Welcome to Violinist.com! Log in, or join the community!

OUR MEMBERS'
BLOGS
VOL!
"#$%S
"!& # VOL!
%E#$'ER
BUS!ESS
&RE$%OR(
"!& #
)ER"ORMER
"#MOUS
VOL!S%S
&S$USSO!
BO#R&

Featured Blogs
Laurie Niles, Editor
Karen Rile
The Week in Reviews
The Weekend Vote
VOL!S%.$OM * VOL! BLOGS * EU! 'W#! B# * BLOG E!%R(
Printer-friendl version
E!"laining #igh Te$h% &' E!er$ises ()-
)*+
Written , Eun #wan Bai
Pu,lished% August 17, 2014 at ))%-. /0 12T34
/fter Violinist5$o6 editor Laurie Niles wrote a,out 6 le$ture at
the *-)7 Pri6rose 3o6"etition a,out 6 #igh Te$h E!er$ises for
the Left #and, 6an "eo"le e!"ressed interest in those e!er$ises5 #ere 8 have
given links to sheet 6usi$ for ea$h of those e!er$ises, along with an e!"lanation of
how to do ea$h one5 /ll the e!er$ises are $ontained in three ,logs5 3li$k here for
Part *% E!er$ises )&-*', and here for Part &% E!er$ises *.-&'5
Be $areful, and en9o:
#igh Te$h &' ()-)*+
E!er$ise ) ;heet 0usi$
E!er$ise * ;heet 0usi$
E!er$ise & ;heet 0usi$
E!er$ise 7 ;heet 0usi$
E!er$ise ' ;heet 0usi$
E!er$ise . ;heet 0usi$
E!er$ise < ;heet 0usi$
E!er$ise = ;heet 0usi$
E!er$ise > ;heet 0usi$
E!er$ise )- ;heet 0usi$
E!er$ise )) ;heet 0usi$
E!er$ise )* ;heet 0usi$
? ? ?
E!er$ise ) ;heet 0usi$
This is $onsidered to ,e @dou,le sto"s@, E notes should not ,e 6istaken for
s6,ols5 #owever, @A string and B string onl@ tells ou that ou should
8nterview% /aron
Rosand
To s"eak to violinist
/aron Rosand is to gain
a sense of what it was
like to $o6e of age as a
violinist in the 6id *-th
$entur5
Part Cne D Part Two
/,out Eun
#wan
Eun #wan Bai is fro6
Beverl #ills,
3alifornia5 Biogra"h
to Eun #wan Bai
;u,s$ri,e in a
reader
/r$hive
2014: /ug5
;"onsors
;har 0usi$
E5R5 Eudd Violins
The Potter Violin
3o6"an
8nternational Violin
3o6"etition of
8ndiana"olis
0artin ;wan Violins
3orilon Violins
;now ;tringed
8nstru6ents
/5 3avallo Violins
/$oustaBri"
/nderson 0usi$al
8nstru6ent 8nsuran$e
/udu,on ;trings
Bein F Fushi
3arriage #ouse Violins
Ai6itri 0usafia
Ele$tri$ Violin ;ho"
thoroughl resear$h and "ra$ti$e in order to full understand the 6ethod5 First,
#old the two strings with first finger $ontinuousl, and ti6e to ti6e, the sha"e of
the finger, 6oving finger and fi!ed finger, will ,e $hanged in the dou,le sto"s
de"ending on the state of the stret$h5 0ost of the ti6e, one o$tave a,ove the first
and stret$hed finger is al6ost a straight line5 8n order to $he$k the a$$ura$ of the
"it$h, ,oth strings should kee" sound without sto"s and lined u" in ideal
$o6"arison of the two notes whi$h are for$ed to sound ,ased on intervals5 The
efforts should ,e identified and $o6es auto6ati$ ,if ou do 6ake hard and "ainful
"it$hes, it should not ,other ou to $at$h the wrong "it$h sounds or i6"ure
intonations as ou kee" "aing a little attention5 ;o, the )st finger is fir6l fi!ed
and the sound should not ever ,e shaken as 6u$h as it "ossi,l $an5
0ost of the ti6e, the state of finger stret$h is al6ost strait ling down and
tou$hing the side of the fingerti"5
8n fa$t, here is an e!a6"le of the a""li$ation of ea$h ke, there, literall holding
the A string and E string whi$h su$h notes are often a$ted as traffi$ $o"s to kee"
the "it$h, ,ut also a$t as the $entral "illars to kee" our finger on the great
,enefits of a fle!i,le $ore5
To 6aintain the degree of adhesion, the "ressure of the ,ow need to $ontinue to
6aintain the "ressure $onstantl to the end of the ,ow, and the inde! finger
should "ut $ertain the a6ount of "ressure toward the end of the ,ow and 6ust ,e
raised "rogressivel5
Bowing is 6ore diffi$ult to $ontrol 6ore slowl5 The s"eed and the "ressure and
the lo$ation are 6ainl needed to kee" the $ertain ,alan$e that $an ,e 6aintained
to even the sound5
Pit$h intonation and sound Gualit have to 6ake the ,est "ossi,le and as 6u$h as
"ossi,le , "ra$ti$ing slow and to 6ake an effort, it should ,e "ra$ti$ed as
listening through a 6i$ros$o"e5
Pra$ti$ing slow is diffi$ult "ro$ess, and listening hard reall 6akes our 6ind and
,od tired5 #owever, ou $an have a tid through $leaning ever $orner in the
advent of a "atient5 Training of the left hand has to $o6e with our right ar6
