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An old collection of questions
to the Charles Dancla String School Teachers
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 | 1. lifting the second finger up regularly from
the G-string and D-string
| 2. moving the elbow a little so that the second
finger does momentarily not touch the G-string but is still on the D-string
which makes it easier to play the next G
| 3. move the distal joint of the second finger a
little so that the second finger does momentarily not touch the G-string but
is still on the D-string which makes it easier to play the next G. | |
I am most interested in your advice and I am impressed by your internet site!
Answer : Thank you for your question on the Allegro Assai. The bar should be played in 2nd position, as you suggest. I consider your 3rd option as closest to the ideal solution. In your 2nd answer, I sense that the elbow may be slightly displaced to favour the left hand problem, but the main position should be settled at least for one bar's length, so that the direction of light "grasp" of the left hand fingers remain in the same direction. ( i.e.. don't jerk the shoulder for one particular note ! ) The fingers should do most ( or all ! ) of the work, the elbow dropping down comfortably as usual. Your 1st answer, of lifting fingers should be avoided, as the general principal of left hand technique is keeping fingers down, and minimizing movements. I suggest practising 6ths to reflect on the lateral finger movement involved here.
Finally, I would add that though you have talked about the left hand problem, I feel 80% of the main technique in this piece lies with the right hand. That is to say the overall quality of playing will depend on the bowing quality. Détaché on 2 strings, and the successful soldering and singing of notes, and tone will secure the more tricky left hand passages, such as the one you mention in bar 50. For studying the right hand, I suggest playing slowly, with careful attention to bow adherence at every moment ! I hope this is not too brief a summary, but many thanks for your very good question, and best wishes for your solo Bach playing !
1) After a violinist has completed the required bowing techniques and left hand techniques, what will be the next important stage that a violinist needs to make his goal ?
Answer : If you have worked your way through Rode, Dont, Wieniawski École Moderne....I think you will know exactly what to do with your technique ! Have you studied these études ??? I would then start building up a repertoire which you play really well : Concerti : Viotti / Mozart / Mendelssohn / Sibelius / Glazunov ( not too many ) and a dozen encore pieces.....don't forget solo Bach always, and chamber music by the great composers !
2) What is the ultimate of way of improving tone? ( Apart from Son File )
Answer : A very good question. Play everything by heart...so you hear ( rather than seeing notes ). Listen all the time , play your music over and over , even repeating each phrase so that each time it sounds more beautiful. Don't force the bowing adherence, and don't squeeze the bow ! ( Read my new what is TONUS article in violin workpage ) Lastly make sure even the highest passages and the hardest ones all sound like tonus.
3) What is the best and quickest way of improving the left hand? ( Apart from Scales and studies )
Answer : I think some encore pieces such as The Bee ( Francois Schubert ). Traditionally though : advanced etudes....Gavinées double stops - Dont Chords - always go through just a few mechanics ( Dancla École du mechanisme / sitt / schradieck / Sevcik ). Concerto passages help too. The "Yost" system is interesting . It consists of playing with just one finger. Auer said that left hand technique starts with the changing of position ! Lightness and agility are always important, but a firm ( flat ) left finger adherence to the fingerboard, and a sensitive vibrato compliment that concept in cantabile passages.
4) How could one obtain such a superb and flawless playing like Heifetz? If there is a secret what is it?
Answer : I agree Heifetz sounds flawless...but this is an illusion....I believe he had schooling, and this was part of a disciplined style of bowing and sound concentration. This is what is mistaken for perfection.
It is often said that the big word is "PRACTISE" and practise wisely but surely there is soemthing that been missed out. What is it?
Answer : Practise with intelligence : Or maybe, as Milstein suggested, invent solutions and fingerings and bowings to make passages sound nice ( like son file but with millions of notes & chords in the L.H !!! In other words, however difficult the left hand gets, make it sing with the right ! ) I practise by repeating a phrase really slowly - each time correcting flaws and eventually making it sound better and better up to speed. There are many good ideas on practicing....but the best idea is just to do it....and do it NOW - don't put it off until tomorrow !!!
Question on Exact Tuning Pitch : why is the optimum tuning 443? my violin pitch pipe is tuned to 440.
