Hi everyone! Here are timestamps for the video. Let me know what you think in the comments! 00:00 Intro 01:05 Hand Independence 02:34 A Flawed method 03:32 Improved Methods & Demonstrations 03:37 Sibelius Concerto 06:12 Bach G minor Presto 07:21 Bruch Concerto 3rd Mvt 08:26 Final comments

that sibelius at the beggining was crazy

Good day! 1. Wondering: how to reach good left hand pizz. (Specifically on middle strings) 2. How to reach good intonation in arpeggio (shifts) Best regards

I see a bottle of Lagavulin in the background, you know your stuff, just won me as a follower ;)

A new approach I must practice this thank you.

We want to see your beautiful smile, while listening to your incredible performances or talks. 😊

Love the Lagavulin reference!!

Dude more people/Violinists needs to see this, not only is it brilliantly presented and explained, it’s really valuable advice! Also just discovered your channel, excited to see what more you have to learn from 😄

I like your bar in the background😀

Great practice techniques Daniel, Ty for sharing 🙏🎻❤

Am learning so much from you thank you very much

I'm learning a tango by Piazzolla with a lot of punctuation in slurred notes and somehow run into this video. I can't begin to tell you how usefull it's been. Thank you!

Daniel, Tricking the brain was absolutely fantastic! I can’t wait to use this technique on one of my students I believe it will work for him. Thanks!!

A fellow lagavulin loving violinist. Great!

Great Sir

Thanks!

Hi Mr Kurganov. Thank you very much for all your videos. I have improved so much with the thechnique, vibrato and double plays.

More Sibelius!!

Hi Daniel, A very informative and helpful video. Thank you! A few ideas for your Q&A video: -What does a healthy, balanced practice routine look like? (scales, left/right hand techniques, pieces, time dedicated to each, etc. -what preparation do you need to do to have a successful practice (mental & physical preparedness: stretching exercises, goals to achieve as an outcome of the practice, etc.)? -What are the best conditions for practicing (lighting, time of day, room set up, being caffeinated 🙂)? Thanks!

Awesome play!

For Q&A!: Hi! When you were a teenager you ever felt the lack of practice inspiration? if it how did you manage it?

I like it very much.

Congratulations, this video is very interesting for me, I learned something new. Thanks for doing this tutorial, I appreciated it.

Me gusta mucho sus clases,lógicas y efectivas las ideas.Muchas Gracia por su generosidad!!!!

Thanks again for your innovative and insightful video. You’re a wonderful artist-teacher! I love your sound and your impeccable articulation. When you get a chance, I’d love to see how you solve the tricky passage (measures 154 and 155) in the Vieuxtemps Violin Concerto No.5. Thank you Daniel!

Excellent video again! Thank you!!! There is actually a variation of the excecise you've presented. One can place the left hand in a regular position, and play as if normally, but never really touch the strings actually. Just execute the fingerings in the air slightly above the strings. For me, this one is even more difficult. Missing the touch, I have to work really hard mentally to get both hands aligned...

I am very impressed, your videos are of great interest, I watch them and apply your advice, I am doing the pronation exercises and Ysaye's book. Thank you very much for your help, I really feel that you are my second teacher. Hopefully one day I can have a class with you. Greetings from Argentina.

Ohhhhh mann your playing is perfect

Really so amazing and beautiful video

Wooow thank you!! Right in time. I'm currently preparing for my university audition in Hanover and I want to play Bach Presto and couldn't figure out, why it lacks of tone quality. That's the exact soloution! Thank you for your exact example with Bach Presto! Now I just need to practice. Thank you!!!

Very interesting ideas

Tricking the brain good idea

Thank you 😊!

Thanks a lot Daniel what a great idea and protocol and ways of doing things it's certainly different and I appreciate it it's a wonderful way to learn that and to get in touch with various Sensations beautiful much Applause Bravo

Great video, Daniel! These are great techniques to share with students! I also need to remind my students to cut their nails so they don't scratch their violins.

Hey, man! Very good method. I started to use that and it works! Thanks and bravo!

For de Q&A: Higher position scales please Big fan of your work :3

For Q&A: What to look for when looking for in an instrument for conservatory

For Q&A: Hi! I love watching your videos and I find them really helpful. However, I've been having trouble to keep my spicatto light and bouncy. Do you have any tips on how to do a good spicatto? Thank you!

