Masterclass:
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Itzhak Perlman on how to do staccato (Lin Cho Liang):
Masterclass in Russia:
The Perlman Music Program in Jerusalem 2010
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Maxim Vengerov's Masterclass on Bach, (lots of clips):
on Mendelssohn Violin Concerto
on Tchaikovsky Violin Concerto:
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Prof. Hrachya Harutyunian with Hrachya Avanesyan:
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Rachel Barton Pine Masterclass on Mozart:
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An excerpt of a master class given by Pablo Casals.
Although it's cello, the interpretation, esp. Bach, should apply to violin:
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Ida Haendel at Keshet Eilon- Part 1
Part 2
Part 3
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Public Master Class with Tibor Varga http://www.youtube.com/watch?v=bUPxp3f5uw0&feature=related
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Gitlis_Masterclass in Japan, Masayuki Kino (violon)
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2009 | Kurt Sassmannshaus | Violin Masterclass | Sautillé | Saint Saens Havanaise
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Joel Lester - Masterclasses at the Centre
(first student, Bach G Minor Fugue, second student Bach Allemanda)
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Lesson on Bach violin masterclass at Salerno Conservatoire with Anne Lindig Vice Director of Hochschule für Musik Franz Liszt Weimar
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Ilya Kaler teaching at DePaul
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LSO Master Class - Violin
Maxine Kwok-Adams from the London Symphony Orchestra gives a violin master class for the YouTube Symphony Orchestra 2011
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Leonidas Kavakos on playing the violin
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Itzhak Perlman discusses and demonstrates from Tchaikovsky's Violin Concerto
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Dounis "Violin Players' Daily Dozen"
"It is a well known fact that after the violin is taken out of the case for the first time every day, the first two hours or more are wasted in REGAINING THAT FEELING OF EASE, FLUENCY AND SURETY WHICH THE VIOLINIST EXPERIENCES AT THE END OF HIS DAILY PRACTICE. How much time could be saved, how much energy could be spared, and how much more profitable would the daily practice be if that feeling of ease, fluency and surety can be had AT THE BEGINNING of the day's work instead of at the end, by practicing specific exercises for a few minutes composed according to scientific rules based on psycho-physiological laws. The scales, the etudes and the compositions to be learned would not present any more "ugly or rough" spots, as the fingers and the bow would be much more responsive and ready to obey the impulses of the player's mind." http://www.jsbchorales.net/down/pdf/daily_dozen.pdf
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David Finckel (Cello) on playing fast
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Clothespin Exercise for Double Jointed Violinists
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Hilary Hahn: chinrests and shoulder rests
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Alan Harris on Vibrato (on Cello, but applicable to violin)
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Violin Technique, Left Hand, VIOLIN FOR MUSICIANS, DVD http://www.youtube.com/watch?v=6UxerVCeAsE&feature=related
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Warm-up stretches for violinists by
Violinist.com editor Laurie Niles
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Video Interview with violinist James Ehnes (on Tchaikovsky Violin Concerto)
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Free Violin Tutorials - Ning Kam - Intonation
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These are 70 great tips, from the composer and pianist Robert Schumann.
Many of them made me smile. And with a few I disagree. But they are all
interesting.
What is your favorite?
I like 37. XD
1-
The cultivation of the Ear is of the greatest importance. Endeavour
early to distinguish each several tone and key. Find out the exact notes
sounded by the bell, the glass, the cuckoo, etc.
2- Practise
frequently the scale and other finger exercises; but this alone is not
sufficient. There are many people who think to obtain grand results in
this way, and who up to a mature age spend many hours daily in
mechanical labour. That is about the same, as if we tried every day to
pronounce the alphabet with greater volubility! You can employ your time
more usefully.
3- There are such things as mute
pianoforte-keyboards; try them for a while, and you will discover that
they are useless. Dumb people cannot teach us to speak.
4- Play
strictly in time! The playing of many a virtuoso resembles the walk of
an intoxicated person. Do not take such as your model.
5- Learn betimes the fundamental principles of Harmony.
6- Do not be afraid of the words Theory, Thoroughbass, Counterpoint, etc.; you will understand their full meaning in due time.
7- Never jingle! Play always with energy and do not leave a piece unfinished.
8- You may play too slow or too fast; both are faults.
