Fix your intonation in a week [Violin Technique]
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- čas přidán 24. 06. 2024
- Believe it or not, "bad intonation" is not necessarily a physical habit that has been drilled into your muscles requiring years of retraining. Once you learn how to listen and integrate patterns, you can fix your intonation (or be well on your way at the very least) in no time. It does take commitment though! Take it from someone who still hasn't done that proper week to address intonation problems Let's all accept the challenge TODAY.
Follow along with the free PDF of these Sevcik exercises
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VIDEO CHAPTERS:
00:00 Introduction + BACH
01:12 Fundamentals of Intonation
01:51 KEY POINT: Aural vs Physical technique
02:50 Sevcik Exercises Summary
04:11 DEMO - intonation best practices
06:14 Sloth vs Cheetah
07:01 Continuous Melodious Sound
08:20 DEMO: Book 1,
08:51 Stability in the frame
09:45 Visualize intervals
10:24 Identify Tendencies
11:05 DEMO - Vertical placement
13:28 DEMO - achieving maximum reach
14:54 Resist the urge to press
15:24 DEMO - Dexterity and finger independence
16:35 Sight reading
17:09 DEMO: Variations/adjustments
18:41 BACK TO BACH
20:29 How to be more sadistic
Also see Sevcik's guides to Brahms & Mendelssohn concertos, and more:
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Subscribe to my channel and hit the notification bell, so you don’t miss any of my new violin videos! Upcoming topics include how to master finger dexterity, ways to speed up violin passages correctly, specialized exercises for mobility and strength for string players and techniques for musical development. - Hudba
You channel is a game changer! The Ysaye exercise already lead to huge improvements in my playing, the only two fingers exercise massively improved my shifting! For this video, despite watching it twice, I didn‘t quite understand what it was about until I tried it myself. But after tuning my double stops for a while with this exercise, my violin is more resonant than ever, even when playing melodic pieces! It is fascinating how consciously and subconsciously, the listening interacts with the mechanical aspects of violin playing. I am motivated to keep going!
I'm deaf. But have been a violinist even though I was deaf. I played like beethoven did by vibrations. Now I have my cochlear implant. Thank you for this! You sound really beautiful by the way it brought tears to my eyes.
Thank you so much, James. I am touched by your comment. Happy practicing!
@@DanielKurganov PLEASE PLEASE Help..Im so tired of the RAGE and FRUSTRATION I fell when intry to play some pieces like Jesu joy of mans desiring and it does not sound as bright and crystal like as other people..WHY WHY im so tired of this..and im not a very patient person..whats wtong with tje viokin..and how can i learn this faster and more easily..i hope you can please respond when you can. It would mean a lot.
@@leif1075 put your violin down and learn to sing, using a recorder. when you have learned to hear, then apply that to the violin. learning is forever, so might as well not be frustrated.
j gunther gave some good advice there. Frustration + Rage = tension. Tension destroys everything in violin playing. It's impossible to tell you how to improve exactly without knowing you. But I can tell that you need to slow down, use more bow, learn to make beautiful sound on simple simple things (starting with open strings), and learn to pay close attention to your sound. It's like meditation, in the sense that there is no way to force it. Once you slow down and focus your attention, your shoulders start relaxing, your bow hold becomes loose, you begin to use the bow in the same way as you breathe, and not "a thing you are holding and dragging across the strings". Violin is hard :)
@@DanielKurganov Thanks for responding. Is there a way to make it not hard and more easy and fun..im tired of that..Hope you can respond again..And how can i leanr vibrato or double stops faster. Thanks
As a professional violinist and teacher myself, I totally agree that intonation is much more aural than it is physical. When I stopped fixating on teaching left hand perfection in placement and instead simply focused on training the ear, the intonation in my studio skyrocketed. With good tone, a flexible left hand hand, and a well trained ear, the left hand will find it positioning over time. Thinking clearly about finger patterns can of course also help speed up the process as the video said. Keep up the incredible work Daniel! I know how much work it takes to make these and they’re fantastic.
