Welcome to Violedu, where we empower intermediate violinists to elevate their performance skills to an advanced level. Our structured learning paths guide you through technique training, in depth score analysis, and tools to unlock your interpretation, ensuring steady progress towards your performance goals.
Experience personalized exercise plans, expert feedback on your recorded videos, and seamless progress tracking. Whether you're preparing for an audition, recital, or competition, Violedu equips you with the tools you need to shine on stage.
Led by Kalina, a seasoned soloist and chamber musician with a Ph.D. in violin studies, Violedu offers a dynamic online platform tailored to musicians like you. With over a decade of teaching experience, Kalina teaches the nuances of violin technique and the artistry behind every performance.
My old violin teacher could pick up my cheap student violin and produce a sound completely unlike what I could do. I never found out how (and I suspect many advanced students also don't). This video goes some way towards an explanation.
This was good, but I wished you would have broken down in more detail the first method of bow change at the frog. This is where many players struggle during the early years of study, and there are so many misconceptions of what is actually going on to produce the visual look we see in so many established players. Everyone seems to teach this in very general terms. Perhaps it is too challenging to approach by way of a short video?
@@janetdoherty6228 I completely agree that this topic deserves a video on its own. I‘ll keep that in mind for the next videos. Thank you for your feedback! I appreciate it.
Hello@@joethomas1700 I strongly believe that everyone who wants to explore music should do so, no matter when! Good luck and inspiration on your musical journey!
Hello@@SanathKumarNaibhi Thank you for taking an interest in Violedu! I saw your channel and really enjoyed the Carnatic violin playing! The Violedu program is strictly oriented toward classical music, and I’m afraid it will not be helpful for the Carnatic technique and style. I wish you luck and inspiration in what you do for your beautiful culture!
@@SanathKumarNaibhi Hello again! Yes, this is exactly what I meant. And of course! You are welcome to submit your lesson request on www.violedu.com See you there!
Super tips.I like the phantom playing without the violin.There is something which people envy about Mozart ie the ability to hear the note inside.I do not have this ability. Many teachers do not stress the importance of writing the score ie copying on Staff paper.this is so valuable. I have not done this due to laziness but will do from now. Another virtue which follows copying is learning from memory and not relying heavily on scores. Eg I am learning Grade 4 Violin First piece This is how I get to memory Key G Major (Relative minor EMinor) Time 4/4 Rhythm mostly Teri Teri I am only giving the first 6 to 8 bars Start Gmajor scale Ends on DD AF# G Scale from D string ending on G in E string Then connect to play the Gscale from A string ending in A in E string Then connect to play G scale from B in A string to end in B in E string Then A in E string,open A ,D open F#( Ta Ta Ta Ta rhythm all staccato) It goes on . Fluency comes by reading writing listening playing. It is a virtue to play by memory and also without seeing the finger board like the great masters. Thanks for the tips.
This is where you need serious correction. There are several music style where you don't use score at all, eg Jazz, Flamenco, all done by memory and improvisation. There is no reading and writing. In their style, if they want to play some one else's music, they play it from listening the to recording which is in real time tempo. Using score does not support any skill of the instrument.
@wonghow true playing by ear is a virtue but writing music is not only to eliminate doubts but for posterity. Yes musicians should be trained in both aspects unfortunately the emphasis is on Playing with score.
@wonghow thanks.I do understand that Flamenco dancers do not read score.So too those who dance Bharathanatyam in Tamil Nadu. When we do Salsa also we do not read score.The dancers keep to the beat.
I love these tips. Memorizing the movements has been difficult for me as beginner, but I think it is a matter of practice more and more. Nice video. Your voice has something that helps to learn. Thanks for your videos. Keep up the good work!
I was taught the son fils method of seamless bow change. And when practiced enough. It is very very seamless. Watch Perlman play. It’s very noticeable.
Thanks so much for this thorough explanation!!! My teacher just changed my bowhold to this and all your exercises will be very useful to help me transition.
I will certainly pay more attention to technique. Your a good teacher. I'm 69 so there is a lot of stuff messing with good posture. My take is PRACTICE everyday on key elements is the key. EVERYDAY!!!..and make it purposeful even its 5 hours or 5 minutes...you will thank yourself later.
Truly helpful - been playing 50+ years & am continuously looking for ways to work around or through bad habits which crept in when in pain before surgeries on shoulders, wrists & thumb. Pain is now gone, but bad habits persist. This very specific breakdown of each tiny step is exactly what I needed.
I studied classical guitar at Sydney Conservatorium in Australia and, with encouragement, took up the violin as a second instrument. I am so glad that I did, as the violin become even more important to me than the guitar, even though I'm a teacher of both. I just can't go a day without the violin and that says everything. To me, first on the guitar firstly, I was encouraged to concentrate on the right hand firstly, as that is where the sound comes from and playing the biggest piece, fastest, and without error, is nothing if the sound is not pleasant to one's ear. This practice came to me naturally when I took up the violin and getting a good sound was first rather than getting the notes correct on the left hand. I agree with all you said and truly believe that a simple piece played with a lovely sound beats the 'Chaconne', for example, played with an average sounding technique. Thank you for this upload and I look forward to many more to come. Kind regards, Mark - Australia.
You should have more subscribers and I, truly do, hope that your channel increases, grows and only gets better and with a larger and wider audience. I really do mean this. I'm glad that i came across your channel and though I'm an upper intermediate (AMEB 6-8 grade) get much from your suggestions and lovely manner and instruction. Yours genuinely and sincerely, Mark, Australa.
Very helpful! Began lessons a couple of months ago. I had some familiarity over the years, but not a lot and I never knew why I still sounded bad after years of self-teaching. The way you describe the hold and the role of the fingers in such detail, particularly differentiating between up-bows and down-bows is SO helpful. I knew if I just continued to click on videos, someone would go into this level of detail with clarity. Thank you!
Unfortunately, I have tried all these techniques, but none worked for me, I still have bounce while playing scratchy sound, poor bow control, can't use a full bow, what next 🙄😒
Hello, Husn-E-Ghazal! I understand how frustrating these struggles can be. Stay tuned for our upcoming video on bow techniques; it addresses challenges like the ones you're facing. Best of luck on your journey!
There's really no substitute for professional lessons and time with the instrument, in my experience. A lot of time, practicing the right things in the right way.
I struggled trying to do the traditional bow grip for and it never felt comfortable. I went back to a grip with my thumb under the frog and have not had problems. It is natural feeling and i am not struggling to hold the bow. I do keep my thumb bent with this grip. Everyones hand is different and you have to find what works for you
Dear Miss! I hadjust gotten used to a transverse thumb inserted between hairs and stick.The pinky resting not directly on top but at 1:o clock on the stick.The thumb making contact with second joint of middle finger. It will take time to decide if your bow hold is the exact one I require. Still yours is very complicated and nuanced. I particularly liked the two mid. Fingers being interfaced with the diagonal thumb tip. That part was clear. I have not heard you play, only direct fingers of bow grip. Is yours a Franco Belgian or Russian grip. Or mix of the two? However your grip may prove superior to the many methods I have been taught. My sincere thanks and hope you will be patient while I strive to embrace this unique new bow grip. I look forward to adopting this new bow hold to see if it will help with fluidity of stroke. Many thanks! It will be months before I am ready to proceed. Please keep this posted for study. Yours very truly c.e. u.s.a.😮
Dear c.e. u.s.a., Thank you for sharing your comment! I'm glad some aspects of the Francko-Belgian bow hold resonated with you. While it may take time to adapt, I'm confident it will help your musical journey. Best of luck to you!
