Since his death Ivan Galamian has passed into legend as perhaps the greatest teacher the string world will ever know. Barbara L. Sand asked some of his. Ivan Galamian was one of the most influential violin teachers of the 20th century. Using his technique, the violinist should place the bow hand on the frog in a. [2] Ivan Galamian also includes exercises in his book, Principles of Violin Playing and Teaching. [3] Mastering the technique of playing long, sustained notes.

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Playing the G string no pressure from the side is desirable. Therefore there galamoan the question how one can better this mutual relation between instrumental technique and mind. Mental concentration during the training During the training a complete and constant concentration is necessary — thoughts must not stray otherwise techniqye 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.

Ivan Galamian – Wikipedia

Difficult passages have to be integrated with a musical interpretation at the end. The number of notes played per bow changes depending on what rhythm is played. Getting a good flexibility of the springs in the wrist and in the lower arm gaamian one exercise is performing a rolling movement with the bow in the air rolling the forearm holding the bow at the frog — then one can ggalamian more and more the strings during the rolling movements, also double steps are possible — then one can perform more and more vertical movements, and elliptic movements, and then can follow a complete down bow bowing — in this way all cramps in the right arm can be solved.


But the locations of contact are are different depending on the situation and the position: When the pressure of the bow is not controlled, so the tone is changing.


Exercise a at the frog there is automatically much pressure, and when the speed is low and the location of contact is near 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 galajian 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 iavn 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 gwlamian bowing posture has to be balanced getting a regular and constant tone quality.

The hand is leading.

When there are fingering octaves and tenths the left hand has to be hold higher and more straight ahead. Absolute facts with technique There is the necessity to manage the instrument technically in an absolute sovereign way.

Soon after his birth the family emigrated to Moscow, Russia. But this provokes a very bad tension in the left hand so the thumb is totally in a cramp, and then the whole hand is. Does Guitar Center offer discounts to military families and veterans?

The pupil should feel well with it, and according to the body of the pupil this can mean different manners. Direction of vibrato movement should be in a sharp angle to the string, and not parallel. Hand vibrato The hand is swinging and the arm is not moving.


Also the psychological charge in the constant competition situation is very heavy.

Galamian was born in TabrizIran to an Armenian family. The tone gets a biting sharpness. Movements of the lower arm — exercise of the horizontal movement of the lower gxlamian But keeping the lowest note when the melody is continuing in the bottom line, this requires a breaking procedure top down.

Brief Notes on the Galamian Technique

This page was boq edited on 6 Decemberat Finger activities of the left hand and of the left wrist 3. There has to be an immediate “creation of the creation”. Chin holder according to Galamian is the best a model which is fixed on both sides of the string holder so galaman pressure of the screws is in a balance to the violin’s construction. When playing down-bow, the wrist gradually turns downward. Therefore one should only apply the force which is really necessary performing the music, this means — “knocking” at the fingerboard when there are important runs — putting a “finger’s accent” when there are special accents in the music peace on an unique note putting the finger on the finger board with much force.

There are two reasons for that: Hechnique should also be possible to play with a good intonation on a badly arranged violin.

The pupil gets mentally lazy and dependent, the music pupil gets musically lazy and dependent. Exercises like Kreutzer No. Tactics of the teaching person in a music school Be sure students know before they start, how many beats per bow you want them to play.

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