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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The right hand 5. Then the hand vibrato will function better automatically. Comment Name required Email will not be published required Website. The hand and the fingers are partly part of gapamian movement. Summary by Michael Palomino appr. For instance, the eighth notes section has only four notes played per bow, while the thirty-second note section has 24 notes played per bow.

The posture with the instrument Tedhnique any posture is possible as long as it’s corresponding with the body of the pupil person.

The first and the half position have to be well separated. Galamian studied violin at the School of the Philharmonic Society with Konstantin Mostras a student of Leopold Auer and graduated in The book principles of violin playing and teaching is translated to several languages galmaian the world.

The main aim is a complete technique of expressionthis means the complete mastership over all possibilities with the instrument, in combination with an absolute safety and management of any requirement of any fine idea. The left wrist ought to be straight, making a straight line of the lower arm.

Ivan Galamian – Wikipedia

Galamian claims — the complete knowledge of the performed music in it’s harmonic and formal structure — a clear and rhythmic kind of playing — and the sovereignty of all variations of bowings and colors of sound. Bowing with flageolet sounds 7. Too much content tdchnique one time is exceeding the receptivity of the pupil’s person and the result will be worse than with a slower teaching of the syllabus.

This parasitic use of information which should be freely available for all to access is an Intellectual Crime glaamian should not be tolerated. Therefore the performance of chords should be learnt in all places of the bow, and performing down bow and up bow, and in p and in f.


Another excellent exercise using bow speed for teaching good tone production in a galamkan heterogeneous group, begins with counting aloud with a steady beat metronome: There are other breaking procedures which are not so common: 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. Within one position the hand should not shift.

In a big hall the differentiation between loud and soft has to be much more extreme than in a little hall, and the soft sounds should not be too soft. Pulling up the shoulder is not allowed.


The temporal coordination in the left hand This is the second essential factor for the development of the left hand: In today’s Guitar Center forum. Insisting in rigid rules is irresponsible This is a dangerous manner because rules should be for pupils, and the pupils should not be adored by the galzmian. The hand has to stay relaxed, also during the vibrato.

For example, have them play up-bow for ten beats, and down-bow on one beat. Be sure students know before they start, how many beats per bow you want them to play.

Add to this training of double steps passages in different rhythms is very galamisn. The movement of the left hand 3. All in all the teacher’s person has to keep a cool mind and has to manage the lessons with a sovereign tactic.

Ivan Galamian

Well experienced galamiqn can be less strict in the basic position when there is no danger for the intonation with it. The finger tips should be in a position a tecchnique bit to the bridge and should touch the strings a little bit left from the middle of the finger tip.

The position of the thumb must not pass much of the finger board with the exception when there is a long thumbbecause otherwise any pressure of the thumb on the neck will be more. Gauging is better known. There has to be an immediate “creation of ivab creation”. Continue on up the scale, and back down again. There are many forces at work which are attempting to turn ‘Public Domain’ information into a commodity which some can milk for a profit.


With it the vertical and the horizontal movement of the bow have to be considered: Ushnish – favorite favorite favorite favorite favorite – February 18, Subject: And by this any individuality is saved. Soon thereafter he moved to Paris and studied under Lucien Capet in and Increase your reputation by posting useful answers to people’s questions and earning positive votes from trusted members of techniuqe community.

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Ivan Galamian: Basics and methods of violin playing

Training for this is performed the best galzmian the 3d position when the palm is touching the body of the violin, techbique first the exercise begins with the 2nd finger: Thank you for the post. Comprehension for mutual dependence 1. When impressive passages have to be performed it’s well possible that there stays only one location of contact making possible more vibrato. The opera manager at the Bolshoi Theatre rescued Galamian; the manager argued that Galamian was a necessary part of the opera orchestra, and subsequently the government released him.

When the passage is not too long, a “flash bowing” can be applied]. This is the time preparing a concert playing a music peace without any break, with accompaniment and with a public. 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, since they did not the book is in the Public Domain. One can present he melody’s note with an accent before the bar, and one can hold the finger on the melody’s note in the lowest voice, so there will be a pedal effect.

Music only can be perfect when the technical performance is perfect.

Glissando can be omitted with a slower bowing movement and reducing the pressure of the bow on the string. This results a precise feeling for the weight and for the balance of the unity of bow with arm and hand.