The bow is like a paintbrush. Music is the expression and the space between the notes. Eddy: When you look at the music, these notes are just what the composer wrote. But that is just the beginning of your story. Eddy: You could probably learn it in a few months, if you know how to practice. They call this a bridge. But the way I see it... ...it's my bridge to success. My name is Brett Yang. And my name is Eddy Chen. (both) And this is our Masterclass. Recently, we received a lot of you guys suggesting that we review your violin playing. So we decided we'll do it. Within like, one day, we received 4,000 links, which is absolutely incredible. I didn't think you guys would be so ballsy to... (both) Yeah! Because we're gonna be - showing this in front of everyone.
- Yeah. And also, it's not just violinists, actually. - There's also a lot more other people, apparently.
- Yeah. So obviously, we weren't able to go through all of them. But, if you guys enjoy this type of video where we... r o a s t ...provide constructive encouragement, make sure to hit the like button below, so we know. Hopefully we can get through as many of you as possible. Lucky first, in our Masterclass, Earlene Eugenia, 13 years old and has been playing the violin for 3 years. Bach Double Violin Concerto, the second violin part. That's the one I play. Hehe. That's not actually not bad, 3 years. Actually, that's pretty good. And I like your rhythmic stability. - How steady you were.
- Yes. I'm just gonna share my thoughts, but that doesn't necessarily mean that you should be focusing on all of them now. You should always focus on what's the next thing - that will provide the best benefit to your foundation.
- Yes. I'm sure you have a teacher. We're just gonna give out what we see. So the first thing I notice is, uh... You're running out of bow. I can see you're just trying to keep the sound with the vibrato. But it's still choking. You can also hear the vibrato in the bow. - Yes. It's not blending with the sound.
- Yeah. You can either opt for that, kinda like a short retake. It's almost like there's a tie, but that... *inhale* ...a little breath. Because, you know, baroque style. It's not necessary that you want to sustain it all. But, if you do want to keep it, you don't like the retake approach, maybe you could consider either changing the bow... It's just easier to distribute the bow. Or, you could just practice saving. You'll wanna come closer to the bridge, so that with a slower bow you can still get more sound. - It's up to you, which approach you wanna go.
- Yeah. Also, one thing though. Left hand position is really nice. Looks a little bit tight when you do a vibrato. - Maybe have a look at your thumb.
- Find the ways, yeah. My name is Brett Yang. My name is Eddy Chen. (both) And this is our Masterclass. Alright, next is Miyabi Hibberd, aged 1 and a half years old! And has been playing since 8 months old. They're getting younger and younger. Oh! She's kinda on beat. I would... I would work on the dynamics a bit. Maybe keep it a bit softer. - She's overpowering our violins.
- Yeah. Geniuses are born, not created. Right there, that's a prime example. Nothing to say, very good. - Just work on your dynamics. Perfect!
- Yep. Perfect! Yeah. Next one is called - A Fan of TwoSetViolin ╮(╯▽╰)╭
- Wow. Great name. 21 years old, and has been playing since 4! - Oh, damn, I'm nervous.
- Ohhh... I don't wanna watch it! Dude, is that him playing both parts?! You need to work on your video and audio syncing. The visual is a little bit delayed compared to the sound. That's our only... - ...criticism.
- That's our only criticism. I have nothing to say. You should be taking over - the Masterclass from now on.
- Yeah. TwoSet Violin fans can play better than TwoSet Violin. We are done! Retiring from YouTube. Bye-bye! - I like how crisp and even the spiccatos -
- Yeah. I like also, how... - He phrases off quite nicely.
- Yeah. It's not that... Yeah. And very in tune octaves. - Oh, yeah. I like the octaves.
- Yes. Concert in C. Haydn. - Well we did enjoy it! Very much.
- Yeah. I'd love to go to Venezuela one day. Never been. First of all, I very much like your opening thirds. Very confident and resonant. Very in tune, considering that you're not spamming vibrato, which is Haydn. So very nice. I would say the chords could be a bit more careful. Some chords were a bit crushed. When you put too much weight on the lower string... There's a bit of a crunch because the E and A string are thinner, so I would probably just release the weight. Dude, look at that music, too. Oh yeah, try and play it by memory. We would encourage everyone to try and play it by memory if it's a concerto. Because often times, looking at music, - I find is quite distracting sometimes.
