You channel is a game changer! The Ysaye exercise already lead to huge improvements in my playing, the only two fingers exercise massively improved my shifting! For this video, despite watching it twice, I didn‘t quite understand what it was about until I tried it myself. But after tuning my double stops for a while with this exercise, my violin is more resonant than ever, even when playing melodic pieces! It is fascinating how consciously and subconsciously, the listening interacts with the mechanical aspects of violin playing. I am motivated to keep going!
I'm deaf. But have been a violinist even though I was deaf. I played like beethoven did by vibrations. Now I have my cochlear implant. Thank you for this! You sound really beautiful by the way it brought tears to my eyes.
@@DanielKurganov PLEASE PLEASE Help..Im so tired of the RAGE and FRUSTRATION I fell when intry to play some pieces like Jesu joy of mans desiring and it does not sound as bright and crystal like as other people..WHY WHY im so tired of this..and im not a very patient person..whats wtong with tje viokin..and how can i learn this faster and more easily..i hope you can please respond when you can. It would mean a lot.
@@leif1075 put your violin down and learn to sing, using a recorder. when you have learned to hear, then apply that to the violin. learning is forever, so might as well not be frustrated.
j gunther gave some good advice there. Frustration + Rage = tension. Tension destroys everything in violin playing. It's impossible to tell you how to improve exactly without knowing you. But I can tell that you need to slow down, use more bow, learn to make beautiful sound on simple simple things (starting with open strings), and learn to pay close attention to your sound. It's like meditation, in the sense that there is no way to force it. Once you slow down and focus your attention, your shoulders start relaxing, your bow hold becomes loose, you begin to use the bow in the same way as you breathe, and not "a thing you are holding and dragging across the strings". Violin is hard :)
@@DanielKurganov Thanks for responding. Is there a way to make it not hard and more easy and fun..im tired of that..Hope you can respond again..And how can i leanr vibrato or double stops faster. Thanks
As a professional violinist and teacher myself, I totally agree that intonation is much more aural than it is physical. When I stopped fixating on teaching left hand perfection in placement and instead simply focused on training the ear, the intonation in my studio skyrocketed. With good tone, a flexible left hand hand, and a well trained ear, the left hand will find it positioning over time. Thinking clearly about finger patterns can of course also help speed up the process as the video said. Keep up the incredible work Daniel! I know how much work it takes to make these and they’re fantastic.
Sevcik op. 1 is underrated. Most teachers today don't use it and many who do, unfortunately do not know how to teach it. This book is for left hand foundation but young children want to 'play' Suzuki. Intermediate level students generally don't have the patience to 'practice' & grasp Sevcik concepts. Only students who have been humbled by listening to their recording & willing to go into Sevcik rehab may have some hope. Excellent, well explained, good looking/sounding video. Thank you. Bravo on the Andante.
All your lessons are direct clear high quality sound I am 81 years living in Kerala state in India, I like your lessens very much, thank you sincerely for the free pdf lessons.
Mr. Kuganov, I must say, for a high school student (me) who started to learn the violin from an early age in contrast to you, I am amazed at the amount of knowledge you have gained and shared online. I think you are undoubtedly one of the best violin educators on RU-vid and in addition, the free PDFs you have provided are really nice as well. Thank you very much!
@@procarpenter1788 I wasn't trying to be condescending, I was simply expressing the amazement and respect I have for Mr. Kurganov. He is one the best educators and has become so despite starting the violin far later than any teacher or peer I know.
the bad thing is that many teachers do not point out how relevant intonation really is. the reason why equal temperment is a thing. one can easily see (or rather hear) this by playing an E in the first position on the D string, tuning it with the A string and than playing it together with the open G. thus they will get a significantly out of tune major sixth (G and E)
Goodness - when after a slightly disappointing two hour violin recording session, and over some late night toast, I clicked on the first RU-vid violin intonation video I saw, I absolutely was not expecting the enchanting captivating beauty of 00:16 to 1:12. It really hit me hard. I sincerely hope I'll be able to play so beautifully one day. I've already got way further than I ever expected (having started less than 6 months ago, age ~54). I'm definitely starting to feel at one with the instrument. Having heard your playing tonight I am inspired to go much further still.
