Violin Playing as I teach It

Book 25

 

For them I have no apologies to make.

本书我最喜欢的一句话,抱歉我不抱歉。 作者说这句话的初衷是,说他不是作家,只是写自己的感悟,如果有人觉得他文法什么不好。他不抱歉。

我觉得我拉琴这么多年,遇到人总说,我拉的不好。但是对那些根本不练琴的人,我有什么好抱歉的?那些乱七八糟的天天说人长短的亲戚,我为什么要说我拉的不好?

今天开始,我就说, i play the violin.

 

unless one is capable of hard mental labour and prolonged concentration

练琴是个体力活!也是个脑力活。原来yuan 拉流浪者yuki 要她去跑步。我和老师拉合奏,她就明显知道我走神了。

one of the qualifications most important to the musician is a sense of rhythm.

Ryhthm is a principle underlying all life, and all the arts, not that music alone. in violin playing it must be translated into natural interpretation in accordance with the character of the music. This rhythmic accent is as much of a necessity, in order to give the proper value of the details of musical phrasing, as it is in speech itself.

the impulse to execute a passage in a precipitate tempo, intoxicating himself with the sheer pleasure of this own digital velocity

吴亦凡红是有原因的,他初在嘻哈上老说选手节奏不对,节奏不稳。他是非常知道什么是最重要的!

别的flow 什么的都可以是个人喜好,但节奏就是节奏,只有对错。

 

little by little, however, i built up my repertory by using every opportunity that came to me to hear genuine virtuoso play while “on tour”

慢慢来的, yoyo ma 也说他是2 bar by 2 bar 这么练的

There is no instrument whose absolute mastery at a later period presupposes such meticulous care and exactitude in the initial stages of study as does the violin

 

technique 

pose —- they make the player lose at least a third of the whole body of tone 

 

always try to raise your violin as high as possible, in order to secure for your hand the greatest freedom of movement from one position to another .

 

Place the second finger on the note F, on the D-string, in the first position- if the thumb is directly opposite, on the self-same line, it is in the right place

 

The tone of the one may be more sonorous, that of the other more transparent, yet both will be ravishing to hear, and not even the closest attention will enable you to divine which form or degree of finger pressure

 

Yet the main essential is for him to cultivate the habit of close self-observation, and above all to accustom himself to direct and control his efforts.  for it is this mental labour which is the true source of all progress.

 

The violinist, like every other artist, learns best by doing.

Listen to yourself play! 

Listen to your phrasing!

Rely on your own musical instinct while you are guided by the expression marks of others

Nuance in its final and perfected anneling of component factors in the matrix of individuality

Clear mental conception of its general structure as well as of the relations of phrase to phrase before attempting to give a final interpretation of the character of work

your own reaction to yor phrasing tell you whether your conception is right or wrong

All really beautiful phrasing depends, of course, in the last analysis, on technical perfection.

truth is progressive

Abbe d’Olivet: to form one’s style

We do the greatest honour to art when we offer our own very best, not the best we can borrow from someone else

expresss themselves, and that they must not try to express me.

To understand, and to cause to be understood

Let him set himself this standard, and live up to it, and his repertory will take care of itself.

 

when they practise without observing and criticizing themselves they merely develop and perfect their faults.

they are worse than wasting their time.

 

Each has his peculiarities, and one must not and should not try to imitate any one of them blindly. Rather you must try to catch the reflection of his genius and, utilizing whatever light it may shed, readapt it to your own individual needs.

 

never to practise more than thirty or forty minutes in succession, and to rest and relax for at least ten or 15 mins.

do not try to bring out a big tone by presssing the bow on the strings. this is an art in itself.

do not press down the bow with the arm: the whole body of sound should be produced.

open string 10-12 seconds.

admits to himself that his intonation or tone production is bad, and then undertakes to improve it.

playing even the driest scale passages and exercises in constant vibrato

glissando is effective in proportion to the infrequency with which it is used.

3/4 of the breadth of the bow hairs.

irregular movement and will be able to play two, three, six and eight notes in an absolutely rhythmic manner with one bow-stroke.

areggio– you must begin to study it legato in order to accustom yourself to passing over the four strings with equalized movement of down-bow and up-bow.

legato- the ideal of a smooth, round, continuous flow of tone.

Do not raise the finger on one string before the tone of the next string sounds.

this means consists of the scales and special exercise

staccato: one infinitely graceful

the best “natural good ear” may become corrupted by negligence.

Neglect of  the half-tone progression is at the very root of poor intonation.

dynamics: the science of strength

Timbre: quality and colour of the tone

Tempo: A violinist without a sense of rhythm is no violinist.

Nuance, expresses itsel, or may be expressed, in terms of dynamics, timbre, and tempo, including rhythm.

Nuance is a great teacher of nuance

individual latitude in expression, in colour, in emotional fervour, in dramatic intensity

contrapuntal style, their polyphonic character

If you can play the bach sonatas with the right shading then Lalo and Tchaikovsky need not worry you.

 

 

once they have reached these limits which nature has set, no method, no amount of hard work will ring them any further. 

if the are philosophical enough to accept a verdict of necessity and resign themselves to their limitations, they become excellent orchestra players

这一碗毒鸡汤啊!

 

warmth and compactness

all the delicatcies of execution

sing, sing on your violin

to make the violin speak

a pure crystalline and transparent violin tone

spiritual concentration of which he is capable

natural instinct, physical predisposition

achieving the beautiful tone which should be the amibition of every violinist

the whole colourful and infinitely varied tone palette of the modern orchestral 

he does not pause to realize that how they are played really determines whether or not they are worth playing at all.

Geniuses or great talents rarely have an opportunity to enjoy the pleasures of childhood when they are childern!

it is a great mistake to believe that any chance teacher will answer for the task , and that the cheapest violin is just about good enough for a beginning student.

suprring on the ambition of a student, making a certain achievement a point of honour, has produced excellent results.

Do not expect to overcome your difficulties all at once, and do not let want of successs at the beginning discourage you. it is a matter of months, sometimes of years, of effort before certain muscular weaknesses can be overcome, yet thanks to systematica hard work, you can eventually obtain if not a thrill, at any rate a lovely and sonorous one.

architecture has been called “frozen music”.

Style in musical interpretation cannot therefore be crystallized into set formulas of a plastic art- it is liquid, ever in process of transmutation.

both of us are musicians, and we will keep together no matter what happens

learn what not to play and how not to play

 

He will then be perfectly justified in developing a repertory for himself in accordance with his preferences conformable to his capacities.

Practice Recommendations:

kreutzer ,rode, rovelli

spohr’s eighth concerto 

beethoven, mendelssohn, brahms

bach sonatas

ernst concerto in Fsharp minor

hungarian concerto

william F: scales and chord studies for violin

schradieck’s books 1,2 of school of technique

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