6oving ver slowl, and our 9udg6ent ,e$o6es 6ore a$$urate5 Parti$ularl, a
good "ra$ti$e needs using a stret$h slowl as "ossi,le and the inner 6us$le often
o$$urs "ain5 ;o, in order to release the "ain, ou need to take freGuent ,reaks5
Without the a$$ura$, the "ower and fle!i,ilit of fingers, ou will not ,e$o6e an
a,solute 6aster with few tries5 The $on$entration and Guantit of e!er$ise, with
through the innu6era,le failures as 6u$h as "ossi,le, get through the $hallenge
6anuall, will ,e the wa to the 6astershi"5
E!er$ise * ;heet 0usi$
This is a Ho$taveH "ra$ti$e5 #owever, in realit, Hfingered o$taveH is 6ore "rofita,le5
First, , 6aking $onstant ,uilding o$tave interval ,lo$ks, the ar"eggio is naturall
auto6ati$all sha"ed5 The ,ri$kwork is for6ed auto6ati$all a$$ording to
ar"eggio, even the fingers hit ea$h other, ,ut the sha"e of fingers ,e$o6es fi!ed in
a$$ordan$e with the "urit and a$$ura$ of "it$h 5 For e!a6"le, the 6iddle note of
tri"let a$ts as a ,ridge that $onne$ts the )st and the last note of the tri"let with
even te6"o and right "it$h, at the sa6e ti6e, it gives the ,asi$ foundation for the
"resent to ne!t following5
8n other words, it $ontinues to ensure the notes that has to ,e right sound,
therefore shifting is like a foot"rint, at the sa6e ti6e, it has the sta,ilit of the
"ositive role of the safet "in when ou $li6,ing a 6ountain with the ro"e5
/s it $ontinues to $onne$t, the shadow and foot"rint will re6ain a sha"e and
distan$e as a 6a" with ar"eggio in our 6ind5 ;o, this is like H6aking a $lothH, due
to the auto6ati$ refle! in the sha"e of tri"lets, with a ,ig "i$ture of the
$onne$tions drawn in our left hand whi$h will feel a 6ole sense5
Based on the tri"lets, the ,owing 6ust ,e slowl used u" to the end of the ,ow,
in$luding the vi,rato and "erfe$t intonation should ,e "olished in the ,est sound
Gualit5
The finger o$tave has the advantage of s"eed, so, ou 6a s"eed u" i66ediatel
when ou 9ust feel the o$taves with $ertain fa6iliarit or $o6fort o$$urs5 Cf
$ourse, it is i6"ossi,le if there is no fle!i,ilit, s"eed and "it$h of an to s"eak of
a$$ura$5 But, it is "ossi,le to grow fle!i,ilit , giving large twist our fist
knu$kles whenever ou $an5 8t is "ossi,le to $hange the dire$tion of &.- degrees in
the fist fingers, this training will influen$e the su$$ess or failure of the violin
"laing in our life5
Iou $an ,e$o6e a high-level "laer if ou 6aintain fle!i,ilit of the left hand ,
onl "ra$ti$eJ al6ost ever da, like a ha,it, alwas stret$h5 Even in our slee",
this training will hel"J "ut our fingers $rossed and "ut in our "illow, and our
fingers will ,e auto6ati$all released5
The Finger,oard
Work,ook ;eries
Long 8sland Violin
;ho"
0aster #and Violin
;ho"
Peter Prier F ;ons
Violins
Reuning F ;on Violin
Violin La,
Violin 0usi$ ,
Wo6en
Wang,ow Violin Bow
Worksho"
Ioung 0usi$ians, 8n$5
Please $onsider
su""orting Violinist5$o6
, becoming a
sponsor, and rea$hing
our dedi$ated
$o66unit of violin
"rofessionals, students
and fans:
The "ur"ose of the tri"let is evenness, the ,owing has to ,e $lose to the ,ridge as
"ossi,le, 9ust a,ove the ,ridge, while ou ,ow slowl5 8f "ossi,le, kee" a large
volu6e and ou should have the "atien$e to $ontinue all the wa5 Braduall raise
the s"eed when ou feel good and $hallenge ourself with 6aking toward our to"
s"eed, Iou $an 6aintain our a,ilit when ou alwas $hallenge for i6"rove6ent
of skills, for even the 6ost diffi$ult stuff5
E!er$ise & ;heet 0usi$
This e!er$ise is $onsisted of onl the &rd5 But the 6ain training su""orts Hthe 'th
downH internall while &rd dou,le sto"s 6ove o$tave u" and down re"eatedl5
Iou need to get a new $on$e"t to $at$h "erfe$t intonation on the ,asis of Hthe 'th
downH in all dou,le sto"s as $o6"ared to ,e sta,le5 The intonation and the $olor of
&rd will ,e ver effe$tivel i6"roved with Hthe 'th downH $on$e"t in dou,le sto"s5
The first finger should serve as a "illar, also other fingers are $o6"ared to ,e
H6odifiedH for the distan$e and ou reall need to learn to slow down for "erfe$t
ad9ust6ent5 The tri"lets are 6ain ,uilding for6at in this e!er$ise and learn to use
the fingering with )*, *&, &7,)&, *7,)7, followed , good sound with all si!
