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.

Author: Nejind Gardagami
Country: Angola
Language: English (Spanish)
Genre: Literature
Published (Last): 2 August 2006
Pages: 362
PDF File Size: 2.29 Mb
ePub File Size: 13.73 Mb
ISBN: 311-1-72997-727-1
Downloads: 2595
Price: Free* [*Free Regsitration Required]
Uploader: Nikozragore

During playing in the first position the first finger put on the finger board should form more or less a square, but never a perfect square. The movement of the fingers is coming from the basic joint.

Considering this the solution will always be a compromise serving to the pupil person.

Only the natural manner is comfortable and useful. Sound production with a little inclined bowing. 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!

Penetrating vibrato This is a method galamiab training fighting the bad habit beginning a tone without vibrato and beginning the vibrato only after having played a part of the tone.

The ear has to take the decision if the straight or little inclined bowing has got it’s sense or is useful.

All fingers have to be bent in a natural and light way. Sound production with a straight bowing Basic preconditions for a round and full tone are the movements of the arm and the bow like springs with a straight bowing movement in a right angle to the string. Flageolet sounds During the flageolet the pressure of the bow has to be the same and may not soften.

When the G string is played then the elbow should also pass to the right, when the E string is played so the elbow also should pass to the left. This is the basic movement for a straight bowing. In this dilemma is the whole world of music schools, and this dilemma is without solution. Picture sources — Ivan Galamian, profile: One can touch the violin with the scroll on the wall [with a towel as protection], or one can sit on a chair and put the scroll on the table, so the left arm is completely relaxed and can concentrate absolutely to the vibrato movement.

  ADEMCO VISTA 128BP INSTALLATION MANUAL PDF

The springs can be in tension, but must never be fix.

Ivan Galamian

When there is an irregular bowing [“Viotti bowing”]. Pizzicato with the left hand The elbow has to be hold a little bit to the left side so the movement of the pizzicato finger will be better. Getting regular straight movements there must be combined the different circle movements so a straight line comes out. Finger tip vibrato This is a faked vibrato. Dorothy DeLay and the Making of a Musician. The hand is “falling” backward and is coming back.

The term “right” should mean what is natural for the pupil. Characters of a “good musician” — complete technical control of the instrument — interpretation — convincibility. Not broken chords — all tones are kept in one time see Dont: Also the contrary is possible contracting the hand. This is the guarantee for more safety during a concert. Certain notes in Spiccato passages can be emphasized by “singing Spiccato”. This shifting is lead by the movement of the arm: The violin practice videos on this site are based on Galamian style technique.

Search the history of over billion web pages on the Internet. Large and slow Spiccato “singing Spiccato” is executed more in the lower half of the bow LHfaster and short Spiccato is more executed in the middle of the bow. Posture of the left arm The level of the string going with the elbow The elbow never is without movement.

Ivan Galamian – Wikipedia

During keeping long tones or double gaoamian the bow should be rolled slowly between the fingers of the bow hand, regularly, and the tone should be always a round sound with it.

  HANDPUNCH 3000 PDF

Shifting There are two kinds of shifting: This is applied above all with works of J.

The beginning posture of the bow always comes from the air. Therefore one should only apply the meyhod which is really necessary performing the music, this means balamian “knocking” at the fingerboard when there are important runs — putting a “finger’s accent” when galamia are special accents in the music peace on an unique note putting the finger on the finger board with much force. After the tone is coming the bow is immediately raised from the string and the next tone is prepared.

Absolute facts with technique There is the necessity to manage the instrument technically in an absolute sovereign way. This facilitates the orientation of the hand during playing. And there should never be an inclined position of the bow for this.

Glissando and Portato should be mmethod as a mean of expression only. Hand and fingers have to find their “right” position.

Mental concentration during the training During the training a complete and constant concentration is necessary — thoughts must not stray otherwise training is waste of time — because the ear will be insensitive then — and training is without sense when every pupil’s person gets the same fix plan for a certain quantity of lessons. The bow is let down to the string from the air and is leaving the string after the tone and is coming again and again on the string.

Training should be the continuation of the lesson. Methd regulations also can be executed by variations of the first impulse, by the forefinger of the right hand.