Sevcik op. 1 is underrated. Most teachers today don't use it and many who do, unfortunately do not know how to teach it. This book is for left hand foundation but young children want to 'play' Suzuki. Intermediate level students generally don't have the patience to 'practice' & grasp Sevcik concepts. Only students who have been humbled by listening to their recording & willing to go into Sevcik rehab may have some hope. Excellent, well explained, good looking/sounding video. Thank you. Bravo on the Andante.
Very well said. An obsession with 'basics' in inevitable if one digs deep into the expressive capabilities of the violin.
Your Bach alone is worth the price of admission... amazing
All your lessons are direct clear high quality sound I am 81 years living in Kerala state in India, I like your lessens very much, thank you sincerely for the free pdf lessons.
Mr. Kuganov, I must say, for a high school student (me) who started to learn the violin from an early age in contrast to you, I am amazed at the amount of knowledge you have gained and shared online. I think you are undoubtedly one of the best violin educators on CZcams and in addition, the free PDFs you have provided are really nice as well. Thank you very much!
Wow, talk about a condescending, backhanded compliment. 😂
@@procarpenter1788 I wasn't trying to be condescending, I was simply expressing the amazement and respect I have for Mr. Kurganov. He is one the best educators and has become so despite starting the violin far later than any teacher or peer I know.
where can i find the free pdfs？
@@smallflash2009 should be a link in the description
What this gentleman conveys is the joy that is hidden inside truly rigorous practicing.
Goodness - when after a slightly disappointing two hour violin recording session, and over some late night toast, I clicked on the first CZcams violin intonation video I saw, I absolutely was not expecting the enchanting captivating beauty of 00:16 to 1:12. It really hit me hard.
I sincerely hope I'll be able to play so beautifully one day. I've already got way further than I ever expected (having started less than 6 months ago, age ~54). I'm definitely starting to feel at one with the instrument. Having heard your playing tonight I am inspired to go much further still.
I have wanted to learn the violin for years, but I have always feared it is too late to learn to a professional level. Your journey gives me hope. Thank you for your resources!
What in heaven is this Bach piece you beautifully played in the intro ?
the bad thing is that many teachers do not point out how relevant intonation really is. the reason why equal temperment is a thing. one can easily see (or rather hear) this by playing an E in the first position on the D string, tuning it with the A string and than playing it together with the open G. thus they will get a significantly out of tune major sixth (G and E)
Great video, and the free pdfs are the cherry on the cake. Thanks a lot!
Lmao I read the title as: “Fix your intonation, it’s weak”
too weak too slow 😈
Ahahaha and it'd be true for everyone here 😂
Thank you so much Daniel, all of yout videos are really helpful for me and my students!!! Keep it going man, this is great!!!
Love your videos, it helps a lot!!! Thanks for your insights!!
OMG, thank you!!!! This is incredible. I will check all the channel. Really, really thank you, this video is extremely clarify and helpful !
Спасибо за такие ценные уроки, они - такая редкость!
Thank you! Very timely for me, I've just been trying to work out how to do this in a couple of pieces and had no idea how to develop the technique until watching this video.
I'm so glad I found your site! I find that we align in our approach to intonation! THIS is a wonderful approach. Thank you for your thoughtful and, I think, definitive guide!
I started using these recommendations and the Sef book. What a difference in my playing!
love you so much !! great content
Wonderful lesson! I just bought the Sevcik book that has the four books combined in one volume. This is a great lesson that you are giving us to follow!
Really wonderful Tips you have given🎉
Thank you very much dear Mr Daniel 🙏😊
You are a great violinist and teacher, im a teacher myself and i love to watch your work, its a plesaure to watch the things i teach from another perspective. My teacher was a graduated student of the great Tibor Varga who taught in Dortmund, Germany. Keep it up!
Thank you…invaluable advice…a teacher who truly knows how to teach both the ‘gross’ and subtler issues regarding intonation…physical & musical 🙏🏼❣️
You are a great teacher.
I like your voice calming and encouraging. I’m practicing intonation now, so this video is quite useful.
Gracias por compartir esta información tan valiosa!
The playing of Bach in the intro is so very beautiful. I wish I could achieve that someday. Thank you very much for this great content!
One of the most useful videos I’ve seen in my life! Thank you very much Maestro!
Glad to hear that!!