I feel obliged to say that your interpretation of the “andante” is particularly good. The sound is actually mesmerising … do you have a video where you play it all or a lesson about it ?
I have wanted to learn the violin for years, but I have always feared it is too late to learn to a professional level. Your journey gives me hope. Thank you for your resources!
This is a revelation to me: solo Bach if played with all full bows and tons of repetition Inside each and around each measure becomes a either a Sevcik (hormonic doublestop/shifting) or a Schradiek (melodic velocity finger dexterity) exercise. Mind blown. Thus, practicing solo Bach really is almost the only thing a violinist needs to attain near universal mastery of the Left hand. (Minus harmonics) for that, add Paganinni caprices. Off course right hand techniques are another issue, but I think with a solid fluid foundation resulting from such a free left hand, the problems of the right hand are not as big an issue. Brilliant insight as usual. (Obviously I'm exaggerating a bit, there is huge power in all kinds of other exercises, but getting a solid and reliable relaxed intonation really helps boost confidence in solving other issues.)
@@pluutoop Definitely. Bach Sonatas and Partitas contain so many challenging double stops and chords, in a multitude of configurations that it gives your left hand a great “workout” which you pair with your ear 👂 in order to develop what Daniel calls the physical and aural aspects of intonation on a string instrument. Developing great “hand hygiene” through building a reliable hand frame comes through the study and practice of double stops and so yes, studying solo Bach will help you do that.
I think of the six Sevcik exercises as “intonation jigsaw puzzles” in that they only “fit together” in one way in terms of intonation and resonance. IMO the best Sevcik has to offer.
I had a few Zoom lesson and told my teacher I wished to be able to play faster . She introduced me to Sevick exercises and also worked to change my hand shape .in 6 lessons I am faster . Now for that Clarity I shall look into more Sevick.
I’m having a very long week too :) but seriously, it took me about a week to completely transform the way I hear and practice intonation. I can’t say that I play super in tune, but it was like night and day after this.
Thank you for this video. I’ve watched it every day for the past seven days. It’s required me to learn so much. I’ve been playing for three weeks. Practicing around 160-180 minutes per day. Im obsessed. The sound is what drew me in. It has been the most beautiful thing I’ve heard during my 29 years here. I believe the violin chose me. Kind of like the sorting hat chooses wizards haha. Im excited to grow the relationship. Anyways, thank you for teaching me.
@@roberthill7458 so glad it's helpful! This is something I've obsessed over for some period of time as well. My intonation is certainly not perfect, so I can stand to do it again. To me it's a process of periods of obsession. It comes in waves. Best of luck and I hope you find the connections between this kind of work and the music you play!
@@DanielKurganov QUESTION why do you suggest using the pandemic instead of tip of finger since when the finger is flat, how can you possibly bend or twist it back and forth in vibrato motion..that makes it harder if not physically impossible..or did I misunderstand you? Tha ks for sharing
Brilliant video 🔥 For me, intonation is inseperable from musical energy-velocity of shifts, based opon desired portamentos. Vibrato and phrasing all play a roll in physical motion, which is directly related to pitch one way or anther. Your work is exquisit! Many thanks to your contribution 🙏🏼
Thank you! Very timely for me, I've just been trying to work out how to do this in a couple of pieces and had no idea how to develop the technique until watching this video.
Thanks for this detailed video, Daniel! Will definitely incorporate more Ševćík into my teaching and playing. Your left hand dexterity and finger independence is beautiful to watch!