$o6,ination evenl5
;"eed $an ,e a little ,it u" graduall, onl if naturall when the intonation of
$onne$tion is so6ewhat not that diffi$ult to $onne$t5 2ntil ou are $o6forta,le
solving the intonation training, if "ossi,le, ou should alwas kee" using vi,rato,
sound Gualit oriented, ,etter "it$h, vi,rato $are, in$luding ,etter the sound5
8f the s"eed going to ,e all right, the vi,rato and sound will $o6e together5 ;o,
fro6 the start, ou alwas have to "ra$ti$e slowl, vi,rato and ,owing, ,oth are in
$lose $onta$t with the natural good sound Gualit with $are5
8 ,elieve the fun$tion of intonation and sound Gualit de"ends on the "erfe$tion
and $o6"leteness5 #owever, ou should ,e trained with the orientation of the ,ow
whi$h has the law to regulate the dna6i$s, feel of the sound5 This &rd ar"eggio
e!er$ise is 9ust a te$hnolog develo"6ent and a""li$ation of the 3arl flesh ;$ale
;ste6 rather than in an for65 This ar"eggio with &rd $an ,e 6ade ,ut also
other a""li$ations are "ossi,le on different intervals5 For e!a6"le, ar"eggio with
.th, ar"eggio with 'th, ar"eggio with 7th $an ,e "ossi,l 6ade5
Finall, itHs a good atte6"t that the o$tave ar"eggio $an go through this "ro$edure5
Even 6ore, the ,est training $an ,e 6ade if ou kee" atte6"t with 6ore
stret$hed intervals to $o6e u" through5 Eventuall this "ro$ess with $hro6ati$
s$ale will ,e the e!er$ise that 6akes our ears fa6iliar with all of har6oni$s5
8 ,elieve re"etitious "ro$ess of this kind $an 6ake deli$ate intonation "it$h su$h as
$loth 6aking, and the inter"retation of freedo6 is full a$$o6"lished in 6usi$5
E!er$ise 7 ;heet 0usi$
This e!er$ise is $onsisted of onl 7 o$taves5 Paganini dis$overed this e!er$ise a
long ti6e ago, the invention of a des$ri"tive wa, ,ut ver few 6asters ever to
full 6astered this te$hniGue5 8f ou onl to look at the s$ore, four fingers
$onsisting in ,etween the o$taves, it is a $raK idea5 #owever, this training is
ne$essar5
/lso for the fle!i,ilit of the fingers, for the strength of the fingers, for the
a$$ura$ of the fingers, for the s"eed of the fingers, su$h self-$ontrol training is a
great referen$e to endure when one "asses through the "ro$ess and will ,e ver
great reward5
@0an ,irds with one stone effe$t@ $an ,e o,tained fro6 su$h training5 The truth
is @"ain is $ertainl a ,lessing@5 ;tret$h slowl and deli,eratel "ra$ti$e often5 /s a
"oint, ou are a,le to find, that even if the intonation is si6ilar in the first "osition,
ou have to a""roa$h over and over again to get the6 $onfir6ed in tune, then the
result of training would ,e ver e!$ellent5
Even fro6 the ,eginning, ou will eventuall stret$h of the first $ode, ,ut in the
future, as long as ou do not give u" the violin, ou e!"e$t so6eti6es Hgra,,ing
re"eatedlH effe$t $an ,e ver useful5 HFle!i,ilitH, Ha$$ura$H and H"owerH will not
o$$ur over a night, ,ut if ou have enough "atien$e and unre6itting efforts, 9ust
like the dust $olle$ting for ,ig 6ountain, ,uilding a Hlife long skillsH $an ,e e!"e$ted5
With all kinds of ke, with all kinds of ,owing, and with all kinds of te6"o, ou
need to $reate our own a""li$ations for e!er$ise and 6ethod whi$h is a natural
reGuire6ent5
/ll the s$ale s$ores eventuall $o66uni$ate with the $onfiguration of sound 6ade
, onl a $o6"oserHs ideas whi$h are "arts of5 The use of a 6etrono6eJ Ao not use
it often, ,ut 8 need to use it for not onl to raise the te6"o for gradual $hro6ati$
s$ale training ,ut also for the 6ethod when ou want to get even sound,
so6eti6es getting hel" with 6a$hine is needed5
E!er$ise ' ;heet 0usi$
This s$ale is 6ade u" with Htri"letH5 The reason is, for the sake of the noteHs
evenness, whi$h identified as the tri"let listed, notes are done s"ontaneousl
auto6ati$ ,e$ause tri"let ,eat evenl5 8f four of the lists is done 6ainl it ,e$o6e
si!teenth notes, ,ut in this $ase, thanks to the three listed as tri"let, hel"s to "i$k
