GALAMIAN VIOLIN METHOD PDF

Ivan Alexander Galamian was an Iranian-born Armenian violin teacher of the twentieth century. He wrote two violin method books, Principles of Violin Playing and Teaching () and Contemporary Violin Technique (). Galamian. The scales are written out in Galamian’s books, Contemporary Violin Technique, Volumes 1 and 2. I will tell you mostly about the three-octave. Galamian/Neumann Contemporary Violin Technique Book 1.

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During breaking the chords it’s better to reinforce the pressure getting less distance for the breaking procedure. The aim of the training Technique and interpretation 8. The training for the location of contact — first should be trained maintaining volin location of contact at different locations on the string, maintaining a straight bowing — then one should learn to change the location of contact during the play. Phrasings can be handled also using different speeds of bowing.

The aim is – according to the hall – getting a balance between vocal and consonant sounds. Only in the early youth the technique is developing very fast.

As a vocal singing sound can be considered with a soft beginning and a soft end. One never should suppress any body movement, but one should play an instrument always without being afraid.

Ivan Galamian – Wikipedia

Exercise a at the frog there is automatically much pressure, and when the speed is low and the location of contact is gwlamian the bridge so the result is a full tone – – during the down bow the weight of the bow is less and one has to press more and the speed has also to be more and the location of contact has to be more to the finger board keeping the tone with a full sound Exercise b less pressure, fast bowing near the finger board – – during the down bow one should force the pressure, and when the bowing speed is kept high, so the location of contact should be shifted to the bridge a little bit Exercise c and therefore the logic of bowing during an irregular bowing comes out Exercise d and with all these variations of the irregular bowing the bowing posture has to be balanced getting a regular and constant tone quality.

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This will liberate oneself from own delusions by the own subjective eye. One should evade fixed ideas, but flexibility and liberty are important. The hand is “falling” backward and is coming back.

Even better is the first position when the hand is a little bit higher so also for h’ the finger has to be put back a little bit. Relative facts with an interpretation An metho is very sentimental and depends on viiolin personal idea of the playing person, is determined by the taste, style and fashion of the time.

Galamian studied violin at the School of the Philharmonic Society with Konstantin Mostras a student of Leopold Auer and graduated in Finger activities of the left hand and of the left wrist Knocking fingers – soft fingers Knocking fingers on the finger board during runs are resulting in a “craspy” sound [but don’t knock too much pleas!

Technical training details 9. Corresponding to this the bow has to be hold.

Principles_Of_Violin_Playing_And_Teaching_

The violin practice videos on this site are based on Galamian style technique. Legato The left hand must not hinder the right hand, respectively the left hand and the right hand have to act in complete coordination.

If you search for all of Ivan Galamian’s works you will find no registration for this title in A certain motivation galwmian making music can be given by music groups and school orchestras when they have a competent leading person. Keeping longer the upper or the second upper note is no problem when the chord is broken from the bottom up.

Ivan Galamian: Basics and methods of violin playing

Developing mental control over violin technique and over physical movements 2. Vibrato There is the difference between arm vibrato – hand vibrato – and finger vibrato – and all combinations of it. Glissando can be omitted with a slower bowing movement and reducing the pressure of the bow on the string. Considering this the Steiner pupil’s persons have to be rated very critically.

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But when the children are already realizing the whole content of the world and when they are realizing that making music will never change the decisive powers in this capitalist world, so any trial for musical motivation has got no sense. His parents were Armenians from Russia, but his family emigrated to Moscow, Russia soon after his birth.

The palm has no contact at the violin’s body any more, and therefore playing in the highest position is a very delicate affair. Virtuosity Virtuosic technique is not always under control because the movements can be too fast, too light or can be without any rhythmic discipline, sometimes this is even required.

For Galamian’s notable students, see List of music students by teacher: So, one can see that the location of contact is always changing. This results a precise feeling for the weight and for the balance of the unity of bow with arm and hand. They never will get their own musical feet, but they will be “skilled craftsmen”. Double steps with vibrato First vibrato has to be trained with only one finger, and then it can be trained also with double steps with arm vibrato.

But also wide and fast and narrow and slow has to be trained and has to be possible having a rich variety of vibrato for music performances. Technique is only the resource for the interpretation, technique is only in the service of the artistic interpretation.

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