S.

no Link
#1 Learn Violin! Violin Lesson #1- Holding the Bow (bow hold), pt.1
#2 Violin lesson #2, Holding the Bow (bow hold) pt. 2
#3 Violin Lesson #3, Holding the Bow (bow hold) pt. 3
#4 Violin Lesson #4; The Hold & Finger Placement Pt. 1
#5 Violin Lesson #5; The Hold, Finger Placement pt. 2
#6 Violin Lesson #6; The Hold & Finger Placement pt. 3
#7 Violin Lesson #7; String Crossing Pt. 1
#8 Violin Lesson #9; String Crossing pt 2
#9 Violin Lesson #10; String Crossing pt. 3
#10 Violin Lesson #11; Straight Bowing Techniques pt. 1
#11 Violin Lesson #12; Straight Bowing techniques, pt. 2
#12 Violin Lesson #13; The Balance Point and Lifting the bow
#13 Violin Lesson #14; Detache' Bowing
#14 Violin Lesson #15; Tone Production Techniques
#15 Violin Lesson #16; Retakes-lifts
#16 Violin Lesson #17; the Rebound (see Retakes-Lifts first)
#17 Violin Lesson #18; Playing in Tune, part 1
#18 Violin Lesson#19; Playing in Tune, pt.2
#19 Violin Lesson #20; Relax! Relaxation Techniques
#20 Violin Lesson #21; Relaxation and Balance
#21 Violin Lesson #22; Vibrato (hand/wrist)
#22 Violin Lesson 23; Vibrato part 2 (Arm)
#23 Does Your Violin Bow Hold Slip? Try this Trick
#24 Violin Lesson #28; Finding 3rd Position in Vivaldi A Minor
#25 Violin Lesson #29; Bouncing Strokes (spiccato bowing)
#26 Violin Lesson #30; Martele' Bowing
#27 Violin Lesson #44; Colle' Bowing
#28 Violin Lesson #50; Sautille' Bowing Pt. 2
#29 Violin Lesson #32; 4 types of shifts
#30 Violin Lesson #33a; 4 types of Shifts (pt 2)
#31 Violin Lesson #31; finding 2nd 4th 5th 6th 7th 8th positions
#32 Violin Lesson #34; Ear Training Exersize
#33 Violin Lesson #8 AND #37; Playing in Tune pt. 3
#34 Violin Lesson #38 (review #8 1st); Playing in Tune pt. 4
#35 Violin Lesson #35; Tuning the Violin pt.1 (see description)
#36 Violin Lesson #36; Tuning the Violin Pt. 2
#37 Violin Lesson #41; Introduction to Double-Stops pt.1
#38 Violin Lesson #42; Introduction to Double-Stops pt.2
#39 Violin Lesson #43; Introduction to Double-Stops pt.3
#40 Violin Lesson #39; Playing in Tune pt. 5 (Drone Pitch)
TODD EHLE'S VIOLIN CLASSES
#41 Violin Lesson #40; Legato Bowing - smooth bow changes
#42 Violin Lesson #46; Playing in Tune pt. 7
#43 Violin Lesson #49; Sautille Bowing pt. 1
#44 Violin Lessons; Introduction and purpose
#45 Violin Lesson #27; String Crossing pt. 4
#46 Violin Lesson #47; String Crossing pt. 5 (fast)
#47 Violin Lesson #48; String Crossing pt. 6 (w/ slurs)
#48 Violin Lesson #51; Octaves
#49 Violin Lesson #52; String Crossing pt. 7
#50 Violin Lesson #53, Sautille Bowing pt. 3 (one more approach)
#51 Violin Lesson #54; Intro to 3rds
#52 Wohlfahrt Op. 45 Violin Etude, #1
#53 Wohlfahrt Op. 45 Violin Etude #3
#54 Wohlfahrt Op. 45, Violin Etude #8
#55 Wohlfahrt Op. 45, Violin Etude #12
#56 Wohlfahrt Op. 45, Violin Etude #18
#57 Wohlfahrt Op. 45, Violin Etude #25
#58 Wohlfahrt Op. 45, Violin Etude #30
#59 Wohlfahrt Op. 45, Etude #40 - Intro to Ricochet Bowing
#60 Violin Lesson #45; Playing in Tune pt. 6 (Ringing Notes)
#61 Violin Lesson #33b: Descending Shifts
#62 Violin Lesson #55; Artificial Harmonics (SEE DESCRIPTION)