- Yeah. But there's a lot of other opinions, so. I got in trouble once for playing by memory this sonata, and I get it. I would think about how you phrase off, because it's classical style. Actually, in general how you phrase off, but especially it's Haydn, so... Be careful not to do... Ooh. Because it's a full upbow, it's easy to... - Yeah, and then the note kinda went...
- Yeah. Yeah. *inhale* And then breathe, and start again. 'Cause like, when you talk, you don't go, "Hey how you goING?" - Yeah yeah yeah.
- You kind of have to, "How you going?" - Next one.
- Yes. Uh, there's also one thing. From a technical perspective, your thirds and stuff are all very good, and your sixes. I would work on your... legato running passages, semiquavers. Especially when there's shifts. - The shift should be lighter.
- Mhmm. You can hear your tension kinda... Yeah. So this movement, I think, is quite important. I probably will practice it like... Stop, and and see if your hands are... - ...relaxed.
- Uh-huh. Softer, and then... And put it together. I also think the evenness of the notes. Rather than... You're rushing a little bit of the left hand lifting off. And my suspicion is - your right arm is also not even.
- Oh yeah. - So, fun thing to like, try, right?
- Yeah. If you keep the bow, but then finger the adjacent string, if you're tensing... - You hear like, that kind of...
- Yeah. Your bow kind of follows the left hand. Sometimes they should be independent of each other. Yeah. So I would keep the bow just relaxed and just this. Even... Not... Yeah. - That. Yeah.
- Yeah. That's a good one. - Cool, hope that helps.
- Nice. Who's next, out of the 4,000? All right, uh... We have Alice. She's been playing for 6 years. Flute! - Nice.
- All right. See if we have anything constructive to say. Thoughts? I'm not a flautist. I was thinking... Good luck. Yeah... Good luck! To be fair, we're not flautists. We don't know the flute repertoire. But! My name is Eddy. My name is Brett. (both) And this is our Masterclass. - So, we're going to say something anyway!
- Yeah! We have to say something! Uh, rhythm. - Yes! I was thinking the exact same thing.
- I think that's the most obvious thing. It's interesting, as someone that doesn't know flute repertoire, we can still pick up on - rhythmic inaccuracies.
- Yes. The fact that, as a listener, I can't get a sense of where your rhythm is clearly, I think is a sign that perhaps the rhythm or the phrasing could be worked on. Especially 'cause it's classical. This isn't like, - a contemporary composer trying to...
- Yeah. - It's...
- Do polyrhythms, right? Exactly. And it's obvious, sometimes it's four-bar phrases, eight-bar phrases. - We can always hear the music
- Yeah. going towards that direction. - Sometimes you're just on the backside of the beat.
- Yeah. It's still on time, but the accompaniment and the flute part are not - exactly aligned. Yes.
- Yeah. The ensemble playing wasn't there. The piano beat you to that next quaver. It came in a little bit like, early I think. Yeah. Actually, there's a good tip I once got from a conductor. It was, in classical style, it's very common to get like, crotchet... ...tied to semiquavers. Almost think of that tied first semiquaver as nonexistent. Yeah yeah yeah! - I remember. It's silent.
- Yeah. - It's actually silent. I remember that.
- Yeah. - Oh, wow. Don't play it through.
- Yeah. Yeah, otherwise it's easy to be like... - Yeah. I remember.
- You're already too late. - That one.
- That. - It was...
- I wasn't sure when... - When it was gonna sit, right? Yeah.
- Yeah. I would also practice subdividing as well. And also the metronome. I don't know if you're doing it, - but a metronome will definitely help.
- Mmm. Metronome makes it easier, so you know where you're going wrong. Take that back, that was good. - That was very nice. It was pleasant.
- Good rhythm. Personally, I enjoyed listening to it. - Same. And it was pleasant to listen to.
- Yeah. Maybe a really professional flautist might be able to pick up on things like tone, or technique. - But from— Yeah.
- Breathing, and all that stuff. From my perspective, - I quite enjoyed the sound you're making.
- Yes. Uh, just... Yeah, rhythm. - I think so.
- Yeah. - Nice!
- Cool. Good luck. For the future. All right, guys! In order to get yearly access to our Masterclass, just make sure to like this video, share it with all your friends, and subscribe. (both) And this is our Ma... - ****.
- Do it again. - And this is our Masterclass.
- And this is our Master... Oh, ****.
