Principles Of Violin Playing & Teaching

[NOTA DE LA LIBRERÍA: Último ejemplar, sin sobrecubierta.]

This book was started in 1948 at the insistence of certain of Mr. Galamian's students who felt that his teaching methods should be made a matter of record and his practice devices delivered into the hands of the present day students.

""There are many systems of violin playing, some good, some fair, some bad. The system that I have tried to present in the following pages is the one that I believe to be the most practical."

This celebrated instructor explains his philosophy of teaching and practice methods, including the appropriate combination of technique and interpretation. Ivan Galamian , a longtime Juilliard professor, incorporates aspects of both the Russian and French schools in a system both ingenious and logical. His tutelage has produced astonishing results with students, many of whom rank among the world's most acclaimed concert artists and orchestral concertmasters. Suitable for violin teachers and students of all ages and levels, this guide presents general principles and offers practical suggestions related to posture, holding the instrument and bow, vibrato movements, intonation, tone production, bowing patterns, double stops, trills, and many other facets of playing and practice. This edition features a new Introduction by Sally Thomas, violin virtuoso and Galamian's former student.

CONTENIDO:

Concerning this book
Forewords

Introduction: Deficiencies of some present-day systems

1. Technique and interpretation
Absolute and relative values. Types of technique. Technique and correlation. Interpretation. Acoustical elements in performace: "vowels" and "consonants"

2. The left hand
Body and instrument posture; holding the instrument; left arm; writs; hand; fingers and thumbs. Movements of the left hand: vertical movement of the fingers, horizontal movement of the fingers; crossing of strings; sliding motion of fingers and hand; vibrato movements. Intonation. Timing. Special technical problems: shifting; double stops; trills; left and pizzicato; harmonics; chromatic glissando. Fingerings. Vibrato: types of vibrato; study of the vibrato; special problems in the vibrato.

3. The right hand
Fundamentals: the sytem of strings; holding the bow; the physicial motions; drawing the straight bow stroke. Tone production: the three main factors: speed, pressure, sounding point; the slightly slanted stroke; character and color of the tone and various styles of tone production; faulty tone production. Bowing patterns: legato; détaché; fouetté or whipped; martelé; collé; spiccato; sautillé; staccato; flying staccato and flying spiccato; ricochet. Special bowing problems: bow attack; change of bow; alternating fast and slow bows; harmonics; chords.

4. On practicing
Mental alertness in practice. Objectives in practice: "building time"; "interpreting time"; "performing time". The critical ear. Basic exercises: scales; son filé; "spring" exercises.

Conclusion: A few words for the teacher