Can I just say that not only you are a violin god, but also your voice is so nice. It’s like I could listen to you play all day long. But I also wouldn’t mind listening to you talking all day long.
Propably the best time for me to watch these series as im doing my own marathon on the Paganini caprices...im currently to no8 but i think you ll catch up pretty fast.
To get that good, do you just practice for hours every day and do absolutely nothing else? 😐 I guess some people went to a music school as well, as kids. 🤔
@@1Flyingfist Well they are not exacly S tier level like Kerson's but im working to make them sound like music. No you dont need to practice all day...just a few hours. Dont wait for every tenth to sound perfect cause it will never happen. Most of the caprices are simple music so first sing them before you touch the violin. If you scales are ok you should be fine
I've been studying deeply your "Art of Étude" videos, and still I'm working on it. Very glad of hearing this new series which in the same time revises with a new point of view and deepens the concepts exposed previously. Thanks Kerson!
FWIW no links above ever appear for me, not here and not for the majority of youtubers who keep pointing to corners. I feel like I'm tripping. With that out of the way, you are truly one of a kind. What a brilliant mind and out of this world talent you have! Generous, too.
Very insightful and helpful. Yes, the character of the caprice is humorous and whimsical. The rapid descending thirds is a recurring theme in Paganini’s music. It’s the sound of laughter! 😂🎻
Kerson....I greatly, greatly appreciate your sharing of your wisdom on ricochet bowing. I was always a bit mystified with playing those passages whether from Paganini, Mendelssohn, Sibelius, or Saint-Saens. With Paganini, the 5th caprice (or 2nd caprice in my old music...actually 50 year-old music!) starts with slurred arpeggios to very high notes for a few lines, and then goes into ricochet. I have seen some violinists simply play single notes, and others for each set of 4-sixteenth notes, doing three down bow, and one up bow. However in my edition of Paganini's Caprices, yes from 1972, for that caprice, the bowings for the ricochet for each measure of the 4 sets of sixteenth notes have the first four sixteenths being 3 down bow and 1 up bow, the second 4 are three down and 1 up, the third 4 are all down bow, and the last set of 4-sixteenth notes are all up bow. I have had a really difficult time with these ricochet bowings, but decided I would like to be able to play this properly while I am still breathing oxygen. I think your video on ricochet may be the most helpful instruction I have ever had, and I have been fortunate to study with some wonderful teachers. Aside from having performed with more than a few symphonies, I play jazz and blues, and have done a lot of performing in Vegas with blues and jazz, and have a jazz-60's-70's violin cd that will be out next year. Kerson, if your travels ever take you to Las Vegas, do let me know, as it would be great to hear you play, and if you would like, you would be most welcome to jam to my blues and jazz soundtracks for my upcoming cd. Thank you again, as I am going to work on what you shared in this video. You truly are an amazingly talented and gifted player. If there is any advice that I can share for having played the violin as long as I have, it would be to stay in great shape, eat healthy, and workout with light weights (bicep and tricep curls, and some dips, crunches are great for core strength, and although I have run 25 marathons, a bit of running and light weights with the legs). Also, regular stretching and the occasional massage. I have seen too many older violinists have terrible shoulder and arm issues, and have lost their ability to practice for any significant amount of time, and sometimes they required surgery. Thank you again Kerson, and you have my best wishes and gratitude for taking the time to make the videos that you do that help so many. Be well, Randy Lazer
Just talking about the first 23 seconds: does the classical violin community (where you are) have particular opinions on the rubato (regarding "beat 2" in both bars 7 and 8 [and further on])? My violin teacher simply wouldn't allow it..... yet the title is "caprice".... so... play it how you want? Big difference between Etude and Caprice but I do think that slowing down the semiquavers has the potential to "stop the piece dead for a fraction of a second". Love you stuff Kerson :) You know that! :)
I don't have any credentials but in my opinion you should take any opportunity to enhance the musicality of a piece/interpretation, doubly so when we are talking about a caprice as technical as this. If a caprice sounds technical, I think the interpretation is not there yet. Now is there a valid interpretation without the rubato? Yes, but I think rubato gives more leeway.
@@horizonforevergold I like the rubato in that spot, don't get me wrong! But I like to hear it perhaps just once ( *maybe* twice in the whole caprice), based on the performer's desire to bring out a point - harmonically, melodically, emotionally.... even factoring in physical exhaustion if that is happening, towards the end of the caprice. To hear it in that particular spot though makes it sound like it's a struggle to get from a high note back to the bass note and for me, personally, it's unsettling. Just the way some violinists play it, and I know great violinists can easily get back down to that bass note very quickly/(in time if set to a metronome). Just my thoughts. A comparison I would make would be: an actor pausing an extra two seconds between lines of dialogue in a solo speech *even though* they don't need to catch their breath. I think it interrupts the flow of a speech. Same with music, no?
Thank U so much. Very nice of U to share Ur knowledge. What about Caprice No. 5 with original bowing? Also, tutorial on the Sauret Cadenza, esp. the beginning parts on the first page, if U can. Thanks, again, for sharing.🥀
Hello, I'm a student from Taiwan. I'm having trouble practicing the violin. My little finger is not strong enough to stand firm and often falls flat. I would like to ask how you would solve this problem, thank you very much.
Hello! Do you give any advice to do vibrato in higher positions? I have mostly an arm vibrato but I feel like I am not doing it correctly in higher positions and not have enough strength. Also why do I get so tired easily when I use arm vibrato so much, I developed an arm vibrato than wrist vibrato.
@@kimmyviolinmedina0406 Basically you have a set of repeating rhythms. Like repeated quarter notes, repeated eighth notes, repeated dotted eighth-sixteenth. And for each note you see on the page, you play 1 vibrato oscillation (back and forth motion). So you practice vibrato in all of these different rhythms with a metronome.
Measures 13-14 (4 lines down) are very difficult-fingers scrunched together. Do U have any suggestions❓Or anybody❓(I just saw Ur part on practicing Left- hand chords lifting fingers. I'll try that, thanks).
