Kerson Leong's Art Of Etude #3 - Kreutzer Etude No. 7

[@uMpzZ26e03]

One thing Kerson missed because he is a professional, and obviously a long time ago he solved and probably forgot the problem of mixing other strings when landing his bow in this etude. In my (amateur) opinion the very first thing one beginner has to solve in this etude is precise bow landing on target string. universally My amateur guess is there is rather narrow range of bow landing (bow direction, angle,...) that has to be learned in every particular string crossing in this etude. That is not exactly easy generally, because I have myself heard on many occasions in some video recordings of very distinguished and even famous violin players a glimpse of extraneous tone originating from unwanted string near by. I also just learnt how to shape violin bridge myself, and that is very interesting experience: there is a certain curvature, i.e. radius of bridge that is suitable for certain style of playing, for specific player. I corrected my new bridge (it came out splendidly, opened my tone and brought more power to violin sound) to have a curvature more appropriate to myself. The primary reason why I learnt bridge shaping is I was certain the top of the bridge was improperly shaped so e.g. A could not be properly engaged without contact to either E or D when pressed harder no matter what. When shaped my new bridge properly, I immediately got broader/unlimited scope of bow pressing. Moreover, with my new bridge mounted, I was finally sure that my occasional mixing of near by string in bow landing in etude 7 was not the construction error of my bridge, but my own. After the bridge changing I had clear situation what is my error and what is not (every mix of extraneous tone is my own error). That is important conclusion, because previous bridge was on the opposite scale of curvature, much more demanding from a player or even impossible to achieve in demanding musical pieces. That way, when I cleared who is "guilty", I start focusing on this problem to correct it. Big improvement. As you know, a good luthier is not always readily available in the vicinity, so this problem is large for most beginners who like to pass into somewhat professional waters of sould quality and performance. Now to everybody here: at the start of using etude 7, you need to focus to exactly this problem, and not immediately to somewhat advanced Kerson's advice, and only when solving this imprecision of your bow landing could Kerson's advices be properly addressed. Of course, it would not hurt if you solve the bridge curvature either by a luthier or by yourselves. This is an amateur opinion only, but I think it is extremely important and might be usefull to many people.

[@SF-ru3lp]

Thank you so much Kerson. I am an adult student (58!).I love you totally relaxed yet powerfully clear and beautiful articulation. Very inspiring for me. I have just finished the grade exams. I was just thinking I'd like to work through all of the Kreutzer studies... Delighted to get this helpful teaching and demo. Very best regards from Ireland. G

[@cristianoporto-empresariod693]

Dear Mr Kerson! Thanks for sharing your knowledge.

[@kma9797]

These episodes are really helpful! Thank you. Could u please give us some tips of how to practise scales?

[@yuan-juliu1675]

thank you, Kerson! its so inspiring how you explain them and demonstrate the execution of the practices.

[@eriknystrom5839]

Very helpful! Looking forward for more tips!

[@jacobcamiolo5769]

I am almost five years old. As a violin beginning learner, I am playing the Etude in Zuzuki book 1 these days. My mom shared with me this video tonight and I enjoyed your playing. My mom also collected your “Bis” CD. Hope I will meet you in person in the future. Thank you very much for sharing your knowledge. Wish you stay safe and happy always.

[@KersonLeong]

Wonderful! Glad you enjoyed it.

[@stephanebelizaire5063]

BRAVO !

[@SakuyaKiciKici]

Thank you! I'm.pracrising it.right.now!🎶

[@chiyeh]

Seriously, someone actually gave this a thumbs down?

[@sylviamiddleton8877]

How do you eliminate extra sounds during the string crossings?

[@uMpzZ26e03]

If you still are not satisfied how you perform tone mixing in this etude and generally, you can read my comment above.

[@googlejobs934]

@@uMpzZ26e03 comment?

[@uMpzZ26e03]

@@googlejobs934 Hi, here is the copy of my comment. One thing Kerson missed because he is a professional, and obviously a long time ago he solved and probably forgot the problem of mixing other strings when landing his bow in this etude. In my (amateur) opinion the very first thing one beginner has to solve in this etude is precise bow landing on target string. universally My amateur guess is there is rather narrow range of bow landing (bow direction, angle,...) that has to be learned in every particular string crossing in this etude. That is not exactly easy generally, because I have myself heard on many occasions in some video recordings of very distinguished and even famous violin players a glimpse of extraneous tone originating from unwanted string near by. I also just learnt how to shape violin bridge myself, and that is very interesting experience: there is a certain curvature, i.e. radius of bridge that is suitable for certain style of playing, for specific player. I corrected my new bridge (it came out splendidly, opened my tone and brought more power to violin sound) to have a curvature more appropriate to myself. The primary reason why I learnt bridge shaping is I was certain the top of the bridge was improperly shaped so e.g. A could not be properly engaged without contact to either E or D when pressed harder no matter what. When shaped my new bridge properly, I immediately got broader/unlimited scope of bow pressing. Moreover, with my new bridge mounted, I was finally sure that my occasional mixing of near by string in bow landing in etude 7 was not the construction error of my bridge, but my own. After the bridge changing I had clear situation what is my error and what is not (every mix of extraneous tone is my own error). That is important conclusion, because previous bridge was on the opposite scale of curvature, much more demanding from a player or even impossible to achieve in demanding musical pieces. That way, when I cleared who is "guilty", I start focusing on this problem to correct it. Big improvement. As you know, a good luthier is not always readily available in the vicinity, so this problem is large for most beginners who like to pass into somewhat professional waters of sould quality and performance. Now to everybody here: at the start of using etude 7, you need to focus to exactly this problem, and not immediately to somewhat advanced Kerson's advice, and only when solving this imprecision of your bow landing could Kerson's advices be properly addressed. Of course, it would not hurt if you solve the bridge curvature either by a luthier or by yourselves. This is an amateur opinion only, but I think it is extremely important and might be usefull to many people.

[@googlejobs934]

@@uMpzZ26e03 thanks so much!

[@Anna-887]

Tank you very much for all your tutorials! Could you do tutorial on vibrato, please!

[@violinsolo2]

Great Insights!

[@violinsolo2]

You should share these on your IG page :)

[@iwakihiroyuki305]

Il me semble qu'il doit être manifique technique. Je vais l'essayer!

[@tianshugu9283]

I don't know if this would be too time consuming or not.But I do appreciate some new etudes or caprices from none other than rudulf kreutzer.🤣Anyway,Rode caprice seems too hard for me.

[@Abrilviolinista]

Gracias, me ha servido muchisimo 👏💓😍

[@violinpraxis]

Your intonation is cleaner than my evian water 😁

[@SleepDisorderedBreathing]

I was like yeooo, he's hot fire, had to do a double take and then realized he was a violin...violist here watching thinking that this was a violist for a second, so all jokes apply :-P

[@Juliet0307]

C’est remarquable.