RAM Masterclass I The Violin in 5ths Explained by Rodney Friend

Royal Academy of Music professor Rodney Friend explains the principles underlying his new technique of practising the Violin in 5ths.
Prof. Rodney Friend has been acclaimed internationally as one of the most distinguished British violinists of his generation. Throughout his long career, he has appeared worldwide as a soloist, chamber musician, concertmaster, director and pedagogue. During his encounters with the world's famous virtuosi, such as Heifetz, Oistrakh, Stern, Menuhin, Milstein, Szeryng, Ricci, Rabin to name a few, he observed the simplicity of their practice patterns and a tendency towards effortless posture and natural hand freedom. These observations became the cornerstones of a teaching method that he has developed and perfected over the past decades.
In March 2019, he gave a Masterclass at the Royal Academy of Music in London, with his then-students, Hiroki Kasai and James Chen, to demonstrate his new violin teaching method. His book "The Violin in 5ths - Developing Intonation and Sound" provides the best technique for violin students to improve their left-hand facility.
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[@alexsaldarriaga8318]

I just ran into this video and could not stop watching. This guy has thoroughly convinced me he has "the right stuff." I agree with everything he says. I love his brutal honesty. He's my kind of old school violin teacher. Buying the book now!

[@TheLondinium]

Thank you so much for this, Rodney. I wish I had known about it some 35/40 years ago. It would have saved me years of pain and frustration to work on my left hand (in special intonation). I have read and heard a few people talking about intonation on the violin/viola in ways which were not only illogical, but completely irrelevant for the instrument. Having just watched your fantastic class a few days ago I immediately went to my violin to work on the 5ths. The results were almost immediate. And not just marginal results, considerable results! Now I will transfer this work to the viola. By the way, I will never ever forget the work we did together at the RCM in the mid 90s, when I played Britten Lachrymae Op. 48a with you and the RCM String Ensemble. Thank you Professor, and God bless you.

[@sebthi7890]

for me as a musician but non violinist it is always interesting to learn about the functions of other instruments. This teacher has really something to tell, no joking, concentrated information, like that should be a masterclass, not a comedy show with the student in the role of a jumping jack.

[@edwardgoldsmith8011]

A master indeed and a gentleman in life.god bless him.

[@FodorPupil]

So great to see this MC. There is real teaching going on here, instead of MC's featuring players playing already flawlessly.

[@victorlai8853]

A major breakthrough for violin method! Professor has help me and my students solving many technical difficulties.

[@TheTubelerone]

A wonderful man, and superb musician and teacher. I am honoured to have known him for so many years and so grateful for all that he has taught me about the mechanics of a bow.

[@alos66]

Agree !! I have been teaching this left hand and arm position for many years. Unfortunately I had to understand by myself after the tension slow down my progress when I was a students long time ago`. Any teacher should teach the students how to listen the own body and pursue the most natural possible position. This makes a better and happy performer and less scared to play in concert and competitions. Regarding the bow is the same things how to hold and move the arm, wrist etc.etc. Understanding the natural movement without playing the violin first is one of best suggestions I can say in my opinion.

[@tullochgorum6323]

Well said! Too many teaching traditions were founded by a maestro who developed something that worked for them, and successive generations of followers simply force this approach on their students whether it suits them or not. The very finest teachers help students to find their own way, but they are the exception, I think.

[@teddywang69]

12:50 斜向按弦 可以幫助 音準以及換法的順利執行 16:09 利用揉弦微調音準 3:17 不是用手臂旋轉角度來換法而是直接 伸展手腕 來換把覺得比較輕鬆

[@amezcuaist]

47.03 Elbow position. The elbow Can (Capital letter to emphasise ) remain in one position playing E and G if the violin is tilted .See Oistrakh in Tchaikovsky 3rd movement .Rapid E to G notes alternation with several changes in violin tilt.Also a bonus as it saves a lot of bow movement as well . Saves almost a foot bow novement each time the violin is tilted .