#63 Violin Vibrato Trick (please view other vibrato vids first)
#64 Violin Lesson - Curved Pinky Trick
#65 More Violin Vibrato Help
#66 Tone Production Techniques for Violin (see lesson #15 first)
#67 Tone Production Techniques for Violin (part 3)
#68 Tone Production Techniques for Violin, Part 4
#69 Violin Lesson #55; Springing Arpeggios
#70 Violin Lesson; Relaxation Techniques
#71 Violin Lesson #54; Playing 5ths
#72 Violin Lesson #56; The Portamento/Slide
#73 Violin Lesson #58; Fingered Octaves
#74 Violin Lesson #57; The Glissando
#75 Violin Lesson #22; Vibrato (hand/wrist)
#76 Violin Lesson 23; Vibrato part 2 (Arm)
#77 Violin Lesson; Sautille Pt. 4 (Mendelssohn demonstration)
#78 Violin Lesson #60; 10ths
#79 String Crossings in Kreutzer Etude #10 (42 Studies - Violin)
#80 Violin Lesson; Figure 8 Bowing (Straight Bowing pt. 3)
#82 Violin Lesson #59; Pizzicato (right and left hand)
#83 Violin Method: Tuning Your Violin (preparing for violin lesson #1)
#84 Violin Method: Lesson #1 - Mary Had A Little Lamb
#85 Violin Method: Lesson #2 - Mary Had a Little Lamb (with the bow)
#86 Violin Method: Lesson #3 - Mary Had A Little Lamb (with string crossings)
#87 Violin Method: Lesson #4 - Twinkle, Twinkle Little Star
#88 Violin Method: Lesson #5 - Beginning Note Reading (reading music)
#89 Violin Method: Lesson #6 - Straight Bows and Tone Production
#90 Violin Method: Lesson # 7 - D Major Scale, 1 octave (continuing with note reading)
#91 Violin Method: Lesson #8 - Note reading applied (Melody in D)
#92 Violin Method: Lesson #9 - A Major Scale, 1 Octave
#93 Violin Method: Lesson #10; Twinkle in A, Melody in A, 4th Fingers
#94 Violin Method: Lesson #11 - from Variations on a Theme of Haydn - Brahms (arr. Ehle)
#95 Violin Method: Lesson #12 - Lightly Row (see description)
#96 Continuous Violin Vibrato (vibrato pt. 5)
#97 Vibrato and the Musical Phrase (shaping the music & musicality)
#98 Violin Bow Hold Trick for Relaxation
#99 Descending Shift Trick for Violin
#100 Violin shifting trick #2 (see description)
#101 VIOLIN VIBRATO TUTORIAL- New tips for RELAXATION
#102 Etude #1 (from Traveling Aesthetics), by Robert C. Ehle, Violin and Piano
#103 Violin Vibrato - Getting Help from a Partner
#104 Violin Lesson; Problems with Fourth Finger
#105 Violin Lesson; Getting to the Frog (lower bow techniques)
#106 Violin Lesson; Even MORE 4th finger help
#107 Friedrich Seitz Concerto #2, 3rd Movement (part 1) - Violin Lesson
#108 Seitz Concerto 2, 3rd Movement (PART TWO), Violin Lesson
#109 Using Patterns, Clip from Vivaldi 'Spring' from Four Seasons
#110 Advanced, Intermediate and Beginner Violin Information
#111 Up-bow Staccato for Violin
#112 Violin Hold Trick: The Sensation of Relaxation
#113 New Violin Vibrato trick for Relaxation
#114 Violin: 'LaFolia' 4th finger extension trick
#115 Violin Lesson: Avoid Flying fingers (or, keeping the hand 'quiet')
#116 Piano Accompaniments for your Violin Music: PianoAmigo
#117 Parallel or 'Straight' Bowing Trick for Violin
Description
* Todd Ehle teaches bow hold techniques. Part one.
