7 Soloists Teach Left-Hand Consistency

[@priceviolinacademy]

I resonate with so much of what was said here. Particularly when James Ehnes talked about conceptualizing the A and then building on top of it. I feel that intonation is about knowing the relationship between notes rather than where every note is on the instrument-- at least initially . You're so much more likely to get something in tune if you can clearly conceptualize the relationships between the notes and build a mental framework that will make you practice the passage the same way every time.

[@JustFiddler]

😊

[@jennieoutram6]

💯

[@sadhbhdelahunt]

Yes, very helpful and concise. I like this as it summarises all the experts' tips in one session.

[@bananafrica6421]

Awesome video! Great tips.. Wish I had this when I first started learning violin.. would have saved a lot of frustration 😎👌

[@william-michaelcostello7776]

Each his own, but I prefer the left hand frame of Perlman, Ray Chen ect. All joints completely flexible, even the wrist and a raised thumb to counter balance the right side, finger side of the hand. My 4th finger is totally secure when I give with the wrist which is what Chen and Perlman also do.

[@dameerg5383]

Random note, Christian Kim's Chaconne is insane and really impressive.

[@jennieoutram6]

In my opinion, Augustin Hadelich has the most consistent hand frame! It always catches my eye. Seems like an easy concept but certainly takes practice!

[@lovelygirlsgo4978]

I love this video! Thanks a lot.

[@antonioroger8102]

This video is AMAZING! ❤

[@dolce9876]

Thank you!

[@patricepainchaud252]

What about Perlman’s vibrato? Quite everyone else does it with the wrist locked and he does it the opposite way; only with the wrist. Yet, he’s considered to be quite the top by many.

[@StudioGuillemCalvo]

Ok. It’s very clear the importance of the left hand frame, but how do you actually work towards that frame? None of them actually give any hints into how they got there or they would suggest. Also, who is this targeted for, adults who understand and know how to do it already?

[@priceviolinacademy]

Octaves in scales are the go to for establishing an initial framework for hand frame along the fingerboard. Progressively advancing the difficulty of how you practice them will start building a reliable frame and then doing thirds introduces the different. finger patterns

[@skyward5748]

Play everything slow, and play it with as minimal effort as possible (ACTIVELY TRYING). Try to unlock the smallest of the muscles. Do this for 10 years and you’ll be the next best ;)

[@jayriya666]

Nobody can give you hints to how THEY developed THEIR left hand frame. I’m an adult beginner started 4 years ago. I highly recommend you get a base down and a teacher before dealing with tonebase. I have tonebase and I can honestly say this is the best app I’ve downloaded in years. Everyone is different with different body frames and LEFT HAND FRAMES. You just gotta find what is comfortable and tension free for you. There are times when I catch myself squeezing so I still have to tell myself stop squeezing but it’s not as tight as when I first started and before tonebase. Go slow and be kind to yourself and your mind you got this!!😊

[@chimeresolomon]

Exactly same I want to ask..

[@cjang]

Someone said octave shapes. Once you get that down, start hitting 1-3-5 arpeggio shapes in all inversions. You can construct full scales from that as a template.

[@jacc88888]

This is very helpful from a visual point of view but I’m not so impressed with a lot of the explanations on how to get a good left hand frame. Not much explanation about finger angles, balance between fingers - ie do you get the balance aimed at middle two finger and the first and fourth fingers extend back and up from there or do you try and get the fourth finger in the perfect shape and then reach back with the other fingers; etc etc.

[@kelvinlui7796]

I don’t understand the tutorial by Zukermann, can someone mind explain more?🙏🏻

[@jakubkrticka1040]

I think 1) put 3rd with 4th in shifts for better accuracy 2) dont lift the fingers high so you dont destroy your LH frame

[@JuhyunLee-mc7zm]

Christian is the best 🎉🎉🎉

[@eellhhaam]

Thank you very much 🙏

[@vallaryotigo2585]

Wow, amazing

[@DanielMasmanian]

Superb stuff, thank you. My students will be grateful... eventually. Or else 😮

[@istvanpinter7618]

Left hand fingers and its contact with the chords decides EVERYTHING in violin playing. Right hand is only a servant. At least it should be. Once it takes the lead over left hand and tries to dictate to it stating that "hey bro, it's me who produces the notes!", come tension, false notes, lack of synchronisation. What we heard in this video about hand position is simply blablabla, useless information. Doesn't help anyone. Play violin this way. 1 Learn the music in your head, imagine all notes, phrasing, etc. correctly, and know what you want to express with your music 2. Establish contact with the chords through each of your left fingers in the smoothest and roundest possible way, so that you feel continuously that the music streams from your mind into the violin through your left fingers. 3. Never EVER lose this feeling and contact. 4. Don't care about right hand, it won't mistake again. Its job is easy. Yes, staccato too. If it does come back to point 1. You're welcome.

[@AnRo68T]

Und trotzdem macht der Bogen den Klang und übermittelt die Emotionen.

[@istvanpinter7618]

@@AnRo68T The emotions as I exposed are in your brain. You shouldn't do anything with your right arm until the contact in your left hand is perfect. When is it perfect? When you feel that the music in your head is being transmitted to the chord without obstacles. And once you got the feeling but not before, your brain tells your right hand to create the sound and transmit emotions you are talking about. SO: Brain-->left hand contact (smooth and round)-->right hand. For every single note you must respect this. All faults come from disrespecting this order.

[@darktimesatrockymountainhi4046]

@@istvanpinter7618One cannot hear the left hand alone, so it is not musical at all without the right hand. But perhaps you clap with one hand only.

[@istvanpinter7618]

Seemingly you have severe understanding difficulties. Or you simply haven't read correctly my post. But fair enough. Do it your way. Play the notes with your right hand and put the left only after. It wil be fun! Well... maybe not for the spectators...

[@SiyaTheeInertV10LIN]

May someone remind me of the name of the intro piece?

[@marcofornaciari3042]

Schubert trascrizione Ernst : ErlKönig, il re degli elfi

[@eccles99]

I watched Perlman's excerpt twice and I am still a bit confused. Is he saying "put the third finger down alongside the fourth finger whenever you use the fourth finger"? Is he saying we should do that all the time? Some of the time? Just as an exercise? When should we do it? I also watched Professor Kim's excerpt twice. I'm not trying to be snide, I'm sure she's a great teacher, but I simply can't figure out what on earth she is trying to say. (Aside from the self-evident observation that the fourth finger should be the interval of a fourth away from the first finger). Maybe it made more sense in the context of the entire lesson.

[@jennieoutram6]

I always put my third finger down with my fourth (except for vibrato) mostly for strength.

[@marcvilleneuve1889]

James Ehnes left hand is as precise as Heifetz's. Many thanks for the post.

[@CarolineViolinMusic]

Irish violinist can be very elegant

[@alizekeriyakemanci6570]

The sound giver is cross. When you listen correctly whitout cross and left sectional but in one the clear tone Connect. The position of left is non important.

[@leonardoiglesias2394]

The looks dont make ANY difference. You cant see if someone his playing out of tune, or scratching. Dont fool yourself. Look however you like but play IN TUNE.

[@johannevanderghote7577]

❤❤❤