Ask Augustin 15 - Spiccato Special!
Vložit
- čas přidán 23. 04. 2020
- In this installment I talk about spiccato - one of the most fun techniques to play and listen to. I start with basics -- spiccato is all about the wrist motion while staying relaxed with the shoulder. Everyone has to find their own sense of how the bow bounces and how the speed of the spiccato changes based on how cloes to the tip and frog you are with the bow.
The most typical way to get louder in spiccato would be to increase the wrist motion so that the bow bounces higher. Other times you might want to transition gradually to an on-the-string bowstroke.
I also talk about string crossings, which is when spiccato gets tricky. You need to know when your string crossings are "against the grain": going from an upbow on a lower string to a downbow on a higher string is much harder during high speed spiccato than the other way around.
In passages where you want your spiccato to fly effortlessly (I play an example from the last movement of the Mendelssohn concerto), it is helpful to map out your fingerings to make those string crossings fall on the right notes -- playing an upbow on your first note of a higher string on the way up - and a downbow on the first note of a lower string on the way down. That way there won't be any bumps as you fly through the passage! - Hudba
Thanks for sharing your expertise, maestro! ❤️🎻🎼🎵🎶👏☘️🇮🇪
I only started 3 months ago after seeing you live but I've been a fan ever since.. And hey I can kinda do spiccato now even though I have no use for it because I can't keep up with my left hand. But I'll keep working hard to follow you, my Hero!❤
Tank you very much Mr. Hadelich. It has been a real pleasure. Congratulations for your musical art.
Everything seems to be easier watching your videos. Thanks Augustin.
Thank you Augustin! This is extremely helpful; need to try it tomorrow into my practice...BTW, I've been practicing using your harmonics tips on Sarasate...I think its starting to make a difference for the better already :)
This is really helpful. Thank you so much for making great informative videos. 🙏♥️
Thank you so much Master Hadelich!!!💖👏👏👏👏👏
wow, I never think about that bowing and fingering trick before, thanks a lot!
gotta give a try on my spiccato
These are awesome! Thanks!
So thankful for these videos!
Could you make a video in which you discuss the books on your shelves?
Thanks! This perfectly answers my question on your other video :)
Learning from the best ,thank you sir
Muchísimas gracias
Tengo que decir que admiro mucho tu trabajo ❤
Fantastic!
excellent video 🥰
Very clean very good
Wwow. Thank you so much. 🥰
I'm glad gravity is on my side because the rest certainly is not..
@Augustin - How much time do you spend "warming up" so you don't injure your hands and fingers? What kind of music warmup exercises do you think are the most effective for most Classical musicians?
Bien!!!
❤❤❤
Thank you so much!
It is wonderful that you mention the difference between the two directions of string crossings. Could you please suggest some tips, how to tame the more difficult one? There are places that one cannot solve the problem with fingerings, like in the 5th Paganini Caprice for example... Thank you very much in advance!!!
changing strings in the "other" direction is awkward, but the fingers of your bowhand can help by doing some of the strong crossing motion for you (so it shouldn't be too much only from the arm). Other than that, it's a question of practice. It's helpful to reduce these types of crossings when they happen, but t's true that sometimes there is no way around it.
@@AugustinHadelichViolin thank you, Augustin! I very much appreciate your answering my question!!!
I'll try, what you suggest.
Usually, when string crossings are complex and in fast tempo, I feel that I am loosing the control of the bow through too soft fingers. I try to keep them sort of stronger, but that leads to overly stiff arm overall. I also tried a wider grip, but I have very hard time keeping it. The fingers keep slipping back towards one another.
Somehow, I cannot find my way through this although I'm trying for years already. I'd love to solve this, not only because of my own playing, but also in order to be able to teach this properly. Thank you in advance for any tip or suggestion. Your willingness to help others by sharing your knowledge and mastery is truly wonderful!
Yours Stepan.
Štěpán Ježek Štěpán, does it help to be aware of the counter-clockwise 🔄 arc that the bow hand needs to trace in the “backwards” string crossing ? I think also that a completely relaxed, floating arm where you allow responsive movement in the arm socket and elbow joint can assist. I mean, the quintessential example of this would be in Bach Partita III in E major Preludio in the bariolage section. I often use Kreutzer #8 (slowly, quickly, on, and off the string) to inspect the quality of my string crossings. We studied this with Nathan Cole in his Virtuoso Master Course specifically to address this. I’d be curious to know what you eventually come up with!
Hi Augustin. You are brilliant!!!!! Would you consider recording Rota’s improvvisso? He wrote two that i know of. Thx
kevin horne Improvviso en re minore? There’s more than one? 😱 I only know of the one!
👍👍👍
Can someone tell me, isn’t that sautillè? What’s the different between it and sautillè?
So how can we get private classes from you? Where do I send my money?
My teacher actually says that what you are playing is saltando or sautillé (btw what's the difference i'd like to know) and spiccato is the one that is slower or like she says "Wurfbogen". I'm a bit confused now... can someone pls explain?
The terms that are used for these techniques are really confusing... your teacher is correct - slow off-the-string strokes are usually done by bouncing each note individually, and as it gets very fast, we let the natural bounce of the bow do the work for us. Whatever we call the bowstroke, this is the key!
About the terms: Sautillé is a French term, Wurfbogen and Springbogen are German, Spiccato Italian, and they all get sort of mixed around. Where I'm from (Italy) I usually used the Italian terms (even though I'm German) and we usually used spiccato as a more general term, even if, technically, in Italian there is also a distinction with balzato/saltellato (which would be sautillé), that violinists might use when talking about technique, when meaning a kind of spiccato that is not tightly controlled but where gravity does the work for us.
Usually, when a composer who's not a violinist wants to indicate an off-the-string bowstroke in the music, they will just write spiccato (or even staccato), and not bother with figuring out the exact terminology, so I tend to use the term pretty broadly. (maybe too broadly!)
Saltato and saltando is actually the Italian term for ricochet. Did I mention the terms are confusing? :-) so Saltato/saltando is different from saltellato.
@@AugustinHadelichViolin Thank you for explaining... I had to read it twice though because english is not my native language and the terms are indeed confusing :) I appreciate it very much that you took the time to explain to me!
Вы ,Потрясающий Музыкант!
Хотелось бы, чтоб Ваш опыт озвучивали и на русском языке.
Не все дети муз.школ понимают о чём Вы рассказываете, но имитируют очень хорошо.
А смысл? В осмысливания того, чего хочешь добиться или чему хочешь научиться!!!(простите за каламбур).
Успехов Вам и Здоровья!
Ждём и лекций с переводом.
С П А С И Б О !🌹🌹🎻