and for$e the te6"o evenl and at the sa6e ti6e it leads the ,eat evenl5 /fter all,
even if ou "la an te6"o tri"lets $onse$utivel, it has tenden$ to ,e a long
,oring ,e$ause in realit the nature of songs, 6ainl four note setting is used 6ore
to raise the s"eed5
#owever, for the "ur"oses of training, so that a $ontinuous seGuen$e of notes are
"ur"ose to train, the three notes setting, the tri"lets are ver hel"ful5 8n this
"arti$ularl $ase, for ea$h ke, one , one for ea$h start-u" note and the last note,
the for6ed "art of the sa6e design, ,e$ause the "ur"ose is, the are 6ade LLof
natural $onne$tion ,etween the kes5 Tri"lets are 6ainl fo$us on the "ur"ose of
ad9ust, ,ut if ou are looking at the left hand vi,rato, due to laKiness ou do not
vi,rate 6u$h5
;o, start slowl and deli,eratel vi,rate, so that tri"lets will have the vi,rato
evenl and graduall s"eed u", this ha,it alwas 6ust a""l to the s$ale with
)--M sure5Vi,rato has to have the value of no li6it of the te6"o until there is no
need to $ontinue to kee" the in9e$tion5 No 6atter how fast "ie$es re"resent
anthing, even when the diffi$ult "assages e6"hasiKe the grou"Hs te$hniGue
efforts, vi,rato should sound even 6ore i6"ressive when it vi,rates5
The a$$ura$ of the note alwas de"ends on $he$king with o"en strings, even in
this $o6"arison, at least $he$k the kenote in ever o$taves5 /nd H"erfe$t 'th
noteH do6inant has to ,e $he$ked ea$h ti6e, so the sound is good when it arrives5
E!er$ise . ;heet 0usi$
This "ra$ti$e is $ontinued to use the two-o$tave sound using the B string and E
string line to the high "osition in s$ale u" and down, at the sa6e ti6e, the ,ow
6ove is ver effe$tive stud5
For s"eed fle!i,ilit e!er$ises, the right el,ow "refera,l fi!ed against the wall,
so, the right hand wrist is for$ed sha"ed the $ir$le 6otion , 6oving the
ones(sa6"les+, the ,owing 6ust ,e understood until ou feel the effe$ts of
e!er$ise5
Cf $ourse, the a$$ura$ of the intonation is the issue, ,e$ause ou need to 6ove at
the sa6e ti6e, ,ut for the instantaneous sound of the $hords, ou have to $ontinue
to 6e6oriKe the "it$h and 6ove fast and Gui$kl hear the sound of two o$taves as
6u$h as "ossi,le so that ou instin$tivel raise the a$$ura$5
Like a railroad line, )st finger and &rd finger need to ,e fi!ed to ensure the
sta,ilit of the "it$h as if ,oth fingers are 9ust in ne!t side,ars whi$h should ,e
fi!ed to "erfe$t 'th with )st finger holding with A string and the &rd finger is
holding on with / string gra,,ing two lines to 6ake the se$urit of intonation5
Ne!t, there is a uniGue "ra$ti$e of drawing, all four rows of "erfe$t 'th, whi$h the
$hord is for6ed to $reate a fingers to lie down as 6u$h as "ossi,le5 Like 3lassi$
guitar, in order to 6ake ea$h finger to $over the finger,oard, the left hand has to
lie on the side of fingers and it 6ust ,e guitar sha"ed 6ost of the ti6e lie down5
Four strings are 6eant to ,e $overed, and , doing this, ,e$ause the $over a$tion
is also ver inside of the left ar6, the el,ow will ,e entered into the dee" stret$h
e!er$ises, whi$h are ver hel"ful5
Parti$ularl, in this wa, even 7th finger has the Htraining of 7thH after "i$king u"
the "erfe$t 'th, es"e$iall, as "art of the Paganini 3a"ri$e No5 *7 Finale, inevita,l
the "ower is ver ,enefi$ial5
Twisted lines are dis"laed on all four strings of "erfe$t 'th notes, although all the
notes are not drawn, ou need to $onfir6 the na6es of the notes of the
$o66and6ents5
Parti$ularl, in high "osition, notes should ,e deli,eratel known until ou are
fa6iliar with the $o66and6ents and 6e6oriKe the6 and even if the notes are
listed loosen, the ear should ,e a$$usto6ed to release and s"eak the notes
auto6ati$all5
;o 8f ou i6agine to 9u6" the 'th interval in one string, the note $ould ,e easil
found and identified, along with shifting it is ver hel"ful to in$reases the a$$ura$
