Essential Etudes & Exercises for Mastering String Crossings

[@FunTastic36912]

I love your teaching style, such great videos, simply wonderful. Thank you so much for sharing your knowledge, advice and tips. 🧡

[@Violinna]

Thank you so much for your kind words - thank you so much for watching and your support!

[@livia.arts.release]

Great job on all your activity!

[@Violynning]

Amazing! Those string crossing exercises are so hard 🤯

[@Violinna]

They really are! It feels like there are infinite ways to practice.

[@saea58]

Thanks Inna!

[@Violinna]

You're most welcome, Stella!!!

[@dougnickerson]

Excellent - very good teaching, I subscribed

[@Violinna]

Thank you for watching and subscribing! =)

[@AprilClaytonflute]

This video is a really great resource!

[@bradykelso8682]

Love this video. Thank you!

[@Violinna]

You are so welcome!

[@carloskhorio614]

thank you!

[@Violinna]

You're welcome!

[@gouatmbhattacharya7144]

You are realy great,your practice will help ùs,

[@Violinna]

Thank you very much

[@bchill69]

Dear Ms. Violinna, --I'm a longtime lurker and new subscriber, who is has been attempting to self-teach myself the violin. Your videos have been extremely helpful to me these past 2-3 years (and I always look forward to your uploads)! If it's not too rude, I would like to suggest a topic for a future video. --I know that the Galamian scale system is considered to be mandatory (and fundamental) to a young violinist's progress. I can understand why, but I notice that violin teachers on youtube never explain why the scale fingerings are what they are and how to develop the skills to deal with them before they start the acceleration process. It seems to me that Galamian's system can be a kind of obstacle to some violinists, which limits or destroys their future progress. --It would be interesting and usefull to see a video (videos?) that breaks down the fundamental difficulties of the system and provide some kind of "protocol" for building up the hidden technical issues a (slightly below average) student would face. For example, I find it strange that the scale shifts are different ascending vs descending. Why not do it the same both ways? Also, the descending shifts 2-1, 2-1 seem like the hardest part, since one's hand is blocking one's vision of the targent notes. Thanks for reading my comment.

[@Violinna]

Hi, thank you very much for subscribing and your comment! I will put the topic of Galamian scales on my list for a future video. :)

[@bchill69]

@@Violinna thank you so much

[@Tombooksapps]

Hi there! I'd like to reach out in order to propose a partnership with Tomplay, what's the best way to contact you? Thanks!

[@BasimMatar]

Thank you Inna for the video it's an important topic! I remember my teacher when she gave me Schradiek 4 she was so strict about keeping the forearm static and doing the movement by the "wrist only" exactly as what is written on the top of the page. do you think that the way she followed is valid? because it was really difficult!

[@Violinna]

I don't recommend keeping anything "static". Everything works together. Probably not the best word to describe the desired result. When rocking the bow down to the higher string (hand going lower) the elbow actually goes up a little - like a tiny see-saw.

[@dm-jz7se]

I am new to etudes. How do you incorporate etudes into your practice? Do you do etudes after scales but before you practice your piece each time?

[@Violinna]

It depends on the day - depends on my goal. Different etudes tackle different technical challenges. Sometimes an etude can be picked that will help a certain piece and in other cases, they are used to strengthen/improve overall base foundation and "raise the floor" over time. Also depends how much time is available...certain days is all scales & etudes and other days I skip to repertoire because of deadlines😊 if I'm lucky and have the energy and luxury of time, it would ideally be all 3.

[@dm-jz7se]

Thank you so much. I learn so much from you and your videos.