Thanks, Lynn! This stuff was always hard for me personally…I guess I keep just enough in my pocket to play real music. I will let Nancy Zhou and Roman Kim take it from here ;)
Большое спасибо за Ваш ценный труд. Это просто сокровищница для скрипачей, даже в консерватории не делают таких детальных разборов. Ещё бы найти видео Вашего мастер класса, как играть гаммы со штрихами, скорее всего и такое есть на канале. Вы зарядили новыми идеями, буду пробовать их завтра 🎻
You are a great violinist and teacher, im a teacher myself and i love to watch your work, its a plesaure to watch the things i teach from another perspective. My teacher was a graduated student of the great Tibor Varga who taught in Dortmund, Germany. Keep it up!
I'm so glad I found your site! I find that we align in our approach to intonation! THIS is a wonderful approach. Thank you for your thoughtful and, I think, definitive guide!
Thank you very much for sharing all your experience and knowledge!! This exercises will help me a lot, looking forward to your next video, BIG thanks from Honduras🇭🇳👏🏼👏🏼.
From someone who has played for 60+ years to those learning: "slower is faster." I know that's hard to swallow -- but try, you'll see, and then you'll laugh at your previous impatient self.
Thank you for taking time to touch this theme. It was always mystery for me and I love to talk about it with famous or skilled violinists on my roads. There is connection between our mind and muscles and the will to play attractive. Using our inner ear and imagination plays big role. Listening inside based on our experience and transmitting it to our hands is one beautiful universe. Thank you adding your view on this mystery to my collection. Best wishes.
Great video! I think there is definitely a reason why a lot of virtuosos have been quoted in the past saying if they could only practice one thing for intonation it would be 3rds. There’s some fabulous exercises in Simon Fischer’s double stops book that I love, alongside Flesch, Sevcik, Kreutzer etc.
Very helpful video - thank you for taking the time to make it. I am a beginner and the music is above my skill level, but the practice tips and suggestions you make are extremely helpful. 👍 Also, very beautiful playing!
Wonderful video, Daniel! Some of this work reminds me of the Vamos patterns (for which you also created a great video). I can't wait to try these exercises. Thank you!!
Yes, definitely some overlap there. Those are great as well. I like these for their continuous and ever-changing flow. There is something less mechanical about them that really keeps you awake and alive :) Meanwhile, I find Vamos/Korgeov patterns really shine as a way of practicing/breaking down specific double-stop passages you might run into.
Thanks Daniel, the sadistic element turning into joy is a great picture I will keep on my mind from now on when breaking down impossible parts of the Chaconne….
Wonderful lesson! I just bought the Sevcik book that has the four books combined in one volume. This is a great lesson that you are giving us to follow!
Delighted to find your channel - the intelligence shines through. Please also cover right hand technique - so far you seem to be focusing exclusively on the left hand!
Amazing video, i also have played kreutzer 17 but Yampolsky's edition and have very similar excercises that helps a lot with the left hand frame stability
This is fabulous - as always! I don't know if it's true or not but...my teacher told me that Heifetz was once asked how he managed to play so perfectly in tune and Heifetz said "I do not play perfectly in tune but I do adjust very, very fast." I had a pupil who played badly out of tune very consistently - unfortunately she could not hear her intonation problems so I could not help her at all. She eventually switched to piano. (Thank God)
Heifetz played sharp actually, compared to someone like, say Szeryng or Hilary Hahn, who are probably the most agreeably "in-tune" players ever. I think it was part of Heifetz's style/aesthetic: a brilliant and very alive sound. Szeryng's intonation was very dynamic, taking all sorts of expressive risks, but somehow always in perfect control, which I find more impressive than the feat Hahn achieved.
@@DanielKurganov Those Sevcik exercises or peices look very advanced and dense with a lot of double stops..at what level should a student be or after playing for how long should someone start thise exercises?? Thanks for sharing tbe free book as I can't afford books or classes. Also what can I do so this practicing isnt so tedious and frustrating or boring? I get impatient fast and are there any fun faster pieces to learn especially vibrato and double dtops and string crossings--as opposed to monotonous exercises ..like songs you can play to practice thse things...really hope you can respond when you can.
