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tonebase Violin Course

Dounis -

Principles of Violin Playing for the Left and Right Hands

Taught by renowned violinist

Daniel Phillips

Dr. Demetrius Constantine Dounis had a unique background in medicine and music which gave him the tools to address the efficiency of violin playing in novel ways. Hard work, while necessary, should be geared toward getting the most for minimum effort. This is the main aim of Dounis’s scientific method, one that Daniel Phillips explains in great detail throughout this course.

  • checkmark icon
    Category: 
    Repertoire,Skills
  • checkmark icon
    Difficulty: 
    All-Levels
  • checkmark icon
    Duration: 
    4
     hours
     hour

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.

Power from Pronation

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.

The Brush Stroke

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.

String Crossing

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.

Bow Changes

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.

Straight Line Shifting

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.

Shifting Less

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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Daniel Phillips
meet YOUR INSTRUCTOR

Daniel Phillips

Current faculty member at the Juilliard School, Queens College Aaron Copland School of Music, and the Mannes School of Music and the Bard Conservatory, Daniel Phillips is a versatile and experienced soloist.

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Daniel Phillips
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