Get this from a library! Hora staccato for violin and piano. [GrigoraČ™ Dinicu; Jascha Heifetz]. Check out Hora staccato (Arr. for Violin and Piano by Jascha Heifetz) by Jascha Heifetz on Amazon Music. Stream ad-free or purchase CD’s and MP3s now on. Check out Hora Staccato, Dance for Violin and Piano by Emanuel Bay Jascha Heifetz on Amazon Music. Stream ad-free or purchase CD’s and MP3s now on.

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I dunno that this is completely true as kids will likely nod their heads “yes” to most any of my questions. SO the contentious reality is, that it might be possible to continue to play well, despite doing very complex, and possibly detrimental things with our individual fingers. On stage, it’s a very strange vibe, but there are times when the audience desires for the artist to play well. But sitting there in at a cello recital, people may fall “asleep,” but with a broad, knowing smile.

No need to apologize for using Stern as an example. We are taught not to do this, but they do it. Romantic Staccatto Through Romanian Music.

S – its a play off of my ataccato, though the accumulated credit voilin from music school and then engineering school are as much as a PHD would have. Don’t put too much stock in the DR in DR. The Master of Romantic. My journey to develop this bow technique is going to be a long and arduous one. This feedback in the hand, and the brain panicking, can make things worse. Masters of the Bow. Share on facebook twitter tumblr. In his arrangement, Heifetz says it can be played spicc.

Hora Staccato – Page 2 – The Fingerboard – Maestronet Forums

I have been critical of methods by those following a mentor too closely and blindly to the detriment of their students and music. But talking to experts in tennis and golf, generally, the more contact duration in time the ball makes with strings or the club face, more control is given to the player. I think some players use the stiff arm method, such as Heifetz.


But in response to all these wonderful makers offering their techniques, some are being offered here. Register a new account. You need to be a member in order to leave a comment. The Very Best of Jascha Heifetz. Although it looks smooth, if you were to roll up his sleeve you would see a tensed forearm. Romantic Evening Sex All Themes.

As a violinist, the approach might have to be different, in that there is a snooze factor. The Art of Oscar Shumsky. Trading time for the shift known factor given practice vs the string crossing unknown factor given practicethe shift makes more sense. Show pieces don’t necessary fall into this catagory, but we know hlra it’s a disappointment.

Move away from the bridge and the string feels “looser” and the string keeps moving the bow up and down, as this is a response to the energy used for activating the “bite.

I have seen, by artists who don’t have that expectation to fulfill, do wonderful performances. The subtle lesson for me was that the contact be made was the solution, and not that the finger be left on the stick. In the grip, what fingers and thumb are supporting the bow, which one is guiding, and which are helping to apply pressure on to the string; and, is it stacccato to find a better contact point, closer to the bow, benefittin to the overall speed and “bite” to the sound? Some teachers at Master classes simply because of limited time offer the Obi-wan-esque advice of trust-in-the-hand.


Not only am I a conservatory trained instrumentalist a long time ago, yet I remember wellbut a degreed Engineer and a former Physics and Chemistry teacher. We are really splitting hairs – it is just a game of semantics. And especially dynamic ones since this dialog is continuing. I could do this during public broadcasting pledge nights – Saw Ms Orman at a violin master class once. They let artist after artist come through here and will not provide that one last curtain call to secure an encore – the frosting on the cake of having such artists on stage, and after a hhora performance there’s no harm in asking them to juggle a little bitand it seems the more depth of the performance and the music, the shorter the applause lasts.

The combined Dinicu-Heifetz piece is a gem of virtuoso showmanship that, like so many short pieces vlolin the late nineteenth and early twentieth centuries, takes an essentially Classical design and flavors it with the salt and pepper of what Western audiences of the day must surely have felt were decidedly exotic folk music idioms.

Pops Around the World. Three Centuries of the Greatest Hits. Remaining anonymous, at least for now, is sincerely the easiest at this point. Nothing to apologize for Baiorin. But, as usual, allow a digression.

Hora staccato (Take 1) [Arr. for Violin & Piano]

I find it entertaining, motivating. Selections from The Heifetz Collection. I think it sounds better Spiccato, and that is how the Rumanian gypsy players like Dinicu played it.

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