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The Violinist's MindThe technical demands of diplomas are assessed according to specific marking criteria and repertoire. The ability to quickly assimilate these criteria, often associated with innate talent, can be facilitated with four mental discipline techniques. These techniques, grounded in the historical evolution of virtuosic repertoire, foster physical sensations of ease, and can be applied to any violin school of playing.At all levels, intonation care and co-ordination security are crucial. Talented candidates use active listening and a timeline based thought process. This enables them to maintain full control over their physical actions. In contrast, other candidates have passive listening, and think with their fingers. These candidates will not progress, because their technique includes elements of luck.At Certificate level, talented candidates employ a mental approach, that captures the power of natural forces when string crossing. In contrast, other candidates rely on muscle strength to counteract air pressure, limiting their ability to use large bows, and restricting their postural facility. As a result, they struggle to project the stylistic characteristics of a varied programme. Fighting the forces of nature is the primary reason why children with potential, lose this potential as they age.At Associate level, faster passagework from the Romantic period is included in the syllabus. Talented candidates possess the mental ability to control and manage the rapid changes in direction and momentum. Candidates lacking this mental awareness will struggle to capture the required virtuosic security.At Licentiate level, talented candidates apply the techniques of sport, logistics, and invention. Other candidates do not have this inventive mindset, and try to take an Associate level technique beyond its potential. Their musical playing remains conservative and lacks technical conviction. They do not progress. |  |
 | Principles of TalentThis book invites violin candidates to explore the enigma of intuitive violin technique. Natural abilities, that capture virtuosic technical security.In the past, their violin journey is definable. In their early grade examinations, they are awarded honours and distinctions. These awards, however, trend towards credit and pass, from fifth grade onwards. For the few who persevere to diploma levels, grappling with the technical demands of their programme becomes a significant challenge. There are many No Awards. The elusive nature of technical talent persists as an unresolved mystery. In the exam room, their brick walls cast a shadow over their performances. The Enigma of TalentTalent is the final frontier of music education. For many, it is considered a miracle from God. It creates a church of the fortunate few. Talent, however, is only a word, that has a very broad reference. That is why the research in this book focusses on only one aspect of talent. Defining in exact detail, the intuitive technical abilities that differentiate between the Award, and No Award diploma candidates. These new techniques, when added to traditional pedagogy, remove the historical vagueness that necessitates the input of natural talent. |
The Process
| Every technique takes time. Once all known techniques are placed into a logically ordered timeline, it becomes apparent that there are moments of time, that are empty of mainstream pedagogical knowledge. These missing moments are the enigma of technique. They are intuitive techniques, that rely on the natural input of the violinist. From the context of a timeline, however, they can be identified, and taught. This timeline creates a thought process, that becomes the foundation of technique. | The ability to capture virtuosic speed comes from applying many of the same techniques that are used in sport, and dance. These include techniques such as muscle groups, preparation concepts, postural security, and physical invention. Bowing techniques, especially when string crossing, use the forces of nature. These include air pressure, balance points, and gravity. | Defining these intuitive techniques of talent, for the first time, fully explains the co-ordinated moment, and guarantees intonation. Musical interpretation then occurs during the timeline moment, of the bow's follow through. |
小提琴才能研究
- 你被告知要听，但不知道如何做？
- 你被告知要按调弦演奏，但不知道如何做？
- 你被告知要协调，但不知道如何做？
- 你从一个老师那里转到另一个老师那里吗？
- 你练习却没有进步吗？
尽管勤奋练习，并接受了大师教师的指导，成功并不总是确保的。传统的教学方法，对一些人有效，但往往无法为大多数人带来广泛的成功。从历史上看，在满足大多数候选人的学习需求方面，教授文凭级别技术的“如何做”通常过于模糊。时间轴定义了技术才能的详细科学。没有奇迹，只有魔法。
La recherche sur le talent de jeu en violon
- Êtes-vous invité à écouter, mais ne comprenez pas comment?
- Êtes-vous invité à jouer juste, mais ne comprenez pas comment?
- Êtes-vous invité à coordonner, mais ne comprenez pas comment?
- Passez-vous d'un professeur à un autre?
- Pratiquez-vous sans progresser?
Malgré une pratique assidue et des instructions de maîtres enseignants, le succès n'est pas toujours garanti. Les méthodes pédagogiques traditionnelles, efficaces pour certains, échouent souvent à se traduire par un succès généralisé pour beaucoup. Historiquement, l'enseignement du "comment faire" des techniques de niveau diplôme a été trop vague dans les détails, ne répondant pas aux besoins d'apprentissage de la plupart des candidats.
Une chronologie définit la science détaillée du talent technique. Il n'y a plus des miracles, juste de la magie.
Studia talentu gry na skrzypcach
- Czy ci mówią, żebyś słuchał, ale nie wiesz, jak?
- Czy ci mówią, żebyś grał czysto, ale nie wiesz, jak?
- Czy ci mówią, żebyś koordynował, ale nie wiesz, jak?
- Czy chodzisz od jednego nauczyciela do drugiego?
- Czy ćwiczysz bez postępów?
Mimo pilnej praktyki i instrukcji od mistrzów nauczycieli, sukces nie jest zawsze gwarantowany. Tradycyjne metody pedagogiczne, skuteczne dla niektórych, często nie przekładają się na powszechny sukces. Historycznie, nauczanie "jak robić" techniki na poziomie dyplomowym są zbyt mgliste w szczegółach, nie spełniając potrzeb nauki dla większości kandydatów.
Wykres lini czasu uczy jak osiągnąć talent techniczny. Nie potrzebujesz już cudów, znasz magie.