[@amezcuaist]

At 77 years of age this virus may kick me into touch at any time. But I trust Mr Friend to try an experiment for me. He has an enquiring mind , so I trust him . Just shift the foam pads to a new position under the jaw line where you can find a balance point to alter the violin tilt angle. The pads should be near the centre line and not spread across to restrict movement . Head up and slightly left for E changing towards head down for G .Keep the left elbow down and still .Then only use the bow arm in one plane (as much as possible ) Back to first lessons time. Open strings cleanly . Good luck . Sincerely .

[@shawnchristopherwhite3271]

What a wonderful masterclass! Friend has created a compelling and convincing approach to the violin!

[@christopherbonds9553]

"We teach ourselves how to play." Yes!

[@trevorpinnocky]

He's such a good teacher. Those players are lucky...

[@livingstonesuk8555]

He and his sister were at school with my wife, the teachers recognized his genius at the age of 10/11, very serious boy, seldom seen without the violin case. His record speaks for itself..

[@hamwhacker]

Personally I am not able to travel to the RAM in London often, although I can highly recommend making the effort since it hosts invaluable events like this. Thank you to Beare’s so much for making this Masterclass available. I purchased my current bow from you! It is so interesting and a privilege to listen to such an experienced violinist (indeed legend Rodney Friend) articulate his unique theories on developing good technique.

[@william-michaelcostello7776]

His left hand teaching is much like that of the late Kato Havas, loose giving wrist, soft touch vibrato but he really goes into detail.What is new about him is the teaching of the 5ths to form the hand and if the 5ths are in tune then you can‘t miss the octaves. I practiced this in some of the nasty parts of the Barber and low and behold it was suddenly all there. One of the best things he said was,“music is singing and dancing“ and rhythmic . Richt on. What I wonderful teacher

[@amaliopratti2068]

Do you still prepare the pad of your double stops the same? I've always used a tall finger and the tip has equal contact. What am I doing wrong? wider contact? flatter wrist?

[@metatron1980]

Very well explained theory and realistic! Thank you Royal Academy of Music

[@mahaliahedwards4806]

Academy not college :)

[@jadenlam4895]

Yup Royal College is a different school

[@amezcuaist]

33.50 Oistrakh would tilt the violin by dropping his chin to play on G and raise his head and turn it slightly left for E. All the while having the elbow in the same position . Not every single time 100 % but mostly . -----You understand ? ---(Paul Tortelier used to say that ).

[@amezcuaist]

Slight addition . The Oistrakh Tchaikovsky 3rd mov shows about 50 head movements controlling violin tilt . Unmistakable evidence .

[@NathanielRobinson]

Great class! Thank you for sharing!

[@amezcuaist]

The bow arm length (A } with the violin {B} and the (full) bow itself (C) form a Triangle which are dominated by a centre mounted chinrest. This centre mounting chinrest can push this triangle into a less that ideal position . Thought for the day . Serious point .

[@methuseling]

Good point ,listen to your body in addition to the violin.

[@michaelbarbour1744]

Thank you so much sir - first time I ever saw this - outstanding 🤗👍

[@BarroqueSpirit]

Alucinante!!! Gracias por sus conceptos de veras útiles!!!

[@SarumChoirmaster]

Double stops are way more important than scales AND should always be learned and practiced first before scales. EVERYTHING must be practiced without vibrato and in a soft extremely extremely slow legato tempi. And, any machine can learn to play like a metronome. But a truly great artist, after practicing with a metronome, tosses it aside to play with human singing and freedom of rubato.

[@SpaghettiToaster]

How are you supposed to be able to play a scale in double stops without first having learnt the scale?

[@bobafetteste]

@@SpaghettiToaster I don't think that would work, I completely agree that double stops have to be taught early on but you need a framework that is simple to read and understand and double stops are far from that. Unless you're being constantly supervised and guided by someone every time you practice (which is quite unrealistic for most people), double stops are too overwhelming to learn before basic scales.

[@SpaghettiToaster]

@@bobafetteste Yes, also, I'm not a violinist, but I don't see how it would even make sense to base your whole ergonomics on double stops. Surely you can't play everything as if it were a double stop. Fast scales that involve string crossing, especially on the lower strings, require round fingers to specifically avoid playing a double stop, right? So how would this be helpful?