9- Endeavour to play easy pieces well and with elegance; that is better than to play difficult pieces badly.
10-Take care always to have your instrument well tuned.
11-
It is not only necessary that you should be able to play your pieces on
the instrument, but you should also be able to hum the air without the
piano. Strengthen your imagination so, that you may not only retain the
melody of a composition, but even the harmony which belongs to it.
12-
Endeavour, even with a poor voice, to sing at first sight without the
aid of the instrument; by these means your ear for music will constantly
improve.
13- In case you are endowed with a good voice, do not
hesitate a moment to cultivate it; considering it at the same time as
the most valuable gift which heaven has granted you!
14- You must be able to understand a piece of music upon paper.
15- When you play, never mind who listens to you.
16- Play always as if in the presence of a master.
17- If any one should place before you a composition to play at sight, read it over before you play it.
18-
When you have done your musical day's work and feel tired, do not exert
yourself further. It is better to rest than to work without pleasure
and vigour.
19- In maturer years play no fashionable trifles. Time
is precious. We should need to live a hundred lives, only to become
acquainted with all the good works that exist.
20- With
sweetmeats, pastry and confectionary we cannot bring up children in
sound health. The mental food must be as simple and nourishing as the
bodily. Great composers have sufficiently provided for the former; keep
to their works.
21- All bravura-music soon grows antiquated. Rapid
execution is valuable only when used to perfect the performance of real
music.
22- Never help to circulate bad compositions; on the contrary, help to suppress them with earnestness.
23- You should neither play bad compositions, nor, unless compelled, listen to them.
24-
Do not think velocity, or passage-playing, your highest aim. Try to
produce such an impression with a piece of music as was intended by the
composer; all further exertions are caricatures.
25- Think it a
vile habit to alter works of good composers, to omit parts of them, or
to insert new-fashioned ornaments. This is the greatest insult you can
offer to Art.
26- As to choice in the study of your pieces, ask
the advice of more experienced persons than yourself; by so doing, you
will save much time.
27- You must become acquainted by degrees with all the principal works of the more celebrated masters.
28- Do not be elated by the applause of the multitude; that of artists is of greater value.
29-
All that is merely modish will soon go out of fashion, and if you
practise it in age, you will appear a fop whom nobody esteems.
30-
Much playing in society is more injurious than useful. Suit the taste
and capacity of your audience; but never play anything which you know is
trashy and worthless.
31- Do not miss an opportunity of
practising music in company with others; as for example in Duets, Trios,
etc.; this gives you a flowing and elevated style of playing, and
self-possession.—Frequently accompany singers.
32- If all would play first violin, we could not obtain an orchestra. Therefore esteem every musician in his place.
33
- Love your peculiar instrument, but be not vain enough to consider it
the greatest and only one. Remember that there are others as fine as
yours. Remember also that singers exist, and that numbers, both in
Chorus and Orchestra, produce the most sublime music; therefore do not
overrate any Solo.
34 - As you grow up, become more intimate with scores (or partitions) than with virtuosi.
35
- Frequently play the fugues of good masters, above all, those by J.
Seb. Bach. Let his “Well-tempered Harpsichord” be your daily bread. By
these means you will certainly become a proficient.
36 - Let your intimate friends be chosen from such as are better informed than yourself.
37 - Relieve the severity of your musical studies by reading poetry. Take many a walk in the fields and woods!
38 - From vocalists you may learn much, but do not believe all that they say.
39
- Remember, there are more people in the world than yourself. Be
modest! You have not yet invented nor thought anything which others have
not thought or invented before. And should you really have done so,
consider it a gift of heaven which you are to share with others.
40
- You will be most readily cured of vanity or presumption by studying
the history of music, and by hearing the master pieces which have been
produced at different periods.
41 - A very valuable book you will
find that: On Purity in Music, by Thibaut, a German Professor. Read it
often, when you have come to years of greater maturity.
42 - If
you pass a church and hear an organ, go in and listen. If allowed to sit
on the organ bench, try your inexperienced fingers and marvel at the
supreme power of music.
43 - Do not miss an opportunity of
practising on the organ; for there is no instrument that can so
effectually correct errors or impurity of style and touch as that.
44 - Frequently sing in choruses, especially the middle parts, this will help to make you a real musician.
