Rigorous Technique Training for Advanced Violinists
What is the “Advanced Violin Seminar?”: This lecture series will present a systematic, rigorous study of selected violin techniques based on the pedagogical works of Galamian, Flesch, Frischenschlager, Yankelevich, and others. It is intended to help the advanced student develop a more complete concept of technique, with individual skills broken down, explained, and studied with practical exercises. These lectures will offer exercises and practice methods to address common technical problems, and will present technique as a skill set that can be systematically trained as a means to achieve artistic freedom. The lectures are selected from a detailed and progressive curriculum of Mr. Peckins’ design, including posture, freedom of movement, bow technique, left hand frame and articulation, double stops, etc. A printable PDF with an outline of Mr. Peckins’ curriculum of violin technique is included for self-assessment and further, independent study.
Why is this Unique?: This course is neither only a theoretical analysis nor only a workbook of exercises. Instead, it combines theoretical analysis (with the benefit of demonstration made possible by video lectures) with practical exercises designed to train the individual skills under discussion in any given lecture. This combination of theoretical analysis (for the sake of understanding) and exercises (for training practical skills) may be more beneficial for students than either would be alone. Many students have studied great pedagogical works by violin masters, but have not been able to transfer the important analysis in those books into real playing ability due to lack of appropriate exercises for training purposes. Similarly, many students have practiced wonderful books of exercises and etudes without really understanding the purpose of those exercises, and therefore without adequate benefit from their hours of toil. The goal of this course is to give students a thorough understanding of technical concepts, and also a clear program for how to practice and turn theoretical understanding into practical skill.
Additionally, the syllabus is organized based on a progression of technical concepts, with the goal of building a student’s concept of violin playing as a unified and trainable skill set. This is different from a typical organization by category, which may be useful more as a reference or for teachers. The the organization of this course is more practical: to start with the most fundamental and central concepts, and to gradually build up to more advanced concepts, which require prior understanding of the earlier concepts. Most other progressive courses are intended for beginners, whereas this is a progressive course specifically for the advanced player.
Of course, for the student who has not yet had the chance to encounter the great schools of violin technique, a very special benefit will be simply exposure to these ideas. This specific opportunity is not unique to this series, of course, but may nevertheless be a discovery for many students.
Intended Participants: This course is recommended for college age students and older, but may be appropriate for highly motivated and advanced high-school students. The ideal participant is analytically minded, curious about violin technique and playing, and motivated to radically improve his/her technique through intensive study. College students, dedicated amateurs, as well as professionals looking for a thorough review are encouraged to take this course. Teachers looking for a comprehensive survey of violin technique may also be interested in the PDF of the curriculum.
Please Note: This lecture series is different from the other instruction materials available on Peckins Studio Online. There are hundreds of lessons for violinists of all levels on this website, including for complete beginners and intermediate students, but this series is for the advanced player at the college/conservatory level or beyond. This series may be right for you if you are currently playing the professional concert repertoire, are comfortable with three-octave scales, arpeggios and double stops, and have significant experience with etudes by Rode, Gaviniez, Dont, Kreutzer, Paganini, or similar. If you are not at that level yet, please browse some of the other instructional materials on this website intended for beginner/intermediate players.
Warning: This lecture series offers highly valuable information, but does not offer any feedback or live instruction. Consult with an experienced, qualified, professional violin teacher for personal feedback and to make sure you are understanding the material correctly. You are responsible for your own progress, and no guarantee is made about the results you will achieve with this lecture series! Lots of information is included in this course, but it is not intended as a complete course of violin technique; it includes selected techniques only, which you should use as a supplement to lessons with a private teacher. Many of the exercises in this lecture series are intended for advanced players, and can be strenuous; it is very important never to do any violin-playing that causes you pain, discomfort, or fatigue. Consult with your doctor before attempting any new techniques or modifying your routine; and stop immediately and consult your doctor in any case of pain, discomfort, or fatigue during or after playing.
Instructions: Please study the lectures in order, consult with a private teacher as you go, and practice the material thoroughly before progressing to the next lecture. Audio/video examples of famous violinists will be referenced with external links (by clicking these links, you will leave this website, and we are not responsible for those links being maintained/up to date - apologies in advance if they are changed or taken down.) When sheet music is in the public domain, we may offer PDF’s that can be downloaded and printed. For other score/book examples, you may need to purchase sheet music from your music store of choice.
Recommended Books: The following books may be helpful as you go through these lectures. These can be ordered from many book stores, music shops, and online.