of the "it$h5
Prior to the ear to su$h training, due to the natural ha,it of 6oderatel "ressed
'th, it is identified as a ver weak sound, so, ou need 6ore effort to "ut the
"erfe$t 'th fir6l to 6ake $o6"lete $at$h and "ure sound5
Es"e$iall, for use of high notes with 7th fingers, ou need to kee" good sound
Gualit even with these efforts, and there is no a,solute su$$ess without e!"e$ting
this training5
/lwas ou have to tr the ,etter sound Gualit and 6ore a$$urate "it$h5
Cf $ourse, on a dail ,asis, it is i6"ortant to kee" a variet of training $ontinued
with ea$h ke $o6,ination, with all kinds of ,owing5
E!er$ise < ;heet 0usi$
This is for <th E!er$ise5 B $oin$iden$e, training <th is at No5< e!er$ise5N N
8n #ar6onies, the role of the dissonan$e is as i6"ortant as general ones5 The
world of all things is 6ade of the 0a9or and 0inor5 Noti$e even in an$ient ti6e,
under the sun, in the role of the shade and shadow, wise 6enHs invention of the
sundial is ,ased on all the ,asi$ ele6ents5 Be$ause of dissonan$e, regular
har6onies full shine5 #owever, in general, training s$ale is $o6"letel fo$used on
regular ones5
8n @&rd, .th,)-th, and o$tave@ our ear is a$$usto6ed to regular ones and it is not
too diffi$ult to dis$ern the6 definitel in tune or not5 Cf $ourse, training for the
e!a$t "erfe$t intonation is also another issue, ,ut it is not so diffi$ult to dis$ern the
higher and lower "it$h5 #owever, without training, itHs hard to hear dissonant *nd,
<th, >th, ,e$ause our ears are not sensi,le to hear the high and low state5
First, in order to get a$Guainted ,etween har6onies, relate to dissonan$e, ou
need to listen re"eatedl5 ;o until ou get used to dissonan$e, $ontinue to do the
s$ale <th onl with <th until $o6"letel satisfied, $ontinue to do the s$ale *nd sa6e
wa, and the training should ,e re"eated se"aratel5
8n fa$t, good ear is not a 9oke until ou reall should $ultivate "atien$e, ou do not
hear well ,e$ause ou give u" easil on the "ainful sound, "ra$ti$all $onfronting
the dissonan$e whi$h is usuall the reason5 But the fa$t is s"eaking to an hurts,
there is no torture "hsi$all, no har6 is done to our ears5
Eust a$$e"t the fa$t that ou are a$$usto6ed to $onsider the "ain a little "atien$e,
and $onsider this as the restorative5 Aissonan$e is reall "rett, if ou get
so6ewhat fa6iliar with the sounds5 ;o after ou do intensive <th training on No5<,
ou will reall have the 0asterHs ear (N N+5
/s ou $an see, the s$ale is ,ased on 3arl Flesh sste6 $entered of the / ke to all
the ar"eggio even in$luded the $hro6ati$ s$ale intensivel5 Parti$ularl, the
kenote was fo$used and dis"laed in ,la$k for understanding the notes5 Aou,le
sto"s 6ust ,e trained , all of the si! $o6,inations using )*, *&, &7,)&, *7,)75
Parti$ularl, ,owing 6ust ,e trained in tri"let, atte6"t to "ut 6a!i6u6 nu6,er
in one ,ow, at least, literall it ai6s to 6a!i6iKe the training ver effe$tive
E!er$ise = ;heet 0usi$
#o"efull ou realiKe and understand that ,la$k re$tangular sha"e "illar shown
here is the ,asis to the intonation5 This allows ver a$$urate "it$h and s"eed that
ou $an own high te$hniGue whi$h shows the "ri6ar ke $o6"onents of "ower
and s"eed5
8t is a $ar shifting fun$tionJ shifting in "osition 6ove6ent , and )st finger as
reinfor$ed role in the 6ove6ent are a,solutel $riti$all needed for other fingersH
6ove6ent5 ;o it is shown here to re6e6,er the ,asi$ s$ale with H,uilding ,ri$k
wallsH 6ore detailed sha"e5 Eust si6"l a""l to ea$h ke, and ou 6ust ,e $areful
as 6u$h as "ossi,le, the )st finger 6ust not 6ove e!$e"t the shifting 6ove6ent5
Iou do not feel the need of vi,rato ,e$ause it 6oves Gui$kl and also ,e$ause it
6oves 6ore notes in one ,ow5 Be$ause, the)st finger is ,eing held, even when ou
want to know the a$$ura$ of the "it$h with tring to slow down, kee"ing the )st
