Violin Techniques - Wrist Vibrato

hello today I am going to show how I teach the Bradham and to my former students who are waiting for this video here it finally is so the way I started righto and if it starts are actually in my case is I don't really teach young very young students to correct the rhythm I teach the riskier brado in the Russian school which I come from the are Corrado was never taught Arthur Bravo is really not the best type of rather to have as it gets either too heavy and slow and or too fast it's a response to the nerves much more so than the rest of Radha and it's not a very controllable and also people tend to get just very tired very reading so we're looking for the rather that is manageable that is easily controlled that can be done slower faster variations of the rather of course they are obviously still involved in the research rather because even when we make the distinction between wrist and arm the broad meaning for on the ground of course still let's face it the wrist is not moving by itself the muscles still go in ligaments and muscles still go all the way to this arm forearm and on the upper arm and down back and all of this is connected so there is really no such thing as purely wrist to browser obviously forearm is involved somehow but we for our purposes concentrate really on the movement of the wrist and the way I start restructuring the browser or teaching it all new is to go first through what I call a knocking motions which I know many teachers also do for instance I were to say well imagine how you knock at the door just with your wrist you come and you just do this motion suck that stuff up and a lot of times I would even use extent which you can see right now but something that is just a wall for music sense and so it is several of these motions you can I can right here if you can see that is knocking motion I don't do a movement up this is this this way no but you think about this think about that it's the natural motion that happens we can invert the hands and not miss Murray couple times okay so that's pretty much the grotto as in a nutshell really so then we have to transfer that movement that already is in our hand exist in our hand to the violin and then that's a little bit trickier but not too much therefore taken into small steps so first I would actually transfer the knocking I would go into higher position I would not ever teach you rather in our lower positions why because when the student is by himself or herself it's very hard to feel whether you are actually moving your arm or not doing anything it usually gets involved it's a bigger muscle so the result is very important not what we like to have when they see that comes back from their actions at home so this way we sort of hang the violin on the thumb in a higher position or at least we feel the violin their body of the violin here in the various places it could be all the way to form of the base of the thumb or somewhere nearby I would not of course a wrap like this it will be too much so sometimes going over and higher it's a good idea sometimes a little bit lower is fine too but you need to see that they are your students or yourself if you would like to do it that you do exactly the same knocking motion but only with this part of the hand 1 2 3 4 5 I will do 5 motions and I will stop stopping it's important to let our brains to to be able to comprehend with what's going on again 1 2 3 4 5 and then I would also do the reverse that mountain so 1 2 3 4 5 with some people it's easier to feel the forward motion and some people are better in feeling the backward motion in fact in the Brazos there are two motions again here I would really stand by they trusted their Russian school method and not method direction desertion from school thinking which by the way recently has been approved and confirmed by the research and the research showed that no nobody really vibrates from the note up or from the note down or below the note actually anybody rather involves going around the stem which is your note so having both movements involved is very important to not only the backward down motion and/or not only the upward motion of course but when we start we have to start with one or the other or both so we go to the knocking I would stay on that stage with especially with the younger students sometimes with the older students for a long time maybe a week two weeks maybe even three weeks until we see that this movement is very free but nothing it gets tired anywhere here in the wrist and that people don't do anything of this nature which will be like going once you want to want to there's no one to there's one oscillation at the time and that observation comes with one unit one two three four five it's going and returning or one two three four five okay after that after it's clear that this is stuck this is the hardest part the hardest part is transfer they up and down knocking and knocking of the motion to the sliding motion and that's when a lot of people take more time again when they when we transfer it I ask my students to feel exactly the same way as you were doing this now now you will be doing it in a slightly different direction so the finger could be either placed in between the strings very lightly or on the top of one string whichever doesn't matter see sometimes sometimes a you should be one of those for a middle two and just transfer the moment so again we're touching here we're not leaving we're don't go out of the violin and we don't get completely glued to the cello violin either so so that's a moment they can I will do five one two three four five now I started backwards and now I will start from far forward two three four five okay and we do it with a little bit of stop stop now I will alternate up and down for instance and maybe I will just do something that is more comfortable for me at the time so once this is placed and once you know for sure that your student is not doing or you yourself are not doing any kind of angular motions and everything is flowing and it doesn't cause any discomfort anywhere you can add the ball and usually this happens to be harmonic which is very useful dad or a the same I'm using right now so I will start and the ball will go and my victim that by now I have accomplished one two three four five now I think oh those are going to be my eighth notes so one two three four become now at this point I will try it the ball will move all the time the left hand will start and stuff Oh for the thing it will slide the finger will not press the string control it will be very lightly touching on harmonics and just slides on whatever is needs to slide starting to over this is very backward carry way to do it you will go back and forth anyway so once that is been established again the ball goes and four doesn't stop anywhere the browser