I feel obliged to say that your interpretation of the “andante” is particularly good. The sound is actually mesmerising … do you have a video where you play it all or a lesson about it ?
oh my favourite sevcik exercises!! All my serious students get these and they work super well!
bro i love your videos i think you are the best youtube teacher i have ever had
So glad to hear that! Practice well :)
Hi Daniel, I love your master classes and your videos and your clear explanations and demonstrations. Thank you so much.
Happy to hear that!
Hey! I just wanted to say your channel is amazing - I am enjoying watching and learning, so glad you are making these videos :)
Thank you so much!
Your intro piece from Bach is heavenly, Daniel - total relaxation and perfect tuning - like balm.... Thank you. G Ire
Great advices! Thank you very much for this video, Daniel!
You are very welcome!
Amazing video, i also have played kreutzer 17 but Yampolsky's edition and have very similar excercises that helps a lot with the left hand frame stability
Bravo teacher,think you very much
Awesome.Absolutely help full.
Delighted to get this brilliant teaching Daniel. You have encapsulates everything here. I have Sevcik book 1...I'm off to start those chosen exercises! Just the prep for double stop exam scales. I can see how this facility underlies all good playing. Thank you so much. Adult learner G Ire
Thank you very much for sharing all your experience and knowledge!!
This exercises will help me a lot, looking forward to your next video, BIG thanks from Honduras🇭🇳👏🏼👏🏼.
I’m so glad!
Great, as usual
very nice work thank you
beautiful!
Very informative, great video
Great information.
thank you for this video
Very helpful video - thank you for taking the time to make it. I am a beginner and the music is above my skill level, but the practice tips and suggestions you make are extremely helpful. 👍 Also, very beautiful playing!
Brilliant video 🔥
For me, intonation is inseperable from musical energy-velocity of shifts, based opon desired portamentos. Vibrato and phrasing all play a roll in physical motion, which is directly related to pitch one way or anther.
Your work is exquisit! Many thanks to your contribution 🙏🏼
Well put! And thanks!
Beautiful
You are amazing
For me, it's taken more than a week!! Jaja!!! But it's working!!! Thank you Daniel!!!
I’m having a very long week too :) but seriously, it took me about a week to completely transform the way I hear and practice intonation. I can’t say that I play super in tune, but it was like night and day after this.
@@DanielKurganov mi homemade pizza is burning up due to your video!!! I want a compensation!!!😆😆🎻🎻
Thank you! Great lesson!
Spasibo bolshoe!
Thank you for taking time to touch this theme. It was always mystery for me and I love to talk about it with famous or skilled violinists on my roads. There is connection between our mind and muscles and the will to play attractive. Using our inner ear and imagination plays big role. Listening inside based on our experience and transmitting it to our hands is one beautiful universe. Thank you adding your view on this mystery to my collection. Best wishes.
Beautiful
Totally agree and thank you!
Oh so Good i must practice. Thank you.
me too!
Thank you 🙏🏼
Much appreciated, kind regards
I had a few Zoom lesson and told my teacher I wished to be able to play faster . She introduced me to Sevick exercises and also worked to change my hand shape .in 6 lessons I am faster . Now for that Clarity I shall look into more Sevick.
Sevcik knew what to do! Careful not to practice too much of that stuff ;)
Thanks Daniel, the sadistic element turning into joy is a great picture I will keep on my mind from now on when breaking down impossible parts of the Chaconne….
yes!
Oh my God thank you 🙏🏻
I think of the six Sevcik exercises as “intonation jigsaw puzzles” in that they only “fit together” in one way in terms of intonation and resonance. IMO the best Sevcik has to offer.
well put!
Super super super lovely tips Augustine violinist from Malaysia
The ears are always the best guide... whatever you do with the violin! 😉
exactly!
I 100% agree!! I thought the same thing. 👍
@@pluutoop ... they really never betrayed me throughout my violinistic life.
@@DanielKurganov Best guide together with the individual taste... I forgot to mention that before.
@@sabrinasviolinchannel i believe you. ❤
Yes, these exercises remind me of those concerto guides. I have the one for Mendelsohn, and the wieniawski scherzo tarantella
Wonderful video, Daniel! Some of this work reminds me of the Vamos patterns (for which you also created a great video). I can't wait to try these exercises. Thank you!!