finger fi!ed is hel"ful for training5 Cf $ourse, the )st finger $an ,e lifted in slow
s"eed for natural vi,rato if ou are "laing a "o"ular 6elod line5 Perl6an,
so6eti6es, his )st finger is turned ,a$k down full, when he fo$uses on vi,rato
with his 7th finger5 For that reason, in "erfor6an$e, nor6all onl if ou have the
)st finger as a fi!ed "ole, the te$hni$al "art of the s$ale is sta,le and relia,le, so
s"eed $an ,e raised5
8n the first atte6"t, the o"en string and the fi!ed )st finger, drawing ,oth
together will 6ake the effe$t of dou,le sto"s, and for sustaining of the ,ow whi$h
allows two rows, "ut 6a!i6u6 "ressure on the ,ow to ensure the health of the
sound5 8n fa$t, all the ,asi$ s$ale has to "la forte while 6aintaining the volu6e, if
"ossi,le, slow down the s"eed of slurred ,ow while the left hand notes are 6ore
,us, whi$h 6eans, raise to the 6a!i6u65
Parti$ularl, sustaining the fingers $ontinued in two strings in a high "osition $an
,e ver diffi$ult, ,ut, need to over$o6e and 6ake it fa6iliariKe ourself, so the
advan$ed te$hnolog $an ,e o,tained5 Even at to" of the finger,oard, with
fingering )*&7, with all four fingers holding two strings at the sa6e ti6e
$o6forta,l, this is the highest level of te$hnolog of Paganini 3a"ri$e, and it is a
ke ele6ent of the te$hnolog to ,e$o6e a,solute 6aster5
8n fa$t, the differen$e ,etween strength and "ower is 9ust onl a $on$e"t, real
te$hnolog is using a law of "ower with no "ower5 There are two for$es, oneJ like a
fool to waste "ower unne$essaril, for$e to for$e, twoJ indeed without an "ower,
relative for$e (indu$tion+, use the for$es of nature (gravit, elasti$it+ as a result of
seeing the ,est effe$t wisel, of $ourse, the latter is the true "ower5
E!er$ise > ;heet 0usi$
Eust , looking at No5>, 6ost of ou 6a think the fingerings and the ,la$k sGuare
s6,ols 6ake no sense5 But the ,asi$ idea is funda6entall through the ar"eggio
of H,ri$k ,uildingH (ter6 $oined N N+, "refera,l, at the sa6e ti6e, ou will get the
$onsisten$ of tone and $olor (even $olor "i$ked out in a string+ whi$h is a ver
good training5 ;o, the o"en string sound is "ainted in ,la$k re$tangle, re"resents a
whole note effe$ts5
8n other words, due to $ontinued drone notes, itHs a verifi$ation "ro$ess, of ,ri$k
,uilding of ar"eggio in the ,otto6 or a,ove5 Be$ause, while raising the a$$ura$,
s"a$e of intervals, $hords and dou,le sto"s, even rhth6 are for$ed to s"eak with
o"en string5
0ost of fingerings are unusuall using stret$hes (N N+, ,ut the $o6,ination $an
$reate 6u$h 6ore than this5 For e!a6"le, )*& )*& )*& 7&* 7&* 7&* 6a ,e
si6"lified 6anner, )*7 )*7 )*7 7&) 7&) 7&) stret$h and $ontra$tion 6a ,e used
together5 Fingerings "osted here are onl ,rought out one , one, ,e$ause it is a
little $onfusing5 /nwa, feel free to use the fingerings, whi$h is "ossi,le to find a
$reative $olor5
Noise o$$urs when ou draw two strings, first, when ou draw ,ow, when ou
$hange fingers, when ou $hange the strings, the unwanted funda6ental noise
ha""ens, so, silen$e (soundless+is the ,est wa, not to 6ake an sounds5 Be$ause,
si6"l noise is a ,ow tou$h , unne$essar ani6ation or the left handHs tou$h on
strings , another unne$essar $ause, so, if ou want to 6ake a silen$e, our left
and right hand 6ust not 6ove an strings or ,ow5
To e!"lain again, if ou understand the @art of waiting@ (words 6ade u" LLN N+
whi$h has the sense of there should ,e no unne$essar urgent 6otion or the ,rink
of 6oving or redu$ing the 6ove6ent of the left hand and ,ow, it is ver hel"ful
te$hni$all or 6usi$all5 Even when ou $hange our ,ow at the frog or at the ti",
wait in advan$e without ,u6"s ,efore ne!t note5
/nd also if the fingers ,efore the following notes (dou,le sto"s 6ust ,e read in
advan$e+ 6ove around, rhth6 $an ,e ,roken and ou 6a $reate unne$essar