[@bobafetteste]

@@SpaghettiToaster Personally I agree with you on that observation, I think the take off from practicing double stops is to create and internalize a basic hand frame, a resting position if you will. However there may be passages were the hand and the wrist need to move out of frame to play effectively.

[@arwo1143]

I didn’t expect it, but there is a surprising amount of Ling Lings in this comment section BUT, what I really wanted to say,... HOOLLYYYY FUUUUCK this was helpful

[@amezcuaist]

29.21 Notice (about chinrest ) at the centre line of violin is between Rodney`s ear and jaw centre. His helper`s violin centre line is at the jaw centre. These centre mounted chinrests are all wrong . The triangle is out of position .

[@emmanuelvacakis4463]

Excellent

[@amezcuaist]

30.21 The arm (elbow ) has to be in a certain position for the particular string ----Because the Shoulder Rests restrict any chance of tilting the violin . Still photos do have serious drawbacks that can mislead players . Be suspicious of photos and photographers .

[@borredinho3184]

Not really look at Lisa batiashivili arm and also the hand position while she is playing with a shoulder rest. This video really helped me to realized how to play with a natural position.

[@sharon1775]

How wonderful!

[@amezcuaist]

22.43 "All fingers are vibrating". Each finger vibrato uses a different set of forearm muscles .

[@JustFiddler]

terimakasih sir. salam dari pulau bali

[@dsthorp]

wonderful!

[@nickhickson8738]

Wasn't RF a leader of BBC SO many moon's ago?

[@paulking7800]

LPO, New York Phil, then BBC

[@violinpraxis]

I agree Did I say I agree? Because I do

[@burnhamny]

beautiful

[@janlotichius7949]

Will definitely try this ... thank you Mr. Friend!!!

[@blackclash4133]

A Love Music

[@CalebCarman]

I know Hiroki from high school. He's fantastic!

[@JustFiddler]

yes he is

[@chrisharrison809]

this is deep

[@willjamiesonstudio6272]

Nothing is at the link. How does one acquire the book? Amazon doesn't have it: "The Violin in 5ths Developing Intonation and Sound?"

[@BearesPublishing]

Beares Publishing have now made Professor Rodney Friends's book "The Violin in 5ths" available as an ebook. www.erudition.direct/orders/transactions/new?id=1576&publisher_url=beares-publishing * Due to COVID-19 disruptions, we are unable to ship physical books until further notice. We apologize for the inconvenience.* Updates to follow Many Thanks

[@nocturnallsnake4228]

25:30 thats it!!

[@amezcuaist]

Hope you don`t mind the feedback . 2 schools of thought aimed at the same thing . I offer you any apology you feel is needed .

[@MrInterestingthings]

This is revelatory . texture apart from color . Texture in the bow and color in the hand . My teacher always thought highly of Stern . I saw Milstein as a child - remembe r nothing except that he closed the program with Pagianiana. How I cannot remeber what solos he played and what piano and violin music is funny because I remembe r complete programs from others Pollini , DeLarocha , Pogorelich in LosAngeles .Gary Graffman in Prokofiev no.1 ut I cant rememebr if Milstein played I think he may Mozart eminor sonata - why I think this I don't know . A Full recital and i only remember Paginiiana and not even did he do an encore ! Sad .

[@amezcuaist]

At 22.22 "The wrist is in the right place to be totally free" Holds left hand up with wrist bent backwards . Oh No. He gets away with it because his shirt cuff is much too long for this particular demonstration . Lesson about hand and wrist. Is this cuff long enough? Too long .

[@amezcuaist]

Tilting the violin is a foreign land these days . To change back to that is like changing another person`s religion. Nigh-on-impossible .

[@marquishathomas9681]

Soooo anyone know the name of the piece played in the intro?

[@ramses6231]

sicilienne and rigaudon - kreisler

[@shunlix]

What's the song of the begining

[@RamiroBrandan]

shunlix i have the same question

[@cristiandesaviolin]

shunlix Sicilienne and Rigaudon by Fritz Kreisler.

[@ronandevlin]

@Finn n nice contribution

[@DivaDeb1234]

Ida Haendel !!