45
- What is it to be musical? You will not be so, if your eyes are fixed
on the notes with anxiety and you play your piece laboriously through;
you will not be so, if (supposing that somebody should turn over two
pages at once) you stop short and cannot proceed. But you will be so if
you can almost foresee in a new piece what is to follow, or remember it
in an old one,—in a word, if you have not only music in your fingers,
but also in your head and heart.
46 - But how do we become
musical? This, my young friend, is a gift from above; it consists
chiefly of a fine ear and quick conception. And these gifts may be
cultivated and enhanced. You will not become musical by confining
24yourself to your room and to mere mechanical studies, but by an
extensive intercourse with the musical world, especially with the Chorus
and the Orchestra.
47 - Become in early years well informed as to
the extent of the human voice in its four modifications. Attend to it
especially in the Chorus, examine in what tones its highest power lies,
in what others it can be employed to affect the soft and tender
passions.
48- Pay attention to national airs and songs of the
people; they contain a vast assemblage of the finest melodies, and open
to you a glimpse of the character of the different nations.
49- Fail not to practise the reading of old clefs, otherwise many treasures of past times will remain a closed fountain to you.
50- Attend early to the tone and character of the various instruments; try to impress their peculiar sound on your ear.
51- Do not neglect to attend good Operas.
52- Highly esteem the Old, but take also a warm interest in the New. Be not prejudiced against names unknown to you.
53-
Do not judge a composition from the first time of hearing; that which
pleases you at the first moment, is not always the best. Masters need to
be studied. Many things will not become clear to you till you have
reached a more advanced age.
54- In judging of compositions,
discriminate between works of real art and those merely calculated to
amuse amateurs. Cherish those of the former description, and do not get
angry with the others.
55- Melody is the battle-cry of amateurs,
and certainly music without melody is nothing. Understand, however, what
these persons mean by it: a simple, flowing and pleasing rhythmical
tune; this is enough to satisfy them. There are, however, others of a
different 28sort, and whenever you open Bach, Mozart, Beethoven, or any
real master, their melodies meet you in a thousand different shapes. I
trust you will soon be tired of the inferior melodies, especially those
out of the new Italian operas; and of all vulgar ones.
56- If,
while at the piano, you attempt to form little melodies, that is very
well; but if they come into your mind of themselves, when you are not
practising, you may be still more pleased; for the internal organ of
music is then roused in you. The fingers must do what the head desires;
not the contrary.
57- If you begin to compose, work it out in your
head. Do not try a piece on your instrument, except when you have fully
conceived it.
58- If your music came from your heart and soul, and did you feel it yourself,—it will operate on others in the same manner.
59-
If Heaven has bestowed on you a fine imagination, you will often be
seated at your piano in solitary hours, as if attached to it; you will
desire to express the feelings of your heart in harmony, and the more
clouded the sphere of harmony may perhaps be to you, the more
mysteriously you will feel as if drawn into magic circles. In youth
these may be your happiest hours. Beware, however, of abandoning
yourself too often to the influence of a talent that induces you to
lavish powers and time, as it were, upon phantoms. Mastery over the
forms of composition and a clear expression of your ideas can only be
attained by constant writing. Write, therefore, more than you improvise.
60-
Acquire an early knowledge of the art of conducting music. Observe
often the best conductors, and conduct along with them in your mind.
This will give you clearness of perception and make you accurate.
61- Look deeply into life, and study it as diligently as the other arts and sciences.
62- The laws of morals are those of art.
63- By means of industry and perseverance you will rise higher and higher.
64-
From a pound of iron, that costs little, a thousand watch-springs can
be made, whose value becomes prodigious. The pound you have received
from the Lord,—use it faithfully.
65- Without enthusiasm nothing great can be effected in art.
66-
The object of art is not to produce riches. Become a great artist, and
all other desirable accessories will fall to your lot.
67- The Spirit will not become clear to you, before you understand the Forms of composition.
68- Perhaps genius alone understands genius fully.
69-
It has been thought that a perfect musician must be able to see, in his
mind's eye, any new, and even complicated, piece of orchestral music as
if in full score lying before him! This is indeed the greatest triumph
of musical intellect that can be imagined.
70- There is no end of learning.
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