different notes5 Iou 6ust seek the ,asi$ of the "ure sound Gualit onl5
E!er$ise )- ;heet 0usi$
/s ou $an see, the reason No5)- is $arefull drew u" on ever s$ale one , one (N
N+, is intended to des$ri,e a$$uratel5 The e!"lanation in$ludes there is no
fingering differen$e in ,etween 6inor and 6a9or s$ale5 Cf $ourse ou $an also
$hoose to ,e different on "ur"ose5 But here e!"lained reasoning, all of the keHs
fingerings are the sa6e fro6 the start to the end to si6"lif on "ur"ose5
Cn$e ou start, all e!$e"t o"en string in B 6inor, B 6a9or s$ale, at the ,eginning
of the kenote, )st finger is used $onsistentl u" and down to the ,ase note5 The
reason wh not ,other to show the rhth6 is ou $an $reate odd nu6,er with the
tri"let rhth6 also $reate the even nu6,er with four notes "er grou"5
While understanding the $on$e"t of rhth6 of even, odd situation, ou $an
a$tuall "erfor6 a$$ordingl and a,le to $hange freel5 The $hanging various ke
and fingerings are free5 But first, the ,asi$ fi!ed fingering is needed (:+ and
graduall nurture and $over the a,ilit to all the rhth6 and s"eed with fle!i,ilit5
Cne ,ow u" and one ,ow down in slurred on "ur"ose, of $ourse, the te6"o in one
,ow $anHt ,e slow5 ;o at the ,eginning, ou have to start slow to afford to "ut
enough nu6,er in one ,ow for resolving weakness, graduall get used it and
"refera,l it is hel"ful to "ra$ti$e to in$lude ,un$h of 6ulti"le notes in a slurred
,ow5 /fter all, no 6atter how diffi$ult in the left hand, even a lot of notes are in the
,ow, ou 6ust not give u" the volu6e, the degree of adhesion of ,ow and kee" the
even soundJ that is the 6ost advan$ed te$hniGue5
Aou,le sto"s are also the sa6e, alwas evenl draw the sa6e $on$e"t of "atient
and degree of adhesion to the 6a!i6u6, that is, 6ust ,e atta$hed near the ,ridge5
#eifetK "laed the 6ost so $lose to the ,ridge and in the 6a!i6u6 adhesion, it is
al6ost as $ool as sushi knife, owing to its degree of adhesion, su$h as 6artial arts,
su$h as a laser ,ea6, it is the highest level of ,ow skill5
#eifetK 6ethod is the ,est , he has the ,est ,ow te$hniGue and the ,est left-hand
without a Guestion5 8n #eifetK $lass, all this in addition, ou have to "ra$ti$e the
slurred sta$$ato s$ales (down, u"+J Eugene Fodor said5
E!er$ise )) ;heet 0usi$
8t should ,e noted, in "ra$ti$e, rather then the un$onditional 6ove6ent of the
fingers, one , one, while with feeling in the noteHs $hange in the nu6,er of
vi,rations of the sound, it should ,e $onfir6ed that u" and down of the sound need
to ,e together with the ti" of the fingers 6ove6ent5
8n other words, the effe$t of the glissando of ,el $anto, singerHs singing sound is like
a ver gorgeous de$oration of ar,itraril kind of te$hniGue, also the sliding (N N+
see6s to handle the great tone, as well as, along with su""orting the ,a$k "hrase,
is one of the funda6entals of violin "laing5
When ou "la the 6elod 6ainl, with this te$hniGue, it re"resents one of the
e!"ression of e6otions, ,ut if "ossi,le, too 6u$h glissando (a kind of shifting+ 6a
,e re9e$ted, so, ou should tr the "ro"er a6ount of the sensitivit and feeling of
the 6aterial in order to suit the at6os"here5 /s ou $an see, of $ourse, the
s6,ols are in a straight line, ,ut in a$$ordan$e with its own, the te6"o and ,ow
$an ,e ver different 6oves5 ;o at first tr, al6ost as if as the se6itone s$ale, the
intonation 6ust to ,e evenl raised in a $hro6ati$ s$ale(in fa$t, the freGuen$ of
sound+5
8f "ossi,le, find the $onfiden$e to s"eak the vi,rato is re$o66ended when u"on
the target of one o$tave has arrived5 /ll s$ales, @8n fa$t, 6ust ,e in$luded with
vi,rato@, 6akes a true 6aster (#enrk ;Kerng $lai6ed N N+5 /ll the s$ale 6eans
all dou,le sto"s, u" to all in$luding even the 7 o$tave $ode, ,e$ause of that, we
alwas think of the ,road $on$e"t of s$ale whenever we (N N+ will need to ,e
"re"ared for a $hallenge5