Hello teacher, congratulations on your video I have subscribed because your advice has helped me a lot during the quarantine in my country. I hope you can understand my question, because I am Spanish-speaking and speak very little English. I am a violin student, I write because I find myself learning double stops scales in thirds. The biggest problem for me is position changes at double stops and I have not found that many people talk about how to make position changes on scales at third double stops, with a good leg arc without losing contact with the rope (it is say, nobody explains which finger initiates the change of position). Taking as an example a major G scale. In my case, when ascending the scale and go from a minor third with fingers 2-4 (in first position). To the third position and reach fingers 1-3. I help myself with my arm and hand keeping the first finger very relaxed so that my change of position begins with the third finger, which naturally uses a little glissando. In the case of finger 1, it accompanies its trajectory in a very relaxed way and in this way my fingers manage to position themselves on the correct notes. The problem is that when descending the scale, it is very difficult for me to go from the third position of fingers 1-3 (minor third), to the first position with fingers 2-4 (minor third); because I don't understand which finger initiates the change of position and at what moment the new pairs of fingers are replaced. I have seen that many people in the down position change their fingers do not lose contact with the rope, since the glissando in the rope is heard during the change and, as far as I am concerned, when descending what I do is release the fingers 1-3 of the rope. , (such as making a downward shift with harmonic weight) to try to reach pairs of fingers 2-4 correctly, but I have noticed that this way it is very imprecise to reach the right place for the fingers in the first position . I have also noticed that I can hear the interval, but since I am not sure how to make the change of position, then I make a bad change and when I get to the position I rearrange my fingers, which is still much worse. I hope you can help me by answering this question, I would be immensely grateful to you. I think it could be, how to reliably change position at double stops? , especially downward changes and although it could be different intervals please make them third, because I have noticed that intervals like the sixth are easier.

That is so Kool That is a clever trick Thanks for sharing

You should make a video on scales... mine need a level up but I’m not very sure how to get there. What should be the main focuses, and how do you practice perfect intonation. Usually I just go up and down and fix any out of tune shifts or other weird things but I can’t seem to get them brilliantly in tune or super fast and clean.

For Q&A: tips and exercises for a more fluid, natural and fast vibrato?

Thank you for the fantastic tips! My question: how do you conceive of the “breath” of the bow? In long singing lines, how do you like to use your bow to achieve the vocal quality in your playing?

For Q and A: How do you go about tacking a new concerto or recital program from scratch? What is your learning process like?

For Q&A: how to create/practice internal pulse?

Thank you very much 💚

For q and a: any bowing exercise you can recommend to improve grip and bowing technique? Thanks a lot!

Your production quality is so nice, great eye for the light! May I ask what camera and lens you are using atm, because I am looking to upgrade in the near future and struggling quite a bit with deciding? The methods are great, only I would suggest indeed to put something over the varnish every time when doing these exercises, better save than sorry. All the best! Let me guess from the AF: it is a canon? Wait, it is center focussed, not eye AF?

For Q@A: How can I improve my right and left hand synchronisation? And how can I get an better response of the strings on a violin?

It's good to try LH alone, both together, RH alone, both together. Particularly useful working on one or two bars at a time.

Hey Daniel how about addressing the problem of up now shaking.

Thank you for your videos! They really really help me!! If i may request something, can you please make a video on richochet and other bow techniques please? Thank you! Continue the good work Daniel!! 😁 Warm regards from me, Francis

Hi Daniel, thanks for the video. I’ve found improvement in disassociating the left and right hand by tapping polyrhythms with a different rhythm on each hand. Eg 4/4 left and 3/3 right. This can be taken a step further by bowing one rhythm and playing a different one on the left hand. Although this may have a different outcome, less focused, more general neural pathways (?) building...Do you have any thoughts about this?

For Q&A, how do you play without tension?

