Course Syllabus
Introduction: A Musician's Journey to Dounis
In this lesson, Daniel Phillips introduces us to Dounis's ideas, beginning with how to move the bow in an arc rather than a straight line.
A Different Way of Thinking of the Bow Hold
The bow should not hinder our ability to express ourselves. This is the aim of a good bow hold, and Phillips shows us a simple way to find one.
Phillips urges us not to confuse pronation with raising the arm or shoulder. He goes on to illustrate a simple way to find a natural movement of the bow from frog to tip.
It is easy to assume that a fuller tone requires power from the fingers, but Phillips explains in this lesson how the opposite is more accurate. He also describes the difference between active and passive strokes.
Arm Levels and Bow Weight
When we play a drum, the arm is suspended above the contact point. For this lesson, Phillips explains how this concept translates to the violin, and why bowing levels are important.
(More Principles Coming Soon)
For his upcoming series on the left hand, Phillips discusses the joints the fingers should actually move from, how to find a comfortable hand setup, and how to just about guarantee proper intonation on a wide shift, among much more.
Tension and Support-Lessons from Milstein and Dounis
Daniel Phillips studied with Milstein for a year and witnessed the great ease with which he was able to play the violin. Later in life with the lessons learned from Dounis, Phillips was able to put things together and play with greater ease and support on the violin.
Phillips discusses string crossing lessons he learned from Gingold to Ysaye to Dounis. He demonstrates using the arc of the bridge and letting the hand lead for a smooth string-crossing.
Using a loop to get smooth bow changes and a discussion of the movement of the hand, Phillips describes ways of making a smoother bow change.
Structuring the Left Hand
Daniel Phillips discusses principles on movement from Dounis in how to use the left hand. This includes the anatomy, alignment, as well as movement of the joints in the hand and arm.
Vibrato and Legato in the Left Hand
Maintaining the frame in the left hand helps to improve the ability to maintain legato with the left hand including vibrato. Phillips discusses ways to improve comfort in the left hand and maintaining a continuous vibrato.
Absolute Independence of the Fingers and Shifting
One of the most challenging exercises by Dounis allows for the fingers to play with much greater ease on the instrument. Phillips continues by reframing shifting both structurally and psychologically including “leapfrog” shifting.
Left Hand Agility and Alignment
Playing with fingers closer to the strings improves agility on the violin. Focusing on alignment of the arm and hand on different strings allows for more facility on the violin.
Shifting more efficiently allows for more ease and virtuosity in changes of positions on the violin. Utilizing flexibility in the wrist and thumb, Phillips showcases components necessary for shifts of different speeds.
Daniel Phillips discusses how to shift with greater support and situations where it is possible to shift less yet still play the same notes.
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