Answer : There is no absolute pitch that one must follow. Most Pianos are tuned at 440. Baroque players on original instruments use a lower pitch ( 338 - ) because 200 years ago the A was much flatter than today. Nowadays, there are some Orchestras like the Berlin Philharmonic that tune much higher for added tension and brilliance. Most modern Violin soloists prefer 442 Hz, again just to tighten the strings just that little bit more tends to produce a more alert and clearer sound. More frequently Pianos are being tuned accordingly to accompany such soloists who want to "stay on top" as far as tone and colour is concerned. Many Violinists, such as Heifetz and Accardo play their notes quite sharp, and some of the reasons of this extreme tuning temperament are to do will the physical defects in the intonation of violins themselves. It is little known, but true, that the violin is not an instrument with perfect tuning. The 5ths are too wide apart, and care should be taken to tune the open strings as closely together as possible. Due to the larger 5ths however, You may notice bass notes become flat, and the fingers must be placed a fraction of a tone higher on this string. Tuning the A string higher therefore would cancel out the problem of flat D and especially G strings. If all this sounds too complicated I would go for a 440 A , thereby ensuring the most compatibility with Pianos and other players. Yours CDSS
A question about left hand fingers touching two strings . A user noticed that due to the size of his fingers, he cannot finger notes on one string without making contact with one of the adjacent strings. ( This question has been answered here because the given Email address wasn't working )
Answer : Well actually everybody has differently shaped or sized fingers. Kyung Wha Chung has a small hand and slender fingers ( she plays a small violin in fact ) , whereas Perlman has a very large hand. One portion of an instrument which is designed to bridge the comfort between player & instrument is the setup. In this case the nut ( on the extreme end of the fingerboard near the scroll ) and the bridge may be modified or customized to accommodate any individual's finger size. In fact fingers ( 1,2,3 & 4 ) should ( if placed quite flatly ) be able to stop fifths in first position between any 2 adjacent strings. It is possible however that the strings are setup too closely to one another, in which case you might like to visit a maker or repairer who should examine your fingers, and proceed to modify the string setup accordingly. This is a standard procedure for anyone who wants maximum comfort with his / her instrument. Best luck, CDSS
From a parent who has the worrying task of finding the next instrument for her son : Our 15yo son is playing a cheapie Chinese which was finished here in the US by Mark Wagner, in Kentucky. It's time for Matt to get something much better....snip... The violin ( Matt has chosen ) is marked Knilling-Werner, (the list circular with it says Model AW30) Geigenbaumeister Erich Werner, 91088 Bubenreuth, 1997, #7; it is also signed "Erich Werner" on the back. It has a strong, crisp tone, very good response, and he wants $5,000 for it. Oh yes, this is one thing the dealer really emphasizes: it has a one piece back rather than being joined. The absolute biggest hurdle for me ( beyond deciding which bank we will be robbing ) is this: I'd wish Matt fell in love with this violin after trying out 10 or 12 instead of 3. I'd like him to have chosen this one from a selection of many. Do you have any further recommendations, or any info / ideas about the violin?
Answer : I agree Matt should try 12 violins not 3, but it could also lead to confusion. As a child I remember similar instances when I was given a choice of only 2 or 3 instruments. Later I learned to not to hurry. I'm surprised Matt is moving from a Chinese to a 5000 dollar instrument. The fact is that anything will sound good after playing a Chinese....say even a 500 dollar instrument. I'm sure Matt plays well, but does he have the experience to judge a violin of that caliber ? Second opinions should come from his teacher and possibly another independent maker or dealer. I don't know the value of a Knilling-Werner and have never played one ! but I would go for French, Italian, English turn of the century. However my point is another one : How can Matt be sure this is the right violin ? I know I said that trying out too many instruments may lead to some confusion, but how else will Matt gain experience in assessing and testing instruments ? Also, Matt will have to live with his new violin for many years, so it's best to make the right choice now ! Another thought crosses my mind - Has Matt a good bow ? The bow is just as important as the violin & he should have a decent bow to match his new violin. Typically youngsters here pay £600 for a bow if they have a £3000 violin. I prefer the bow to be 50% of the value of the violin. Now for the one piece back. There is no difference from this & a 2 piece back ( other than the fact that the block of wood was consistent and large enough to be used in one piece ). This does not enhance the commercial value of a violin. It may look pretty or unusual, that's all. Lastly, I would trust no-one! Some people cannot resist the urge to ask 5 for something worth 2 ! Once a dealer sold me a fake French "Voirin" for the equivalent of £800 ( W.E.Hill's of London identified the bow giving it a value of £200 max.) I took it straight back ( I was only 12 yrs old ) very upset demanding my money back. The dealer exchanged the "fake" for an authentic Nurnberger worth £800. I was quite relieved of the outcome and from then on knew exactly what to expect ! Recently I bought a French bow for half its valued price. I feel my experience in buying instruments and bows was built up through experience and a fascination about the subject. I would research makers and the history of violin making schools, and was even asked to identify my headmasters violin ( a W.E.Hill ). In conclusion, if Matt hasn't already bought the Werner, then I advise holding back another week at least. Something better may crop up in the meantime, besides I hope I have convinced you about the need to proceed slowly and cautiously ! Opinions are always subjective in the end, and there is no one source of reference or authority. The ultimate question is how useful this violin ( as an instrument of work ) is , not what is it worth as a commercial object. Best Regards CDSS.