Carl Flesch, The Art of Violin Playing: Book One
Carl Flesch, Scale System
Masha Lankovsky (editor), The Russian Violin School: The Legacy of Yuri Yankelevich
Ivan Galamian, Principles of Violin Playing and Teaching
Ruggiero Ricci, Left Hand Technique
Let’s Get Started!
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PDF: Lesson 1, Basic Violin Techniques and Exercises, by Joshua Peckins
This PDF lists critical skills necessary for an advanced violin technique.
Under each skill (e.g., vibrato, bow stokes, shifting, etc.), a list of exercises is offered.
This will be used as an outline for this course, and can be a valuable reference for studying the complete violin technique and organizing a personal training plan.
PDF: “Urstudien,” by Carl Flesch
Click to view and print before watching Lectures 2 and 3.
Video: Lecture 2, Intro to “Urstudien”
Lecture 2 introduces “Urstudien,” by Carl Flesch.
By the end of this lecture, you should understand Carl Flesch’s idea of “mechanisms of technique,” or specific physical movements that are used in various combinations to play the violin, and the possibility (and value!) of training those mechanisms.
To review and reinforce the ideas in this lesson, read all the text in “Urstudien,” and think about how Carl Flesch’s five left hand mechanisms are used in combination to produce real violin playing.
Video: Lecture 3, “Urstudien” Left Hand Exercises
Lecture 3 teaches and demonstrates the left hand exercises from “Urstudien".
Proceed with care, as these exercises are strenuous! Don’t over due it, listen to your body, and only do what is comfortable.
To review and reinforce these ideas, continue to practice these exercises, and consider making them part of your daily warm-up routine.
We will go further into detail about how to do these exercises in the following lessons.
Listening Example: Hilary Hahn, famous violin soloist, practicing “Urstudien”
Watch Hillary Hahn practicing “Urstudien.”
These exercises are certainly not for beginners, and are used by top-level violinists such as Hillary Hahn!
Notice the strength and stability in her hand as she practices the dropping and raising “mechanism.”
This is an external link; you will leave this website.
Video: Lecture 4, General Advice for Violinists
Lecture 4 presents and discusses the “General Advice for Violinists” section of the “Basic Violin Techniques and Exercises” PDF. (Click here to view and print this PDF if you have not done so already.)
This lecture includes advice about how to practice technique, how to stay focused on music, how much to practice, how to develop as a complete musician, and more. It is important to keep these ideas in mind while progressing through the rest of this course.
To review and reinforce these ideas, re-read through the list, and consider which of these ideas you would like to incorporate into your own work and thinking. Periodically review the list for fresh inspiration, and to make sure you are remembering the ideas as you progress through this lecture series. Feel free to add your own “general advice” to the list!
Video: Lecture 5, Posture
Lecture 5 suggests an ideal posture for violinists that seeks to maximize freedom of movement, relaxation, and comfort, while also pursuing practical results with real violin playing.
This lecture also presents specific exercises for improving posture.
To review and reinforce these ideas, practice the exercises for 5-10 minutes every day, and think about the principles during your regular violin practice.
Video: Lecture 6, Ideal Posture While Holding the Violin
Lecture 6 builds on the principles of good posture taught in Lecture 6, now applying them to the violin position.
This lecture also discusses the role of shoulder rests and chin rests, and suggests how to find the best set-up for your personal anatomy.
To review and reinforce these ideas, go to a violin shop and spend some time finding the correct shoulder/chin rest set-up. Also practice the recommended position, without shoulder rest, with scales or basic playing without shifting, as described in the video.
Listening Example: Yehudi Menuhin, Lesson 1 from “Six Lessons with Yehudi Menuhin”
Six Lessons with Yehudi Menuhin is a book by Menuhin, the late great violin virtuoso and artist, also recorded as a short video series. This is only the first video in the series, but all are worth watching if you are interested in his approach.
Notice Menuhin’s focus on relaxation, freedom of movement, and an almost obsessive interest in finding a natural way of using the body to overcome the demands of playing the violin. It is also worth learning about Menuhin’s interest (and advanced skill!) in yoga.
Also notice how much of Menuhin’s teaching is done without actually playing the violin, but just with basic physical exercises.
This is an external link; you will leave this website.
Video: Lecture 7, Bow Hold and Exercises
Lecture 7 presents the Franco-Belgian bow hold and a series of exercises to train the important motions of the wrist and fingers.
To review and reinforce these ideas, practice all of the silent bow exercises on a daily basis as part of your warm-up.