For Q&A: I find hand frames challenging. I do have a secure octave between 1 and 4 and I can fill it in in tune with a high 2 and a half-step between 2 and 3. My challenge is keeping the hand frame intact while putting down a low 2, with a half-step between 1 and 2. I wonder if it is really necessary to have ONE hand frame, and if yes, do you have any practice advice? It seems to me that violists approach hand frame differently, allowing TWO hand frames, one centred between fingers 1 and 2 and one centred between 3 and 4. Is that even true, and if yes, could you demonstrate and suggest exercises? Relatively to the size and stretch of my hand, my violin feels more like a viola, so why shouldn't I apply viola left-hand technique? Thank you for addressing my question. And for all your teaching, which is wonderful.

Hey, hope my question doesn't come too late. :) I'm currently working on some Bach solo Sonatas and the E major concerto. There are so many delightful versions of it where the intonation is flawlessly on point and I've always tried to reach that level of intonation. My teacher gave the tip that it's better to tune the note in dependency of the next few notes (whether it resolves, goes up, etc.) Do you have any tips or exercises for that kind of relative tuning and flawless intonation?

Which violin/bow do you use? Also, prize range and recommendation for cleanness and pure sound? Thnx

maybe a little late but if anyones see this please answer. What concero was it he played in the intro around 35 sec into the video? I think maybe it was Mendehlson or Paganini but not realy sure

ForQ & a : can u please explain how to became a classical musician

Hello sir! Could you explain what is important in/for a good warm up routine?

hi ! could you please talk about the left hand pinky ? should i press on the left corner(close to ring finger) or the right corner (the outside). thank you!

5:14 what about your violin! The varnish!

Hello, q from me: how to create a good practice routine? I'm struggling with establishing proportions between technical stuff, etudes and repertoire, and as an adult beginner I only have around an hour a day to practice...For context, I have been playing for around 1.5 years, currently practicing vibrato, first 3 octave scale and bach double from partita1

Hello! Not a technical question but, I just wanted to know, what kind of strings do you use?

I have rhythm problems when i play legato, but when I do detache it is perfectly in time. It’s kinda annoying, know how to fix this?

Yup I can sure start my practice like this LOL I still hit other strings 😅

Hi, loving your videos! I’m wondering if you have tips for reducing 4th finger tension/locking? I’ve struggled with my 4th finger (which is a bit on the shorter side in comparison to my other fingers) since the beginning and it was sorely neglected by myself and my teachers over the first 8-9 years of my playing. In the beginning I would tuck it under the neck of my violin and would avoid using it as much as possible. When I finally discovered how helpful it was, I had issues with getting very sore in my wrist from repeated use (as a result of tension and possibly incorrect placement) and then there’s the locking. I continue to struggle with locking and tension. I can get it curved but it locks at every joint. If I straighten it, it doesn’t lock at the base joint but locks at the other two. So frustrating! Any advice would be greatly appreciated.

Hey, thanks for sharing this tip. Never heard of it before and really like it. I do have a question, in the Sibelius (for example), when you are playing the ascending double stops, are you not concerned about hitting the shift/intonation on point? Or are you banking on the idea that you either won't need to practice it this way long enough to create a negative habit or that your technique/listening is good enough to not worry about it when you add the left hand?

Nice bottle of Lagavulin back there? Do you like other Scotches? Cheers!

Could you please make a dedicated artificial harmonics video?

Hahah drawing circles with your leg. Might try it

Does anyone know a channel like this for piano? I am trying to apply what he was saying about independent right and left hand. We separate the hands a lot in piano to study individual lines (especially in counterpoint.) This is useful, but as far as playing, putting the hands back together doesn't feel any easier.

How to play longer without any sort of an ache(because my left shoulder aches as I play longer particularly when it is a fast piece of music )

what is that pad on your chinrest? im looking for something like that myself. Thank you for any response

What practical advice you have for intermediate students? As an intermediate student, I think there is suddenly a ton of repertoire and studies accessible. Many different pedagogues have different approaches and I know there is not a single linear path to advancing as an intermediate student.

How do I practice fifths played with two fingers?

What are those drinks behind you?

I understand why this method is better than just using one hand at a time, but why not just practice it normally? What are you gaining by practicing while separating the roles of the hands? Is it just to focus on one thing at a time?

My question is, how I can get more flexibility in my right hand.

Sir, good teacher use more simple words and make complicated things into more silmlple way. The introduction was not easy to follow. Work on left hand and right hand separately is a great way.