From violinmasterclass.com
http://www.violinmasterclass.com/community/viewtopic.php?t=3920&postdays=0&postorder=asc&
--My Accompanist for not being there for my upcoming student recital and funneling my efforts toward something unaccompanied.
--Simon Fischer, for his two amazing books Basics, and Practice.
- I couldn't say enough positive things about these books. I've gone to the big schools for music performance degrees, and worked with major orchestras, and I would say that these are the best books you will find. I have about everything there is that is written about the violin, and I think these are the best. They are more effective, IMO, than Galamian's book - sort of like his book on steroids. I also find them more useful than the Flesch books, as great as they are. Many of the techniques and approaches are what Galamian, Delay and others taught their students, and I believe you will find that it reinforces and expands on what this site is about. I'm 45 years old, and have studied with some great teachers, but there are things in the books that I missed out on. If you follow through on the material, your playing will improve very quickly.
- If you are a teacher, the material is equally valuable. I have students at all levels, and when I try out some of the methods on them, I am always amazed at the instant results I get from them. My ability as a teacher has skyrocketed because of the solid methods presented in the books.
- I don't think these books are intended to replace any of the standard etude material, in fact there are many helpful passages on how to tackle some of the standards. If you like this site, I'm sure you would like the books. I would probably start with Basics first, and it is also the cheaper of the two. I think I bought mine two years ago for $40.00. My only complaint about Practice is that a small amount of the material seems to be a repeat of Basics. But the book is huge. I see these as life long investments that I will be using for many years to come. ($60.00 for Practice, BTW). There have been many times for me of opening the books and finding an instant answer to a life long problem. Something that I may have struggled with for years, that is addressed and fixed in minutes. I've always suspected that teachers like the Kurt and Delay had "inside" information that you could only get by being a student of theirs. This site and these books very generously shares some of that privileged info, very different from when I was a student. Hope this helps in your decision making.
http://www.violinmasterclass.com/community/viewtopic.php?t=3920&postdays=0&postorder=asc&
- Basics is a must-have. It is a comprehensive and encyclopedic collection of exercises for developing technique, useful to anyone from beginner to professional. I've heard nothing but raves about it from others, and for myself I would recommend it first over any other book on violin technique, as it is both clearer and more comprehensive and specific than the Galamian book (which is nonetheless another must-have).
- A good teacher is very important but he/she can only guide you so far. Half the battle is knowing how to achieve what the teacher asks. I have realized over my years that a teacher cannot be inside one's body, and, therefore, the student has to constantly experiment and change. I would buy yourself a copy of Fischer's Basics and make sure you have lots of time to practice. Keep practicing and searching for beauty and you'll be great!
- Violin playing is one of the most complex sensorimotor activities one can think of. Quite a few teachers have difficulty explaining to their students how to perform required techniques other than by just playing and asking them to see and hear what is being asked of them. To go beyond this level of kinaesthetic intuition, it is necessary to analyze the physics and physiology of playing, break down the complex movements into simpler parts, and to develop a layered, incremental approach to learning. Fischer's Basics is not a violin method, but a collection of exercises that address fundamental technical issues, providing local solutions for specific problem spots. A must have for any violinist or violist, whether professional or not.
- Simon Fischer's Basics: Simon Fisher was a protégé of Dorothy DeLay, who was of course, Galamian's assistant. His articles regularly appear in Strad. The book has some wonderful exercises, and is the best book for self-teaching on the violin that I know of. The book has very explicit, detailed directions and explanatory photographs. I use these exercises in my teaching.
- Studies, shmudies! None of them helped me much until I understood exactly how to use my finger, hands and arms, using Simon Fisher's Basics and Practice. Am I a cracked record? Sorry, it's just that nothing else in years of effort has helped me as much.
- It might be a good time to once again recommend Basics by Simon Fischer. It's got clear instructions and exercises on just about everything to do with violin and bow hold, and with left and right hand techniques. For the price of a couple of lessons, you have a reference that will be helpful for many years, if not for as long as you play the fiddle. Mine's getting pretty dog-eared by now, and I haven't even begun to assimilate everything that's in there.
- Well, I've had such a struggle this year...had a musical breakdown in January and have barely picked up the violin since, often considering life without it at all. The frustration, doubts, and self-effacement were unbearable and I just couldn't make myself pick up the instrument. So what have I decided to do? Go right back to the basics...and I mean the BASICS!! Gotta build that faith back up again, starting from scratch, going through that Simon Fischer book right from square one - relearning how to play right, from the bow hold to simple scales. Knowing that I can successfully do simple things quite well...things I'd never done before (being a self-learner), really gives you a sense of stability.
- Simon Fischer's book is amazing. The exercises are wonderful, with concepts that can be consciously remembered and instantly applied.