starts what will eventually be the rather start in the beginning the goal which is very important so many people do you leave your brother for technical areas and then it's important next part next part is to put it to the metronome and here is very important is to catch the speed of your motion for instance my motion is gone so I will go to the metronome herbs and I will try to catch that feed and I happen to be it looks like around 96 right now [Music] no I'm manera 99 probably most likely for me I'm at a hundred and hundred one so this is start point for many beginners it will be slower because they're knocking motion will be slower there for the beginning of the temple will be slower but whatever it is we start with the metronome and we do exercises in this sort of manner so you do it for I don't know 30 seconds I don't want to do it more than a minute because I think it will be too much it's an overload of the kind of strange sounds very slidy over though it's very light we keep advancing the metronome up so the growth from 104 206 let's say the goal is not to feel the difference not to feel that it's actually accelerating so you do whatever little acceleration during one day again from four of 104 104 - probably hundred twelve you will notice nice difference if we the movement is correct you should keep going but I would stop there Nick daya will start a little bit under that tempo again just maybe even back from knocking back to sliding back to the metronome a little bit below of what you left yesterday and then you go above so when in that manner you go to you get to 120 or about 120 which is a fast example in this case exemple in this step in this time I suggest to convert they are eighth notes or eighth notes actually we'll say the same but to convert your thinking from dupe listed triplets and that means that this speed will remain exactly the same but the metronome will be except now in order to make a triplet really set to high to 8120 never go to 80 so then the National is like this make your movement are exactly basically we were but you're thinking 3 now 1 2 3 1 2 3 1 2 in other words 1 2 3 2 2 3 3 4 your feeling for how your quarter note to be important that their chord and a half okay so here's was always city notice as we are still sliding quite a bit actually the finger is very light but no no flexibility again this is one of the things that I would not want to people to get at your old flexible joys you know everybody enjoys are flexible unless you have arthritis your joints are very flexible they are just flexible by nature so all these exercises of training flexibility of the joint I find them completely all false really and useless because it's already there especially with younger people again if you don't have arthritis you're flexible fine in this case we are not worried about these in fact if I hope you see it my finger really doesn't change shape I don't make it stay I just don't do anything with this I just allow it to slide in a very loose form as it is and this is not pressing it's not changing it you okay so we are now accelerate the metronome from the 80 and we go to up and up and up in the same very gradual manner and somewhere around hundred and twelve when you get to the hundreds in 1213 1416 this is a fast example on triplets in these temples [Music] as you notice of course it was a big jump from one table to another of course as you accelerate your sliding movement is getting smaller third they don't force the hand to move as much as you did in the beginning so by the by this time it's much easier to do a smaller risk of the moment and that's you know I'm teaching the same thing so at this point I suggest to start centering with echo centering which is your honor money and your allow the finger to press you think about rate of finger pressing not even pressing kind of leaning into the string maybe one-fourth one-fourth of the stream and then imagining that the tip of the finger is glued like with a superglue the rest of this remains the same light as it always was and this exercise but the tip of the finger just the skin just the skin so perhaps to some people I wouldn't even say press another word pressure is not a good word I remove it glue it to this chain so here it is slightly glue and the same careful we're still in the same tempo we hear the triplets subdivision and triplets if I allow myself to be a little bit more glued into the string but still never pressing in exercise that I'm never pressing the whole kingdom then you will hear a little bit of actually a lot of the browser motions and you can distinguish still the wah-wah-wah-wah-wah-wah-wah as i call them they are salacious and from that sample you can go again higher so as you progress against their graduate which 112 i will borrow conservatively each one 1,300 1,400 15 and so forth just be on the safe side meanwhile another question when do you start using other fingers that is very individual you can try to do search to answer fingers to be exercised pretty early on I would say when you're seven do plaits somewhere to do this a a third you can try to use the you will use the first and fourth some people actually are okay with the fourth as long as it slides it should not movie caused a big problem if it goes are the problem drop it just let your hand get used to the sensation in the feeling and the sound when you're doing this book also just one or two fingers and then the rest will slowly be processed by the brain and we will be able to do it but the idea of the fortune is the same I would prefer I would suggested not go lower and not go for that harmonics because then the position is lower but probably just go and do that eastream without without going to harmonic so it will be the key thing is so like it is old saying that their sound will be there except they only holding is for holding like this when there's no notes kind of hard so I do leave the forefinger for a little bit longer out of the equation engines as their first three fingers and then the fourth comes along also of course then we do go down the positions and by that and off of course - but when you are already with this motion then you know that in fourth position you're still touching interest in first position you may be touching or maybe not touching but by now your hand already knows what to do so good luck I hope that has been helpful and until our new meetings in the cyberspace

Channel: ViolinClass

Views: 426,471

Keywords: violin, julia bushkova, masterclass, vibrato, how to, vibrate, UNT, russian, method, system, effective, demonstrates, demonstration, wrist vibrato, wrist, technique, technic, best, flexible, flexibility, practice, best vibrato, страдивари, скрипичная школа, где учат наши педагоги, help

Id: QgjZmxW4oXo

Length: 17min 10sec (1030 seconds)

Published: Sat Mar 18 2017