A follow-up letter from the same parent above
: I read your updates re the question and answer stuff. I'd like to make
a
few minor corrections-just for your info, and to add my meager pointers to your
"how to" list. Matt's violin is a "Chinese cheapie" but is
by NO means the standard Chinese violin. In fact, whilst shopping for the new
violin, I've had several dealers/teachers remark to me how unexpectedly good it
is-all due to the strengthening and finishing done here in the US after the
import. We paid $800 for Matt's violin, and the same thing now sells for $1250.
OK, here's some "gleanings" that I've learned, and have/will put to
use: Talk to as many people as you can, take your time,3-4
months is not unusual for most people shopping for a good "step-up"
instrument. Be patient : Find out what's "average"
for your area in certain categories. I spoke to several violin teachers, 6-7
dealers, 2 school orchestra directors, several violin makers and a college prof.
Everyone was more than happy to share their experience with me. In this area, a
student step-up instrument in High School is $2,000 to $2,500, usually a German
or Czech violin from the 1920's, or a good contemporary "workshop" older
instrument made in the US. The next "step-up" is for high school
students who are/will be majoring in music, or college students who still
continue their music as part of their education: $3,000 to $8,000, an older
"master" violin, German, English, US, from the 1920's thru the 1950's,
or a contemporary US new master or European apprentice. We needed to know where
Matt "fit" into the scheme of things; what we were willing to spend
was slightly above average. "Average" is inflated by the demand,
everyone is looking in those price ranges; we paid attention to price
"thresholds". I deal with this in appraisal, and what it basically
means is how effective your dollar is within certain value ranges. For instance,
this difference between a $2,000 violin and a $3,000 isn't much at all, dealer,
age, condition, sound, subjective judgment...etc.. But the
difference between a $4,000 instrument and a $5,000 instrument is much more
significant. You rise up out of the "average" bracket; your dollars
buy you more. So, we decided that spending $2,000 wasn't practical or effective;
if we spent more, we got exponentially "more" violin. Although
everyone's got a budget, sometimes it's better to push to get more for your
money. True "deals" almost non-existent. For better instruments, move
in the "circles" of professional musicians, always be ready to buy one
of their instruments when they move up. Marilyn
Someone who finds the going sometimes gets tough - Hello!! I'm from Malaysia and I've been playing the violin for quite a while. Sometimes when I'm playing I feel that I can't go any further on violin. Almost everyday I worry that I can't obtain any success on this instrument. What is the best advice for me? what technique is best for vibrato? is there any studies for the 4th finger? how can I improve my playing?
Answer : .... here are some suggestions : Vibrato is quite a personal skill, there being 3 main different types : finger, wrist, and arm vibrato. Sometimes a combination of all 3 can be used, but 1 point to remember is to use plenty of bow, thereby not putting all the effort into just the left hand. There is a site written by someone who describes their experience learning vibrato : Claire Porter ( All about learning vibrato ) : http://indigo.ie/~woz/claire/vib_frm1.htm . The notes on this page are what she discovered about vibrato. 4th finger studies start with Kreutzer's trill studies. I would not overdo working your 4th finger for the moment. Just bear in mind that the left hand should be placed in such a way that it is comfortable to place and reach notes with the 4th finger ( rather than being more comfortable for the 1st finger, which is stronger and can extend back slightly with far less discomfort ) How to improve : Just a few ideas : Listen to advice from many then make up your own mind ! Learn from fellow students as well as from your teacher ; play with colleagues and friends ; violin & piano or duets, or in a chamber orchestra ; never use harsh metal strings ( get Thomastik Dominant ) or better ; follow the advice on our practice page ; rest frequently when you tire your muscles ; vary your pieces ; practice in a different room can help ( maybe you will find better or just different acoustics ) which will change your perception of the sounds you make ; play often with piano accompaniment to keep your phrasing musical and alive ; buy Milstein's Solo Bach recordings for DGG on CD and listen to just what the violin can do ; and lastly ( for now ! ) Don't squeeze the bow !
There is a Usenet newsgroup on bowed strings on the net. Most of the advice is very good. You can subscribe to it ( free of charge ) and post questions which will ( hopefully ) be answered by several people. rec.music.makers.bowed-strings is the address of the newsgroup. Progress is very difficult for all violinists and is not only attained ( slowly ) by much work, but by following correct advice rather than running into dead ends because of faulty advice most of the time! We hope we have helped in some small way ! Good luck for the moment, and don't hesitate to write back if you would like any more questions answered.
Question about the life of Dancla - Was most interested to read your Web pages. I'm seeking on behalf of my 10-year old daughter history concerning the man Charles Dancla. An exhaustive Web search reveals much sheet-music, concerts and pages such as your own, but no facts concerning Dancla himself. Do you have any references you could point me to? Regards, Ian Sharp Technical Support, Cap Gemini UK plc (Aztec West)
Answer : Thank you for pointing this out. We have added such a page. If you have any more questions please let us know. Regards, The Charles Dancla Teaching Panel.
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