Course Syllabus
One of Kalinovsky’s most important ideas is isolating wrist muscles from fingers. Kalinovsky demonstrates how to play with a free wrist, creating articulation that comes from two concepts: impulse speed and release speed. In this lesson, he shares several exercises to help establish essential flexibility and freedom of the left hand.
Moving the hand with minimal friction while feeling every shift as a relaxed arm rotation is a core idea in the art of shifting. Kalinovsky shares shifting and sliding exercises such as rotating the arm and fingers, sliding to new fingers, and shifting while changing bows and provides advice on hiding the slide sound and utilizing the metronome as a shifting exercise tool.
Kalinovsky thinks of vibrato as a rhythmic bending of pitch downwards. In this lesson, he discusses the free motion of fingers, the free movement of the wrist, and how to create a continuous vibrato. In addition, Kalinovsky highlights the importance of choosing a type and amount of vibrato to serve a musical purpose.
Kalinovsky prefers thinking about double stops as shapes instead of as individual notes. He provides exercises to increase the confidence in the hand, find a correct thumb position, and know where the shapes are before playing. He demonstrates methods to practice chords and octaves while applying them to standard repertoire.
In this lesson, Kalinovsky explains the different thumb positions and how to establish and choose them, considering the music and desired sound.
Kalinovsky shares how to create a relaxed, fast trill by keeping a flexible wrist, avoiding pressing down with the lower finger, and thinking about the trill as being away from the string rather than into it.
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