Yes, definitely some overlap there. Those are great as well. I like these for their continuous and ever-changing flow. There is something less mechanical about them that really keeps you awake and alive :) Meanwhile, I find Vamos/Korgeov patterns really shine as a way of practicing/breaking down specific double-stop passages you might run into.
@@DanielKurganov Yes. The Sevcik is not as predictable as the Vamos. I have to stay more focused on what happens next. Great exercise. Thank you!!
@@kohare63 Thank you Kerry!!
Thanks for this detailed video, Daniel!
Will definitely incorporate more Ševćík into my teaching and playing.
Your left hand dexterity and finger independence is beautiful to watch!
Thanks, Lynn! This stuff was always hard for me personally…I guess I keep just enough in my pocket to play real music. I will let Nancy Zhou and Roman Kim take it from here ;)
огромное спасибо. очень полезно
From someone who has played for 60+ years to those learning: "slower is faster." I know that's hard to swallow -- but try, you'll see, and then you'll laugh at your previous impatient self.
Amazing 🙏🎻🎶🌿🌹
This is a revelation to me: solo Bach if played with all full bows and tons of repetition Inside each and around each measure becomes a either a Sevcik (hormonic doublestop/shifting) or a Schradiek (melodic velocity finger dexterity) exercise. Mind blown. Thus, practicing solo Bach really is almost the only thing a violinist needs to attain near universal mastery of the Left hand. (Minus harmonics) for that, add Paganinni caprices.
Off course right hand techniques are another issue, but I think with a solid fluid foundation resulting from such a free left hand, the problems of the right hand are not as big an issue. Brilliant insight as usual.
(Obviously I'm exaggerating a bit, there is huge power in all kinds of other exercises, but getting a solid and reliable relaxed intonation really helps boost confidence in solving other issues.)
Well put! Bach can give us so much…
So playing Bach sonatas and partitas will help my left hand right?
@@pluutoop Definitely. Bach Sonatas and Partitas contain so many challenging double stops and chords, in a multitude of configurations that it gives your left hand a great “workout” which you pair with your ear 👂 in order to develop what Daniel calls the physical and aural aspects of intonation on a string instrument.
Developing great “hand hygiene” through building a reliable hand frame comes through the study and practice of double stops and so yes, studying solo Bach will help you do that.
@@violynnkuo thank you! I feel great now❤❤❤
Thank you for your guidance Maestro! You made me realize what a gem Sevcik really is. You have given me purpose to continue improving my violin playing.. :)
Great video!
I think there is definitely a reason why a lot of virtuosos have been quoted in the past saying if they could only practice one thing for intonation it would be 3rds.
There’s some fabulous exercises in Simon Fischer’s double stops book that I love, alongside Flesch, Sevcik, Kreutzer etc.
Super👌
🙏💐❤️ Love you brother...
Super sir
Thanks for this great video! I’m excited to delve into these exercises. Question: do you have any tips for creating more space between the 2nd and 3rd fingers? For example, in bars 4-5 of Sevcik No. 24, the second finger is down on F on the D string, and then the 3rd finger has to reach up to D on the A string (while keeping the 2 down and not letting it touch the A string). I’m having trouble extending my 3rd finger far enough while keeping the 2nd finger down (and in tune) (my hands are small, by the way). I’d be grateful for any advice you might have. Thank you!
Delighted to find your channel - the intelligence shines through. Please also cover right hand technique - so far you seem to be focusing exclusively on the left hand!
Yes, definitely more right hand videos in the works!
Thanks just talking about intonation today!! Lol.
If you have a short pinky and have to practice intonation, you should see me 😂. Very nice video with clear instructions!
😁
Many thanks. I will give that a go. I am only playing simple stuff at the moment, and on my acoustic us a mobile phone as a tuner and guide which does help. Can't quite do that on my electric which I also practice on but it is far too heavy. I may have to make a lighter one.
Thank you so much Daniel for all your fabulous lessons! 👌 I am so grateful. I suffer with terrible cramping in my hands, do you have any suggestions as to how to ease this? It is sometimes so bad I cannot play in the middle of orchestra which is awful and excruciatingly painful.
Thank you Daniel. This and all your material is an incredible resource. Your obvious fascination for the technical side of playing is inspiring - and motivating.
I'm curious about your chinrest: what is on it and why?
