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: Mukazahn Zuluramar
Country: Haiti
Language: English (Spanish)
Genre: Sex
Published (Last): 26 February 2013
Pages: 343
PDF File Size: 19.12 Mb
ePub File Size: 12.24 Mb
ISBN: 435-2-19839-197-5
Downloads: 30205
Price: Free* [*Free Regsitration Required]
Uploader: Samutaur

Teh hand is turned a little bit into itself, and only the thumb is in touch with the violin’s neck. Characters of a “good musician” — complete methld control of the instrument — interpretation — convincibility.

Now there is the logic that there is pressure and counter pressure. And between these two there are many intermediate stages. He taught violin at the Curtis Institute of Music beginning inand became the head of the violin department at the Juilliard School in There was a copyright registration filed in for a book with the same title.

The aim is a healthy balance.

With the time the falling and attacking and the tone should become a unity. So first comes the question of coordination – rhythm variations – bowing variations – emphasis of melodies – connection of all elements. A steep and knocking Spiccato never gets a good tone.

Emthod tone scales — first the training goes with a fixed fingering — then the scale training is going with different fingerings — and at the end the scales can also begin from other tones than the basic tone, eventually one can even change the chromatic signs.

Hand vibrato The hand is swinging and the arm is not moving.

Ivan Galamian – Wikipedia

This is applied above all with works of J. Not wanted slides should be evaded, but not all, or there will be a dry violln cold violin playing.

Especially technical problems with the left hand 4. This is a little bit difficult because eventually the music teacher is galamiwn his own salary when a pupil’s person is not making music any more.

The position in the first position: If you look carefully the information indicates that Prentice-hall was the original claimant, which means that they had to file the re-registration for it to be valid, galamoan they did not the book is in the Public Domain. Following his passing, his wife took on an active role in managing the Meadowmount school.


Ivan Galamian: Basics and methods of violin playing

Also the end of the trill is important. Then the hand vibrato will function better automatically. No thinking individual should be engaging in such behavior and Galamian and Green should be ashamed of themselves. But there are certain limits with this Spiccato. Considering this methid solution will always be a compromise serving to the pupil person. Arm vibrato The impulse is coming from the lower arm.

The main impulse of the movement is coming from the arm. The left hand at the neck of the violin The left hand should touch the neck softly at the left mfthod at the right side.

Training of flying Staccato — train metyod Staccato in an up bow movement — mfthod one can hold giolin elbow and the wrist higher step by step — this provokes a relaxed hand — then one can mix vertical finger movement into it provoking the jumping of the bow after every note. The first and the half position have to be well separated.

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 glamian the finger violib with much force. The first part of the forefinger first finger is not in touch with the violin any more.

Change of positions playing legato — bow speed can slow down a little bit — bow pressure also can be little less — sliding of the shifting to the new position of the left hand is camouflaged, but the gala,ian melody is not interrupted for the ear Change of string playing legato — when the change of strings is smoothly executed, both strings are played together for a little moment — when there are many changes of strings at the frog, the bow also is swayed moving the fingers of the bow hand, above all the little finger of the bow hand is working then — when there are many changes at the top of the bow, also the wrist of the bow hand is working much.

Flying Spiccato Several Spiccato notes are played on one single bowing length. Ricochet is easier on a down bow than on an up bow.


This is the basic movement for a straight bowing. Add to this there is mostly a badly lead Steiner school orchestra demotivating the pupil’s person. The arm movements during the breaking procedure of chords — the breaking procedure requires the movement downwards of the whole arm — with this movement of the whole arm one should take advantage of of the arm’s weight and one should let fall the elbow before the galamkan procedure already.

Formulations in texts should be limited in some general basics which are enough elastic so they can be applied in any case. The aim has to be that also the last listener in the last row will understand the performance.


Search the history of over billion web pages on the Internet. The movement of the fingers is coming from the basic joint.

Ivan Alexander Galamian Armenian: This is the level of corruption and debauchery which our society has lowered it self to metod it not only allows such behavior, but encourages it through the incessant brainwashing of the unthinking minions throughout academia When the melody is in the lowest voice, one can break the chord directly top down, or one has to perform a rebound.

For a more beautiful tone the bowing has to be larger and the height of jump has to be reduced. Falling down with the bow gives more energy and is facilitating the attacking of 3 chords at the same time. Bow, arm, hand and fingers have to mfthod a unity and have to move smoothly as the legs and feet and toes are moving smoothly during walking.

Keeping longer the upper or the second upper note is no problem when the chord is broken from the bottom up. The difficulties during the down bow: When the attack is too horizontal, then the attack is not precise.

Reynolds, 78, Violinist and Teacher”. The “spring” exercise The aim is to get the strongest and fullest tone without any cramp.