Yes, these Sevcik exercises are for more advanced players. Check out my latest video of the Yanshinov etudes. They will be great for virtually all levels. Violin is hard. If you're not ready to be patient and enjoy the act of paying very close attention, playing 30 second bows, doing 15-20 minutes of open strings minimum in a practice session, and working on various exercises, then your progress will not be so fast. Some people do all of the work directly in pieces of music, but for this you either have to be quite advanced, have a great teacher, know how to practice, or be very talented (ideally all of the above). Scales and exercises are not boring if you know what the goal of them are and pay very close attention. The goal is always for more beautiful, cleaner and more effortless sound. If that doesn't excite you, then you are just not listening and are not patient enough.
@@DanielKurganov But cant you practice on basic songs instead of monotonous scales?? I don't see why not. And basic songs to learn vibrato on too?i could never admit I'm not very talented..that would be even more depressing and frustrating. Hooe you can respond again when you can.
Thank you for your guidance Maestro! You made me realize what a gem Sevcik really is. You have given me purpose to continue improving my violin playing.. :)
I stopped playing years ago because I focused more on composing, but secretly I guess I never understood how to practice and how to tackle and improve my weak spots. Your videos have helped me a lot! Thank you so much for your content
Thank you Daniel. This and all your material is an incredible resource. Your obvious fascination for the technical side of playing is inspiring - and motivating. I'm curious about your chinrest: what is on it and why? Thanks again for sharing your "noble obsession"!
I'm glad you find it useful! In my view, the technical and the musical are one and the same. I think that sensitivity to intonation, to take this example, is ultimately sensitivity to vibration and the resonance of your instrument. Without this, any high-level achievement with Bach is not possible. Likewise, I believe most 'technical' things are actually musical at their core.
Regarding the chinrest, I was experimenting with shape by using little dense pieces of foam. I don't use that anymore simply prefer the MachOne adhesive foam pad.
Im 16, and I just started learning violin, but I felt super discouraged because even though I searched everywhere online, I could not find any violinists who started as late as 16 who still became good violinists until I found your channel!! You are so inspiring thank you smmm!!!😭😭🤍
Delighted to get this brilliant teaching Daniel. You have encapsulates everything here. I have Sevcik book 1...I'm off to start those chosen exercises! Just the prep for double stop exam scales. I can see how this facility underlies all good playing. Thank you so much. Adult learner G Ire
I repair guitars as a hobby and out of curiosity I changed the frets to agree exactly with an Orchestral tuner. The result was wiggly frets (exactly in tune ) and in Equal Temperament (which I hate ). The normal guitar is not even in Equal Temperament . A better solution is tuning in Kirnberger III. That is a wonderful temperament. Violins have no real basic tuning apart from singer`s tuning . But it still needs alterations . A fascinating subject. Some very famous players get it wrong but it is rude to mention it.
I'm a cellist and this is so helpfull, any idea if anyone has transposed these for cello (else i'll do it myself no worries). do you considere starting by playing over a drone tone is helpfull and in this logic? so many thanks
the bow hold must be very gentle, but balance is needed to achieve that. Think of people who are amazing at balancing things -- like in circus acts. The better someone is, the less erratic the movement is. Adjustments are microadjustments, and MINIMAL force is used. That's why it looks impressive. The same can be said about the bow hold. Find balance. Ok, how? Well, start by determining what is really needed to hold the bow? When the bow is resting on the string, you technically only need 1 finger (just one point of counter-balance, makes sense) - your thumb. Let the bow rest only on the thumb (in the upper half of the bow, on the G string, say). Start there. Then to lift the bow, what do you need to add? Only the pinky. Then to add more sound what do you need? The index finger. The rest of the fingers are rudders, not engines. Find balance, find lightness, carry the bow, never force. Good luck :)
Amazing, your teaching style is very helpful! Your chin rest is different, probably because of how you know your adjustments. How does one learn how to adjust for themselves and where/what to buy? I would really love to know, so it doesn’t effect ones posture and prevent bruising and marking
Thanks for this great video! I’m excited to delve into these exercises. Question: do you have any tips for creating more space between the 2nd and 3rd fingers? For example, in bars 4-5 of Sevcik No. 24, the second finger is down on F on the D string, and then the 3rd finger has to reach up to D on the A string (while keeping the 2 down and not letting it touch the A string). I’m having trouble extending my 3rd finger far enough while keeping the 2nd finger down (and in tune) (my hands are small, by the way). I’d be grateful for any advice you might have. Thank you!