Thanks again for sharing your "noble obsession"!
I'm glad you find it useful! In my view, the technical and the musical are one and the same. I think that sensitivity to intonation, to take this example, is ultimately sensitivity to vibration and the resonance of your instrument. Without this, any high-level achievement with Bach is not possible. Likewise, I believe most 'technical' things are actually musical at their core.
Regarding the chinrest, I was experimenting with shape by using little dense pieces of foam. I don't use that anymore simply prefer the MachOne adhesive foam pad.
Daniel I was delighted to hear some of the Andante from the Bach Sonata No 2. (or is it Partita ?) A short piece but it`s huge musically and treated very differently by many players .
Thank you for this video. I’ve watched it every day for the past seven days. It’s required me to learn so much. I’ve been playing for three weeks. Practicing around 160-180 minutes per day. Im obsessed. The sound is what drew me in. It has been the most beautiful thing I’ve heard during my 29 years here. I believe the violin chose me. Kind of like the sorting hat chooses wizards haha. Im excited to grow the relationship.
Anyways, thank you for teaching me.
Wow, Robert! This is very encouraging to hear. You make me want to practice 16-180 minutes a day !! :)
I want to be clear that I haven’t learned everything in 7 days lol I will still watch this video everyday for the next two weeks at least.
@@roberthill7458 so glad it's helpful! This is something I've obsessed over for some period of time as well. My intonation is certainly not perfect, so I can stand to do it again. To me it's a process of periods of obsession. It comes in waves. Best of luck and I hope you find the connections between this kind of work and the music you play!
@@DanielKurganov QUESTION why do you suggest using the pandemic instead of tip of finger since when the finger is flat, how can you possibly bend or twist it back and forth in vibrato motion..that makes it harder if not physically impossible..or did I misunderstand you? Tha ks for sharing
Ševčík is being pronoinced as Shevcheek. Really nice video though. Thank you for your work!
I realy like the way you teach. I wonder if you can video from over head...top down in order to see the fingerings more clearly. I had an interesting leaning thing of which I play music of all different jandras playing by ear, I automatically fall into a type of groove. Scales and arpeggios helped me but by joining the music I hear, I've discovered repetitive patterns of scales even in jazz. 1st I find home note key and melody apears.This PLAYING BY EAR really helped me learn the finger board. And most of all, made me enjoy playing fiddle to the music. 65 yrs old now...started fiddle in 3rd grade. I have a clasic violin and a 5 string electric fiddle. Learning never stops. Thanx for tutorial info!!!! Blue Dave.
Yes, I am now going to video from overhead for every video! It was more about finding a convenient setup. In my new studio, it's easily achieved. Totally agree with playing by ear and pushing that forward. It's crucial and more important than finger patterns, reading music, etc.
Very good video man! Such an effortless and warm video production too! What are your thoughts on electric tuning devices? I think especially for melodic intonation (no double stops) they can be very beneficial and also eye opening for orchestral or ensemble passages. I prefer open strings most of the time too, but always when I do a short session with a tuner it somehow cleans up my ear and sorts my fingers very fast. And btw I guess I am sadistic... ;)
Anything sadistic is recommendable. Thank you! I found that tuners can be useful if you are not sure where your note falls relationally or aurally. I think all intonation can be found just using the instrument itself. As you say, there might be situations where you're just in a haze and the tuner gives you a reality check, but I think this just a good diagnosis and not a way to fix it per se. Learning to line up overtones, deeply feeling the intervalic relationship between fingers, choosing how low/high you like your sharps/flats for expressive intonation (matter of developing taste for certain way and identifying tendencies) and considering the frame of the hand are some of the best basic tools. One thing I have tried with success in own work was to record myself and then analyze it with software that shows you exactly where your pitch is, and you begin to see tendencies more clearly. I remember some eye-opening realizations there, such that after SEEING that the F was a bit different every time, I listened again and was like "oh my, yes it is".