Second part of the bow hold lesson.
Part three in the series on the bow hold.
Some ideas on the violin hold and lifting of the fingers, taught by Todd Ehle
2nd in the series.
- 3rd in the series.
1st in the series
2nd in the series on straight bowing.
3rd in the series.
Todd Ehle teaching straight bowing techniques. 1st of 2.
2nd in the series on straight bowing.
Todd Ehle teaching the balance point of the bow and lifting the bow.
Please note: I say in this video (2x) that the stroke is usually done in the upper half of the STRING, but of course I mean upper half of the BOW. Sorry, I was in a hurry!
- a video on tone production.
Todd Ehle teaching the retake-lift-bow circle. Please watch the video on the balance point first since it covers the first steps of the lift.
Todd Ehle teaching the rebound (a technique learned from Richard Fuchs, a student of Paul Rolland).
Todd Ehle teaching first steps towards good intonation.
2nd in the series.
Ideas to promote relaxation - for the violinist or violist.
- PLEASE NOTE!!! These motions are natural and will help free you from tension. Very small amounts of the motion described here can be added to your playing but please don't try to play like this all of the time. It's way too much motion and will distract your audience! Also, any violin motion from left to right must come from the hips so the violin and bow relationship does not change (VERY IMPORTANT).
***See my new vibrato video, VIOLIN VIBRATO TUTORIAL- NEW TIPS FOR RELAXATION*** This video is part 1, wrist/hand vibrato. Part 2 is about arm vibrato.
Students first learning vibrato should attempt to discern which vibrato is easier for them to learn, wrist or arm. Once one is working, attempt to learn the other.
It's hard to think about your bow hold while you are concentrating on other things. Try this little trick and see if it helps you out. A video for students starting 3rd position. I'm using Suzuki Book 4, Concerto in A minor, 1st movement (bottom of 1st page to
the top of 2nd page).
One thing I should have added; When in 3rd, check the pitch of your 1st finger with the open string below it!
A lesson on how to start spiccato bowing.
Todd Ehle teaching the martele' bow stroke. More ideas from Paul Rolland.
A starter on the Colle' bow stroke.
This is the second way to try this stroke (see pt. 1 first), from the teaching of Paul Rolland (as taught to me by Richard Fuchs, Professor at the University of Northern Colorado).
A video on shifting mechanisms in detail.
Pt. 2. Also see Lesson #33b.
Note*** Take this information A LITTLE BIT AT A TIME! Perhaps just learn how to find 2nd position. Once you are comfortable with locating 2nd, learn 4th, etc. For 3rd position, see "finding 3rd Position, Vivaldi A minor"
Please pardon my singing voice! BTW, this could be applied to any piece of music.
Independent fingering v.s. block fingering.
More on independent v.s. block fingering.
For a beginner's tuning video, please see the video response.
2nd in the series. Please know that it could easily take a year (or more!) of playing before you are ready for this. However, it's probably just right
for someone!
Perhaps I've given more information then I should have in one video. Just try to take some part of it, absorb it, and come back
PLEASE READ: I said in this video that there are three types of tunings - but this is not correct. There are two natural types of tunings: Pythagorean and Just (google them for more info). I added Equal Temperament as the third type, but a temperament is a bending or adjustment of a natural tuning. There are other temperaments, such as Irregular temperament, common in Bach's day. Today we are mostly comfortable with Equal Temperament, it's how a piano is tuned, and it's also the tuning we get from an electronic tuner. String players don't tune the open strings this way though because the Perfect 5ths will not ring "pure", even when the electronic tuner says it is perfect. Seem complicated???
3rd in the series.
Part five in the series.
TODD EHLE'S VIOLIN CLASSES
Second attempt at this one!
You'll need vibrato skills for this example.
An easier (but not easy!!!) approach to this difficult bow stroke.
An Intro to the series
4th in the series. Information presented is in part, taken from The Art of Violin Playing, Book One, by Carl Flesch.