I realy like the way you teach. I wonder if you can video from over head...top down in order to see the fingerings more clearly. I had an interesting leaning thing of which I play music of all different jandras playing by ear, I automatically fall into a type of groove. Scales and arpeggios helped me but by joining the music I hear, I've discovered repetitive patterns of scales even in jazz. 1st I find home note key and melody apears.This PLAYING BY EAR really helped me learn the finger board. And most of all, made me enjoy playing fiddle to the music. 65 yrs old now...started fiddle in 3rd grade. I have a clasic violin and a 5 string electric fiddle. Learning never stops. Thanx for tutorial info!!!! Blue Dave.
Yes, I am now going to video from overhead for every video! It was more about finding a convenient setup. In my new studio, it's easily achieved. Totally agree with playing by ear and pushing that forward. It's crucial and more important than finger patterns, reading music, etc.
Thank you so much Daniel for all your fabulous lessons! 👌 I am so grateful. I suffer with terrible cramping in my hands, do you have any suggestions as to how to ease this? It is sometimes so bad I cannot play in the middle of orchestra which is awful and excruciatingly painful.
Very good video man! Such an effortless and warm video production too! What are your thoughts on electric tuning devices? I think especially for melodic intonation (no double stops) they can be very beneficial and also eye opening for orchestral or ensemble passages. I prefer open strings most of the time too, but always when I do a short session with a tuner it somehow cleans up my ear and sorts my fingers very fast. And btw I guess I am sadistic... ;)
Anything sadistic is recommendable. Thank you! I found that tuners can be useful if you are not sure where your note falls relationally or aurally. I think all intonation can be found just using the instrument itself. As you say, there might be situations where you're just in a haze and the tuner gives you a reality check, but I think this just a good diagnosis and not a way to fix it per se. Learning to line up overtones, deeply feeling the intervalic relationship between fingers, choosing how low/high you like your sharps/flats for expressive intonation (matter of developing taste for certain way and identifying tendencies) and considering the frame of the hand are some of the best basic tools. One thing I have tried with success in own work was to record myself and then analyze it with software that shows you exactly where your pitch is, and you begin to see tendencies more clearly. I remember some eye-opening realizations there, such that after SEEING that the F was a bit different every time, I listened again and was like "oh my, yes it is". Another fun thing to do is to play scales with organic drones. Look up "Indian drone tone" on youtube, and you see one in every key. I love playing scales with that. Since it's an organic sound and you have tonics and 5ths, it's much easier to feel you are "one" with the sound. I imagine you could do this just as well with a good orchestra emulations holding rich chords. The more organic/natural the drone sound, the less strict Just vs Expressive intonation becomes, and you sort of don't have to worry about that. Conversely, I personally can't stand trying to play with some dinky sine waves :P
@@DanielKurganov I agree, drone notes are very viable option too, but I use them rarely just because other options are easier to switch on/off and yes sinus tones are not very nice to tune to. One thing about lining up overtones though: It requires you to have a very good and fine ear already. I often see musicians just fail with the lining up of overtones because of bad hearing habits. When listening to recording it is indeed revealing. Sometimes with the instrument in hand our ears become somehow biased.
@@SimonStreuffViolinEducation Absolutely. So much of hearing become psychological, as hearing ourselves honestly becomes a monumental task. Doing something for hours a day -- the ear/brain gets used to things. I used to play severely out of tune and was really a-okay with it, as my brain was focused on other things. Of course, listening back, I hear everything, but it took me a while to connect that to some sort of concrete plan/method for real improvement.
I seem to find that my ear for being in tune, never leaves me even if i never practice. As a child, i did a bit of sevcik. I think it was only book one part one.
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