Another fun thing to do is to play scales with organic drones. Look up "Indian drone tone" on youtube, and you see one in every key. I love playing scales with that. Since it's an organic sound and you have tonics and 5ths, it's much easier to feel you are "one" with the sound. I imagine you could do this just as well with a good orchestra emulations holding rich chords. The more organic/natural the drone sound, the less strict Just vs Expressive intonation becomes, and you sort of don't have to worry about that. Conversely, I personally can't stand trying to play with some dinky sine waves :P
@@DanielKurganov I agree, drone notes are very viable option too, but I use them rarely just because other options are easier to switch on/off and yes sinus tones are not very nice to tune to. One thing about lining up overtones though: It requires you to have a very good and fine ear already. I often see musicians just fail with the lining up of overtones because of bad hearing habits. When listening to recording it is indeed revealing. Sometimes with the instrument in hand our ears become somehow biased.
@@SimonStreuffViolinEducation Absolutely. So much of hearing become psychological, as hearing ourselves honestly becomes a monumental task. Doing something for hours a day -- the ear/brain gets used to things. I used to play severely out of tune and was really a-okay with it, as my brain was focused on other things. Of course, listening back, I hear everything, but it took me a while to connect that to some sort of concrete plan/method for real improvement.
@@DanielKurganov interesting! What is the name of that software? Thanks! :)
‘If you’re really sadistic you can turn it into Schradieck exercises’ 😂 I wish I heard that long time ago .
Daniel muchas gracias por tus videos son muy útiles para mi, si se le pudiera agregar subtitulado en español sería genial. Gracias!!
Hay una chica haciendo las traducciones, si vas a algunos vídeos más antiguos podrás ver los subtítulos
@@sitosanchez Genial! si, vi que otros venían subtitulados. Gracias! y gracias a quien se esta tomando el trabajo del subtitulado!
Muchas gracias mis amigos!
Very intetesting video! I like that with great passion you enter a lot into the technical details and effective in improving and perfecting more and more the performance of the violin. I would like to ask you a specific question regarding the intonation of the violin. The finger when it falls on an out of tune note should not correct itself at that moment but should center it by playing the note or notes prior to the out of tune for muscle memory, and that's what I do. So when I'm about to get to the out of tune, at that moment I realize it and put my finger either slightly up or down centering it. Every time I play the piece I realize that at that point I have to correct. All right? Or should the correction be so natural and assimilated that I don't have to think first?
Correcting mistakes is important, but eliminating mistakes is the true goal. So yes, that means not just moving the wrong note at the moment and going on. But it also means that when you do a sequence correctly, THAT is when the repetition starts. Most people repeat UNTIL it's right. The key is to repeat ONCE it's right. Good luck :)
Thank you showing me Sevcik .
My teacher never did.
Can you make a vid with slow exersises.
Like vallet train the legs.
Great video! A little off topic, but...what is your sound set-up for this? Mic you use? Thanks!
I'm a cellist and this is so helpfull, any idea if anyone has transposed these for cello (else i'll do it myself no worries). do you considere starting by playing over a drone tone is helpfull and in this logic? so many thanks
bold claims, i hope you had in mind that i may be watching... ;)
Simon Fischer makes similar claims :-) it really did take me a week to change my whole attitude and intuition towards intonation, through these exercises and subsequently careful scale practice.
@@DanielKurganov Yes, if you listen the Mind over finger podcast episode with Fischer, he says he only have patience to exercises that shows results in few minutes.
Amazing, your teaching style is very helpful! Your chin rest is different, probably because of how you know your adjustments. How does one learn how to adjust for themselves and where/what to buy? I would really love to know, so it doesn’t effect ones posture and prevent bruising and marking
Check out this video Daniel recorded a while ago czcams.com/video/4k84U_o48Wc/video.html
You are beautifuI... Your videos are beautifuI...
I will try to live up to that!
PS Daniel what was the Bach piece you used to demonstrate the double stopping? It is totally moving. You played it superbly. Makes me want to try it (I'll wait till I've spent alot of time in Sevcik!!) G Ire
The Andante from Solo Sonata No.2 ! And thank you.
What are you thoughts on a violinist that is also a violist? I find that my intonation lacks when I quickly switch. I may have a performance with violin for example on Friday night and then on Saturday afternoon, a gig with viola. I love them both equally and feel that my love for both can be detrimental to my intonation. I would loose performance opportunities if I stuck to one or the other. I started on viola as a 9 year old and picked up violin as I began my college and teaching career. Age 59 now. Thank you for your wonderful program of study!