5th in the series.
Part 6 in series.
A study of Octaves.
Final video in string crossings, 7th in the series.
A third approach to sautille.
The double-stop known as 3rds. Purchase the Carl Flesch or Ivan Galamian Scale System to learn these.
First in a new series.
2nd in the series (there is no video for etude #2).
3rd video in the Wohlfahrt Op. 45 series.
4th video in the Wohlfahrt Op. 45 series.
5th video in this series.
7th in the series of Wohlfahrt.
From the Wohlfahrt series by Todd Ehle.
Wohlfahrt Op. 45, #40.
A video on Sympathetic Vibrations (sometimes called ringing notes), and how to use them to play in tune.
More on shifting in this video.
PLEASE NOTE: I failed to mention the importance of a VERY light touch with the 4th finger. I have seen students do everything correctly, but still fail with this technique, all because the pinky was pressing into the string too firmly. It should not bend the string at all. Also, the finger's contact with the string should be reduced to the smallest point possible. Sorry for the omition.
An interesting trick I learned from Margery Aber, using what I believe can be called Impulse, or "Finger" vibrato to help generate a wrist/hand vibrato.
Help for the left hand pinky that won't stay curved.
Please view my other vibrato videos for information on arm/wrist vibrato mechanics. This is about developing a loose first knuckle.
Please review lesson 15. This is 2nd in series.
3rd in series.
4th in the tone production series.
Also called Sautille Arpeggios or Saltando, this bowing is a type of ricochet.
Techniques to help reduce left hand and neck tension.
The double-stop known as 5ths.
The portamento, or slide.
Fingered octaves using excerpt from the Wieniawski Concerto #2.
The Chromatic Glissando.
***See my new vibrato video, VIOLIN VIBRATO TUTORIAL- NEW TIPS FOR RELAXATION*** This video is part 1, wrist/hand vibrato. Part 2 is about arm vibrato.
Students first learning vibrato should attempt to discern which vibrato is easier for them to learn, wrist or arm. Once one is working, attempt to learn the other.
The 4th video in the sautille series.
The double-stop known as 10ths. The performance example is from the Bruch G minor Violin Concerto, 3rd Movement.
Using Kreutzer #42, I'm discussing the triple string crossing.
3rd video in the series on straight bowing.
An introduction to the plucking of the string, called pizzicato. Both right hand and left hand pizzicato are addressed.
A very brief discussion on tuning the violin. Includes string names and pitches plus information on string types and fine tuners.
The first lesson in the new violin method. Please go to www.toddehle.com and visit Downloads to print lesson #1, Mary Had A Little Lamb.
introduce the bow in this video. We are still reading from the first printout (Lesson #1) which is available for free at www.toddehle.com (Downloads). Make sure you have watched my
We now begin string crossing from D to A.
Twinkle, Twinkle Little Star, starting on the D string. Visit www.toddehle.com to download the printout.
THE SIMPLEST RUDIMENTS OF MUSIC. Notes: Their Names and Notation. To print this information, copied from the Maia Bang Method (public domain),
The first steps to proper tone production.
The first scale in the lesson series.
Visit www.toddehle.com to download Melody in D (free on my Downloads page).Once you have learned Melody
The scale and key signature for A Major.
Two new pieces in the key of A. I went ahead a wrote the finger numbers on the piece by E. Heim, but left off the string namse. Perhaps next time we will leave the finger numbers off as well. Download the Melody in A from my website (for free on the Downloads page) so you can follow along.
***Print "From Variations on a Theme of Haydn-Brahms" at my website, www.toddehle.com on the Downloads page.*** In this lesson we will learn the bow lift (also called the retake, rebound or bow circle), as well as two up-bows in a row. The notation over these up-bow notes is a curved line called a slur, but you will also see dotes over the notes which mean the notes are to be played short (with space between them). The repeat sign at the end of the piece is new (two dots followed by a double bar). It means to go back to the beginning and play the piece one more time. Since the last note of the piece is a down bow and the first note of the piece is also a down bow, we will use the bow lift (bow circle) to make this work
When learning this piece; first use short bows in the middle, always of the same length (even for half notes - just leave a small silence at end of note value). Once this is working well, try using longer bows for a larger tone. If you use open E instead of the 4th finger, be sure to practice your string crossings (stop and roll) to avoid hitting two strings at once. Also, at the end of line two, leave your bow on the string during the rest.