/s ou $an see, the wav arrow is a 6ethod of the distan$e of twelve se6itones,
using glissando with vi,rato te$hniGue in use5 8n other words, with a good
understanding of vi,rato to the 6otion itself, ou 6ust use the re$oil of the u",
down 6ove6ent 6ade in LLfull5 This te$hniGue is featured in Wieniawsk,
T$haikovsk, Paganini, so, it is favorite $olorful essential skills for advan$ed $one
te$hniGue of "erfor6an$e, so, ou have to naturall "ra$ti$e the o$tave into )*
Gui$kl, a$$uratel $ounted , )O& or )O7 or )O*5 8n other words, )* P &!7, )* P
7!&, )* P *!., )* P .!*, ou 6ust ,e aware how it is $al$ulated and how it is
distri,uted at an ti6e, with an notes, in our head for our "erfor6an$e5
0ainl ou 6a "ra$ti$e, grou"s in three, grou"s in four,(3arl fresh wa+, ,ut
generall in the "ra$ti$e, "laing Ba$h Partita in B 6inor, Presto, the final
6ove6ent is thought to ,e distri,uted in various a""roa$hes5 Ea$h ti6e ou are
e6"hasiKed, with all kes, with all ar"eggios, with all $o6,ination of the fingering
$an ,e trained a$$ording to our own $hoi$e5
E!er$ise )* ;heet 0usi$
2h oh555if look at No5)*, it ,e$o6es $haos5 But look $losel to dis$ern the sign of the
for6, as it 6eans, one with e6"t note(whole note+, one with full note(Guarter
note+, at the sa6e ti6e, the are "ainted as dou,le sto"s, ,ut thatHs the intentional
dis"la for ease of division5 Throughout the $o6"lete No5)*, starting to stret$h
with the "erfe$t 'th to the )&th, "ro6ote (N N+ever line one , one5 #owever, if
"ossi,le, ou have to "ra$ti$e onl u" to our li6itations that how 6u$h ou think
it is good to tr5
Blissando, u" to 6ore then )-th, $an ,e so hard that ou should ,e $areful, so, it is
,etter to wait until our sensitive fingers ,e$o6es fle!i,le5 8n Paganini 3a"ri$es,
Hwide-o"en )&thH often e6erges in "la$es (No5&, No5)* 3a"ri$e+5 ;o here, )&th is
trained, ,ut it is not the onl one to $at$h, that $ontinues to slide u" and down,
using a $hord with u" and down $an ,e ver intense training, and it is fearless ,
,e$ause ou 6ust have a tuff "ra$ti$e in s"irit of H;"arta TrainingH(NN+5 8n fa$t, if
ou do this, ou slee" well at night, ,e$ause ou do a highl te$hni$al training of
the violin5
;o, when our fingers in fa$t suffer fro6 diffi$ult e!"erien$es, our 6ind and ,od
state is 9ust like ou ran whole da of a 6arathon5 ;o, through Hhand a$u"un$tureH
("ut needles in hand+, it $an ,e a wa of $uring the ,od5 Ies, on$e 8 e!"erien$ed
this several ti6es, hand a$u"un$ture, whi$h (like "or$u"ine needles in ,oth hands
for a,out &- 6inutes with hundreds of sets+ the 6e6or of the effe$t was ver
good one5 Thanks to 6an 6asters who have the training of strings in deal with
the left hand to e!$hange for a long life, are well known5
8t is also seen here virtues with $ultivating "atien$e5
Cf $ourse, at first ti6e, ou should not give u" at all for the $on$e"t of "atien$e,
,ut on$e ou tr, tr until it worth the effort, so, itself 6akes a ver valua,le skills
and also ensure the un6istaka,le add with the de"th of inner "ower5 For the
a$$ura$, the "it$h, the ear i6"roves , o"ening, o,taining the a,ilit to dis$ern
the tone easil, and it is not "ossi,le to easil distinguish the notes fro6 the ,irth
without all the hard training5 That is wh ou have to over$o6e, like even

Sh+re ,

Tweet -
Submit a comment
@Where did the ;uKuki 3A goL@
Bood news: /ll the ;uKuki Violin ;$hool 3As are availa,le
now as digital downloads on /6aKon5$o65 But wh take
the ti6e to sear$h for the6 allL WeHve $olle$ted links to
ea$h al,u6 for ;uKuki Violin Books ) - =5
Get them now! Vol5 ) D Vol5 * D Vol5 &
Vol5 7 D Vol5 ' D Vol5 . D Vol5 < D Vol5 =

Thank you to the sponsors of Violinist.com for supporting this community.
1996-2014 Niles nline.
!"out Violinist.com - #ri$acy %tatement - &ules for 'riters - (o) to *et #u"licity on Violinist.com - +ontact the ,-itor
.// Like Share