- Although Basics does have some playing exercises, quite a lot of it is about doing just what you say, focusing on isolated things, not doing new etudes and such. for example, in the 'Right Arm and Hand' section, which includes bowing, a lot of work is done with just the bow, and a lot of the exercises that use the bow with the violin have you play single notes, not focusing on intonation or fingering, which is what i like about it, it lowers the stress!
- There is an excellent book called Basics by Simon Fischer which has a chapter on Vibrato. The exercises are really helpful and my vibrato is really coming along now.
- Finally, you might get some reading material like Simon Fischer's out-standing books (the most com-prehensive I have yet to see for any instrument) or Galamian's so that ideas can percolate in your mind while you're away from the instrument.
- This book should be required reading for all teachers, and highly recommended for students.
- The best thing I did was buying Basics by Simon Fischer. It contains a lot of useful exercises that really make a difference even if you only do them for 5 minutes. I even acquired Practice by Simon Fischer too, because I'm so fond of his other book.
- A 'techniques' book that I find extremely rich with exercises, pictures, hints and tips is called Basics by Simon Fischer. It covers topics such as bow hold (finger positioning on frog, arm movement in bowing), various types of bowing (legato, martele, stacatto, spicatto, colle...), left hand technique, vibrato, shifting - pretty much everything you'd need to master to become a decent violinist. It's a book that will provide help and advice from the beginner to the professional so it will do you a long time, especially if you're going to be on your own
- I finally got my copies of both Basics and Practice, both wonderful and both really drawing me in!
- My first suggestion is to get the book Basics by Simon Fischer. Besides being an excellent book, it has a chapter dedicated to the left hand with a few exercises aimed at getting a more relaxed grip of the thumb and a more lighter pressure of left hand fingers.
- Basics is really great stuff! Every aspect of violin playing is in it and the exercises can be used at many different levels of playing.
- Don't forget Practice and Basics by Fischer. They are immensely helpful.
- Basics is a book full of amazingly useful exercises on all technical aspects of violin playing. It is not a book with sheet music of scales, arpeggios and etudes. It's much more, well, 'basic' than that: how to hold the instrument, bow, bowing technique, fingering technique - everything! It is useful from the very beginning to a very high level. I don't think you can choose between this book and, say, Sevcik. Totally different function. But I would choose Basics over anything!
- I'd like to thank: 1) George for wiping away inhibitions about Bach-indulgence. 2) My accompanist for not being there for my upcoming student recital and funneling my efforts toward something unaccompanied. 3) Simon Fischer, for his two amazing books Basics and Practice.
- I've got both of these and they are very useful, not just for sorting out any niggly problems of my own, but when I need ideas to help sort out my students' problems too.
- Simply indispensable.
- Excellent book. An essential for all violinists.
- This is an outstanding book for any musician from a beginner to a professional. It is used by highly sucessfful violinist. The book is designed to help you get solid grasp on the basic violin technique that will enable you to master hard works for the violin. Through its well thought out exercises and pictures, you will learn so much. I believe nobody is a true musician without owning this outstanding masterpiece.
- As for my own attitude, well, I suppose it fluctuates from day to day. I was feeling rotten about playing yesterday, even though I put in my hour and a half like a good girl. But today I did a proper practice - covering bowing exercises, scales and three pieces. The Basics exercises are the best. I think I'm even more in love with Simon Fischer than I am with Adam Ant.
- If you are looking for a particular thing to discuss in detail that is of the hour, you may want to take up Basics by Simon Fischer which is perhaps the greatest pedagogical work in the last 30 years.
- Basics - the most diagnostic book in the known universe.
- I disagree with the idea of learning a vibrato technique through listening and/or watching videos. Too many students are simply told to 'wiggle' or some other such nonsense, and it leads to incredibly poor technical development. My advice is to go through all the vibrato exercises in Simon Fischer's Basics, for arm as well as hand. By following these exercises systematically, a student is likely to develop a solid vibrato technique according to their own comfort.
- I hate to sound like a parrot or someone plugging an advertisement, but do you have Basics by Simon Fischer?
- Just wanted to mention that I got Fischer's Basics book! Picked it up after violin lesson. Intended to pick up something to go with leftover turkey for the family. Got engrossed in the book in the parking lot. Noticed the shadows were getting long in the parking lot. Ate Chinese instead and wished I had not left the book in the car. Figured the family would have made turkey sandwiches by this time and brought home a pumpkin pie (and the Basics book).
- I was never taught vibrato either, and was also clueless. When I started teaching I read lots of material, but it was mostly vague and unhelpful. Then I read Simon Fischer's chapter in Basics and never looked back.