The solo at the beginning is from Beim Schlafengehn, from Strauss' Four Last Songs. My vibrato is rusty due to a long hiatus (injury, early music, fiddle - all senza vibrato) so I'm attempting to work it back up... and in the process I thought of one more subject I could cover. My best wishes to everyone.
A discussion on shaping a phrase, and using vibratao to enhance the music
For beginners (or anyone!) with bow hold tension.
Try this technique if you are struggling with tension during a descending shift. Don't consider it your primary shifting technique, rather think of it as a tool to increase relaxation
For many, traveling up the fingerboard seems to feel better than traveling down, even if the descending shift is only a short distance. To do this trick you'll need to be comfortable with your positions. Practice shifting from 1st to 2nd, 1st to 3rd, etc., until you can locate them with great confidence. I discuss contact points in my video on locating positions.
Please refer to my other vibrato videos for more details on mechanics. Also, Happy New Year everyone!
Originally written as a piano etude (short study), this work is by my father, Robert C. Ehle, who is a professor of composition at
the University of Northern Colorado. The fantastic pianist is Chi...
***View my other vibrato videos for details of vibrato mechanics***
For those of you who have asked for more help with this. I hope something here will make it easier for you!
Ides for using the whole bow.
I'm trying this from a different camera angle. Hope it helps.
Part one of the F. Seitz (1848-1918) Concerto #2, 3rd movement, Allegro moderato (which means moderately
fast). I have a new video camera here, whichrecords in HD, although I'm uploading as a Flash Video. We'll see
I'm discussing a short excerpt from the first movement of the 'Spring' Concerto by Antonio Vivaldi. It's complicated, but you can
apply this same type of thinking to music from any level of difficulty.
My thoughts on the staccato stroke. Video response to a question by Ganzalo
Try this little trick to help learn the feel of a relaxed vibrato motion.
You can download a free version of the Schradieck at www.imslp.org.
As I say in the video, this is a non-paid endorsement. I simply think it's a useful product. I should have mentioned that for sections with a lot of rubato, the violin part will sound, helping you through it. Pianoamigo.com also offers a free trial, so it's worth a visit.
This is one more approach to help with a difficult technique.
Please note: I say in this video (2x) that the stroke is usually done in the upper half of the STRING, but of course I mean upper half of the BOW. Sorry, I was in a hurry!
Todd Ehle teaching the retake-lift-bow circle. Please watch the video on the balance point first since it covers the first steps of the lift.
- PLEASE NOTE!!! These motions are natural and will help free you from tension. Very small amounts of the motion described here can be added to your playing but please don't try to play like this all of the time. It's way too much motion and will distract your audience! Also, any violin motion from left to right must come from the hips so the violin and bow relationship does not change (VERY IMPORTANT).
***See my new vibrato video, VIOLIN VIBRATO TUTORIAL- NEW TIPS FOR RELAXATION*** This video is part 1, wrist/hand vibrato. Part 2 is about arm vibrato.
Students first learning vibrato should attempt to discern which vibrato is easier for them to learn, wrist or arm. Once one is working, attempt to learn the other.
This is the second way to try this stroke (see pt. 1 first), from the teaching of Paul Rolland (as taught to me by Richard Fuchs, Professor at the University of Northern Colorado).
Note*** Take this information A LITTLE BIT AT A TIME! Perhaps just learn how to find 2nd position. Once you are comfortable with locating 2nd, learn 4th, etc. For 3rd position, see "finding 3rd Position, Vivaldi A minor"
PLEASE READ: I said in this video that there are three types of tunings - but this is not correct. There are two natural types of tunings: Pythagorean and Just (google them for more info). I added Equal Temperament as the third type, but a temperament is a bending or adjustment of a natural tuning. There are other temperaments, such as Irregular temperament, common in Bach's day. Today we are mostly comfortable with Equal Temperament, it's how a piano is tuned, and it's also the tuning we get from an electronic tuner. String players don't tune the open strings this way though because the Perfect 5ths will not ring "pure", even when the electronic tuner says it is perfect. Seem complicated???
