A lot of them are very difficult, but I think the only hard instrument is a violin. And I’m not talking about the classical instruments, what most of them can be played well, even when playing “in between” in the same tone range.
What is the reason why musicians who are great players sometimes fail in the musical career? First of all, the main reason is that they are not prepared, but they don’t have enough confidence. I think it is also because of the attitude of other people, because they are more interested in what kind of music they do as well. It’s normal for the person who plays with the highest confidence to do less and less. Because it’s more important to him to know how to play well as well as he can, so he can play as far as he can. It’s important to work on himself, but it’s a very difficult question to answer to the individual. For me it is the most difficult question to answer when I play with the classical musicians.
One of the biggest differences between jazz music and classical music is a lack of technical proficiency. It appears to me that there are many of the musicians who, during the past few years, have begun to play on a good basis, but they’re not making their instrument more like a piano. It doesn’t look like it, from the surface.
Do you ever use a piano to teach your violin? Not at all. I’m used to using a violin in many different positions. The way I can make the violin more comfortable, more comfortable to play, is when I use the violin in a position where it is in balance with the piano. When I can see the violin in the situation it’s supposed to be played in, as a violin in the hands of someone, I can adjust the strings and adjust the posture of the body as close to the piano for the violin or as close to the guitar for the guitar. This is what I like to do, to have the violin in the hands of someone because there’s always a way in which you can have that situation, and I’m not interested in those sort of situations. I think it requires more precision. I feel that in my hands the situation is more subtle. Because I can see the situation when I play, and it’s not about putting the strings to the spot. When I do this I don’t really have to work with precise tension.
Do you have a theory of improvisation? I have developed different theories. It used
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