Do NOT practice these exercises to the point of fatigue - the goal is not to tire out your hand, but to rather to build feeling, range of motion, and relaxed control of the bow. If you are not yet strong enough to do these exercises with the bow, you can practice them with pencil (much lighter) or with the bow in a vertical position (taking the weight off your pinky).
Listening Example: Itzhak Perlman on the Franco-Belgian Bow Hold
The famous violinist, Itzhak Perlman, shows the “Franco-Belgian” bow hold, and suggests practicing bow technique with slow scales.
This is an external link; you will leave this website.
Video: Lecture 8, Detache, Smooth Bow Changes, and Pronation
Lecture 8 explains the basic detache stroke in all parts of the bow.
Skills include: flexibility of the wrist and fingers at the bow change, using pronation for even dynamics at the frog and tip, and basic alignment issues (straight bow, elbow position, etc.)
To review and reinforce these ideas, practice the open string detache exercises for small bows, half bows, and full bows. Also practice the warm-up exercises with two fingers and Carl Flesch’s “finger/wrist stroke.” As you practice, pay careful attention to the smooth bow changes and pronation. Try to combine the feeling with the sound.
Video: Lecture 9, Left Hand Frame
Lecture 9 offers strategies to achieve a stable, relaxed, and compact left hand position.
Issues including finger angle, feeling of “hanging", balance of the hand, thumb placement, wrist angle, arm position and posture.
To review and reinforce these ideas, practice the recommended exercises (such as scales and arpeggios in one position, 5ths, gently hanging the arm from the violin, Schradieck, Flesch Urstudien, etc.) while following the principles of left hand frame discussed in the video.
Listening Example: Perlman and Zuckerman, Contrasting Thumb Positions
Incredible footage of Perlman and Zuckerman rehearsing for their famed duo tour, when both were young soloists. In this video, they two violinists play the same Wieniawski duo, switching between 1st and 2nd violin, so we have an amazing opportunity to see their different approaches to palying exactly the same music.
Notice Perlman’s “high thumb” position, even when me shifts into very high positions. Contrast this to Zuckerman’s thumb position, especially how he brings the thumb under the violin’s neck in high positions. Due to differences in hand size/shape, each violinist has found a personal position that works for his unique anatomy.
Listening Example: Ida Haendel, Position for Smaller Hands
Ida Haendel became a world-class virtuoso despite having much smaller hands than usual.
Notice how far she keeps her thumb under the violin’s neck. She often separates the side of the index finger from the violin’s neck, even in lower positions.
Video: Lecture 10, Scales and Arpeggios in One Position for Left Hand Frame
Lecture 10 introduces the 2-octave scale and arpeggio pattern in one position, without shifting. This is excellent for working on left hand frame, learning the higher positions, and as a base exercise that can also be used to work on intonation, sound quality/dynamics, vibrato, bow technique, etc.
To review and reinforce these ideas, practice the scales and arpeggios in various positions, following all the instructions from Lecture 9 about left hand frame. Introduce the higher positions gradually, and avoid anything that causes strain.
PDF: Scales and Arpeggios in One Position Sheet Music (not yet live - we hope to add this soon)
Video: Lecture 11, G Major Pattern for Left Hand Frame
Lecture 11 introduces an important exercise for left hand frame, which will can also be used to practice string crossings and various bow strokes.
To review and reinforce these ideas, learn the exercise keeping a relaxed, comfortable left hand, and following all the instructions from Lecture 9 about left hand frame.
Video: Lecture 12, 5ths
Lecture 12 discusses the left hand frame for 5ths, and how this supports a good left hand frame for general playing.
Exercises include playing fingered 5ths in low positions and playing glissando scales in 5ths.
To review and reinforce these ideas, practice both 5ths exercises and read the chapters in Ruggierio Ricci’s book on 5ths.
Video: Lecture 13.1, Small String Crossing at the Frog, Middle, and tip
Lecture 13.1 discusses the different motions used for small string crossings (i.e., back and forth between two adjacent strings) at the frog, middle, and tip of the bow.
To review and reinforce these ideas, practice the open string crossings exercises presented in the video.
Video: Lecture 13.2, Large String Crossing Using the Arm
Lecture 13.2 discusses string crossings from one string area to another, or larger string crossings that require the whole arm to move.
To review and reinforce these ideas, practice the open string crossings exercises presented in the video.
Video: Lecture 13.3, Keeping String Crossing Small and Compact
Lecture 13.3 offers some additional advice about avoiding excess motion and keeping string crossing compact.
Check back here for Lecture 14
We hope to continue this Seminar series in the future, but there is no guaranteed/fixed schedule for adding new lessons. Check this webpage for updates and any new lectures in the series!