PLEASE NOTE: I failed to mention the importance of a VERY light touch with the 4th finger. I have seen students do everything correctly, but still fail with this technique, all because the pinky was pressing into the string too firmly. It should not bend the string at all. Also, the finger's contact with the string should be reduced to the smallest point possible. Sorry for the omition.
An interesting trick I learned from Margery Aber, using what I believe can be called Impulse, or "Finger" vibrato to help generate a wrist/hand vibrato.
Please view my other vibrato videos for information on arm/wrist vibrato mechanics. This is about developing a loose first knuckle.
***See my new vibrato video, VIOLIN VIBRATO TUTORIAL- NEW TIPS FOR RELAXATION*** This video is part 1, wrist/hand vibrato. Part 2 is about arm vibrato.
Students first learning vibrato should attempt to discern which vibrato is easier for them to learn, wrist or arm. Once one is working, attempt to learn the other.
The first lesson in the new violin method. Please go to www.toddehle.com and visit Downloads to print lesson #1, Mary Had A Little Lamb.
introduce the bow in this video. We are still reading from the first printout (Lesson #1) which is available for free at www.toddehle.com (Downloads). Make sure you have watched my
THE SIMPLEST RUDIMENTS OF MUSIC. Notes: Their Names and Notation. To print this information, copied from the Maia Bang Method (public domain),
Two new pieces in the key of A. I went ahead a wrote the finger numbers on the piece by E. Heim, but left off the string namse. Perhaps next time we will leave the finger numbers off as well. Download the Melody in A from my website (for free on the Downloads page) so you can follow along.
***Print "From Variations on a Theme of Haydn-Brahms" at my website, www.toddehle.com on the Downloads page.*** In this lesson we will learn the bow lift (also called the retake, rebound or bow circle), as well as two up-bows in a row. The notation over these up-bow notes is a curved line called a slur, but you will also see dotes over the notes which mean the notes are to be played short (with space between them). The repeat sign at the end of the piece is new (two dots followed by a double bar). It means to go back to the beginning and play the piece one more time. Since the last note of the piece is a down bow and the first note of the piece is also a down bow, we will use the bow lift (bow circle) to make this work
When learning this piece; first use short bows in the middle, always of the same length (even for half notes - just leave a small silence at end of note value). Once this is working well, try using longer bows for a larger tone. If you use open E instead of the 4th finger, be sure to practice your string crossings (stop and roll) to avoid hitting two strings at once. Also, at the end of line two, leave your bow on the string during the rest.
The solo at the beginning is from Beim Schlafengehn, from Strauss' Four Last Songs. My vibrato is rusty due to a long hiatus (injury, early music, fiddle - all senza vibrato) so I'm attempting to work it back up... and in the process I thought of one more subject I could cover. My best wishes to everyone.
Try this technique if you are struggling with tension during a descending shift. Don't consider it your primary shifting technique, rather think of it as a tool to increase relaxation
For many, traveling up the fingerboard seems to feel better than traveling down, even if the descending shift is only a short distance. To do this trick you'll need to be comfortable with your positions. Practice shifting from 1st to 2nd, 1st to 3rd, etc., until you can locate them with great confidence. I discuss contact points in my video on locating positions.
As I say in the video, this is a non-paid endorsement. I simply think it's a useful product. I should have mentioned that for sections with a lot of rubato, the violin part will sound, helping you through it. Pianoamigo.com also offers a free trial, so it's worth a visit.
- PLEASE NOTE!!! These motions are natural and will help free you from tension. Very small amounts of the motion described here can be added to your playing but please don't try to play like this all of the time. It's way too much motion and will distract your audience! Also, any violin motion from left to right must come from the hips so the violin and bow relationship does not change (VERY IMPORTANT).
PLEASE READ: I said in this video that there are three types of tunings - but this is not correct. There are two natural types of tunings: Pythagorean and Just (google them for more info). I added Equal Temperament as the third type, but a temperament is a bending or adjustment of a natural tuning. There are other temperaments, such as Irregular temperament, common in Bach's day. Today we are mostly comfortable with Equal Temperament, it's how a piano is tuned, and it's also the tuning we get from an electronic tuner. String players don't tune the open strings this way though because the Perfect 5ths will not ring "pure", even when the electronic tuner says it is perfect. Seem complicated???
PLEASE NOTE: I failed to mention the importance of a VERY light touch with the 4th finger. I have seen students do everything correctly, but still fail with this technique, all because the pinky was pressing into the string too firmly. It should not bend the string at all. Also, the finger's contact with the string should be reduced to the smallest point possible. Sorry for the omition.
Two new pieces in the key of A. I went ahead a wrote the finger numbers on the piece by E. Heim, but left off the string namse. Perhaps next time we will leave the finger numbers off as well. Download the Melody in A from my website (for free on the Downloads page) so you can follow along.
***Print "From Variations on a Theme of Haydn-Brahms" at my website, www.toddehle.com on the Downloads page.*** In this lesson we will learn the bow lift (also called the retake, rebound or bow circle), as well as two up-bows in a row. The notation over these up-bow notes is a curved line called a slur, but you will also see dotes over the notes which mean the notes are to be played short (with space between them). The repeat sign at the end of the piece is new (two dots followed by a double bar). It means to go back to the beginning and play the piece one more time. Since the last note of the piece is a down bow and the first note of the piece is also a down bow, we will use the bow lift (bow circle) to make this work
When learning this piece; first use short bows in the middle, always of the same length (even for half notes - just leave a small silence at end of note value). Once this is working well, try using longer bows for a larger tone. If you use open E instead of the 4th finger, be sure to practice your string crossings (stop and roll) to avoid hitting two strings at once. Also, at the end of line two, leave your bow on the string during the rest.
The solo at the beginning is from Beim Schlafengehn, from Strauss' Four Last Songs. My vibrato is rusty due to a long hiatus (injury, early music, fiddle - all senza vibrato) so I'm attempting to work it back up... and in the process I thought of one more subject I could cover. My best wishes to everyone.
For many, traveling up the fingerboard seems to feel better than traveling down, even if the descending shift is only a short distance. To do this trick you'll need to be comfortable with your positions. Practice shifting from 1st to 2nd, 1st to 3rd, etc., until you can locate them with great confidence. I discuss contact points in my video on locating positions.
As I say in the video, this is a non-paid endorsement. I simply think it's a useful product. I should have mentioned that for sections with a lot of rubato, the violin part will sound, helping you through it. Pianoamigo.com also offers a free trial, so it's worth a visit.
- PLEASE NOTE!!! These motions are natural and will help free you from tension. Very small amounts of the motion described here can be added to your playing but please don't try to play like this all of the time. It's way too much motion and will distract your audience! Also, any violin motion from left to right must come from the hips so the violin and bow relationship does not change (VERY IMPORTANT).
PLEASE READ: I said in this video that there are three types of tunings - but this is not correct. There are two natural types of tunings: Pythagorean and Just (google them for more info). I added Equal Temperament as the third type, but a temperament is a bending or adjustment of a natural tuning. There are other temperaments, such as Irregular temperament, common in Bach's day. Today we are mostly comfortable with Equal Temperament, it's how a piano is tuned, and it's also the tuning we get from an electronic tuner. String players don't tune the open strings this way though because the Perfect 5ths will not ring "pure", even when the electronic tuner says it is perfect. Seem complicated???
PLEASE NOTE: I failed to mention the importance of a VERY light touch with the 4th finger. I have seen students do everything correctly, but still fail with this technique, all because the pinky was pressing into the string too firmly. It should not bend the string at all. Also, the finger's contact with the string should be reduced to the smallest point possible. Sorry for the omition.
***Print "From Variations on a Theme of Haydn-Brahms" at my website, www.toddehle.com on the Downloads page.*** In this lesson we will learn the bow lift (also called the retake, rebound or bow circle), as well as two up-bows in a row. The notation over these up-bow notes is a curved line called a slur, but you will also see dotes over the notes which mean the notes are to be played short (with space between them). The repeat sign at the end of the piece is new (two dots followed by a double bar). It means to go back to the beginning and play the piece one more time. Since the last note of the piece is a down bow and the first note of the piece is also a down bow, we will use the bow lift (bow circle) to make this work
When learning this piece; first use short bows in the middle, always of the same length (even for half notes - just leave a small silence at end of note value). Once this is working well, try using longer bows for a larger tone. If you use open E instead of the 4th finger, be sure to practice your string crossings (stop and roll) to avoid hitting two strings at once. Also, at the end of line two, leave your bow on the string during the rest.
For many, traveling up the fingerboard seems to feel better than traveling down, even if the descending shift is only a short distance. To do this trick you'll need to be comfortable with your positions. Practice shifting from 1st to 2nd, 1st to 3rd, etc., until you can locate them with great confidence. I discuss contact points in my video on locating positions.
PLEASE READ: I said in this video that there are three types of tunings - but this is not correct. There are two natural types of tunings: Pythagorean and Just (google them for more info). I added Equal Temperament as the third type, but a temperament is a bending or adjustment of a natural tuning. There are other temperaments, such as Irregular temperament, common in Bach's day. Today we are mostly comfortable with Equal Temperament, it's how a piano is tuned, and it's also the tuning we get from an electronic tuner. String players don't tune the open strings this way though because the Perfect 5ths will not ring "pure", even when the electronic tuner says it is perfect. Seem complicated???
***Print "From Variations on a Theme of Haydn-Brahms" at my website, www.toddehle.com on the Downloads page.*** In this lesson we will learn the bow lift (also called the retake, rebound or bow circle), as well as two up-bows in a row. The notation over these up-bow notes is a curved line called a slur, but you will also see dotes over the notes which mean the notes are to be played short (with space between them). The repeat sign at the end of the piece is new (two dots followed by a double bar). It means to go back to the beginning and play the piece one more time. Since the last note of the piece is a down bow and the first note of the piece is also a down bow, we will use the bow lift (bow circle) to make this work
PLEASE READ: I said in this video that there are three types of tunings - but this is not correct. There are two natural types of tunings: Pythagorean and Just (google them for more info). I added Equal Temperament as the third type, but a temperament is a bending or adjustment of a natural tuning. There are other temperaments, such as Irregular temperament, common in Bach's day. Today we are mostly comfortable with Equal Temperament, it's how a piano is tuned, and it's also the tuning we get from an electronic tuner. String players don't tune the open strings this way though because the Perfect 5ths will not ring "pure", even when the electronic tuner says it is perfect. Seem complicated???
***Print "From Variations on a Theme of Haydn-Brahms" at my website, www.toddehle.com on the Downloads page.*** In this lesson we will learn the bow lift (also called the retake, rebound or bow circle), as well as two up-bows in a row. The notation over these up-bow notes is a curved line called a slur, but you will also see dotes over the notes which mean the notes are to be played short (with space between them). The repeat sign at the end of the piece is new (two dots followed by a double bar). It means to go back to the beginning and play the piece one more time. Since the last note of the piece is a down bow and the first note of the piece is also a down bow, we will use the bow lift (bow circle) to make this work
***Print "From Variations on a Theme of Haydn-Brahms" at my website, www.toddehle.com on the Downloads page.*** In this lesson we will learn the bow lift (also called the retake, rebound or bow circle), as well as two up-bows in a row. The notation over these up-bow notes is a curved line called a slur, but you will also see dotes over the notes which mean the notes are to be played short (with space between them). The repeat sign at the end of the piece is new (two dots followed by a double bar). It means to go back to the beginning and play the piece one more time. Since the last note of the piece is a down bow and the first note of the piece is also a down bow, we will use the bow lift (bow circle) to make this work