- WOW! It is by far the most comprehensive technique book I've ever seen for any instrument. The photos and descriptions are superb. I just had to post and say THANKS to all who brought my attention to it.. AWESOME!
- I use it as a specific: if I find I can't do something, I look it up in Basics, and so far there has been a range of exercises to help every time. It has also been good for teaching. When you can see what someone is doing wrong, but don't know how to put it right, Basics usually has the answer.
- Buy Simon Fischer's new book, Practice. In it, you will find hundreds of ways to problem-shoot and pick apart your piece and put it back together. I'm certain you will find at least something valuable in the book, and you will be glad you bought it.
- If one knows what the problem is, then there is always a solution to be found in these books. Thank you, Mr Fischer .
- Practice is a work of astonishing breadth and unarguable importance. This is the book that really helps you organize what and how to practice. There are so many extracts from the repertoire that when I casually looked for examples of my current works in progress there were significant quotes from every one, giving me a whole new dimension in many cases. Flabbergasting!
- For every concerto, showpiece, sonata, etc. that I teach my students, I most definitely have a list of skills they must be able to accomplish before they can play the work. If they can't do all those things, its back to basics, scales, and etudes until they can. If you want to organize those skills into categories, you certainly can. The Galamian book, and Simon Fischer's Basics address individual parts of the playing technique in this manner.
- I finally got my copies of both Basics and Practice, both wonderful and both really drawing me in!
- Don't forget Practice and Basics by Fischer. They are immensely helpful.
- I'd like to thank:
--My Accompanist for not being there for my upcoming student recital and funneling my efforts toward something unaccompanied.
--Simon Fischer, for his two amazing books Basics, and Practice.
- They're not cheap but I recommend the books by Simon Fischer. I've got both of these and they are very useful, not just for sorting out any niggly problems of my own, but when I need ideas to help sort out my students' problems too.
- The Simon Fischer book is excellent, and there is now a "sequel" called Practice. I would recommend either or even both if you can run to it. They will be useful reference for ever more.
- I don't mean to be too negative about this but I think that it is important for beginners to receive absolutely the best instruction possible. And it is very tricky. There is a huge difference between being able to play and being able to teach. If you are able it would be best to take some kind of teacher training and/or perhaps work with another teacher as your mentor while you teach. And, as always, I highly recommend the Simon Fischer books, Basics and Practice. As we have learned in the medical profession "First, do no harm" so be careful with beginners.
- Save up a few bucks and buy Simon Fischer's new book, Practice. In it, you will find hundreds of ways to problem-shoot and pick apart your piece and put it back together. I'm certain you will find at least something valuable in the book, and you will be glad you bought it.
- It is hard to tell you what you need when we can't listen to you or watch you play. I'm sure your teacher is giving you feedback as you attend your lessons. Listen to your teacher, watching carefully and ask lots of questions. When you practice at home, be mindful of everything you went over during the lesson. You will never be perfect, by the way. But try.
- I too shall add my praise to Simon Fischer, I have both books now (at terrible expense to my parents, ahh, I love them) and I've been told by my mum that I have to use practice *AT LEAST* 104 times (it cost AUD$104)
- In Australia, there is a real estate company called L.J Hooker, and their little jingle on the tv is "no-body does it better, LJ Hooker You're the best" I've decided to change it to: "No-body does it better, Mr Fischer, you're the best"
- Is it worthwhile to purchase both Practice and Basics, or to purchase only the newer one - ie Practice? I would say both is best, because Basics looks at the specific analysis of technical needs and particular problems, Practice applies the solutions to individual excerpts from the repertoire. They can work together from different angles. However, I would be more likely to recommend Basics if you wanted only one, because I like thinking about these things in the abstract. If you prefer to give exercises a musical context, go for Practice.
- I used to love Simon Fischer's "Basics" column in The Strad, and to have these compendia is a real help for me, both as a teacher and as a player striving to develop. If one knows what the problem is, then there is always a solution to be found in these books. Thank you, Mr Fischer
- I was fortunate enough to receive (with a little prompting) a copy of Simon Fischer's Practice for Christmas. My family has to order it direct from Peters, the publishers. It is stunningly effective. I've only spent a few hours with it but it has already given me some wonderful insights. I already have, and teach from, Basics and Practice has much more and different stuff.
- Please note: this is not an ad or promotion or anything like that. I am just passing on my experience. I would be really bummed if in five years I ran across a copy of Practice and found out I could have known all that good information five years earlier. All you young, talented musicians who are studying with great teachers and at great schools take heart and be very very happy. You are incredibly more fortunate than you can imagine! I will be 59 years old this year and I am just finding out things I should have known when I was seven. On the other hand, I am experiencing the joy of learning exciting new things and my teaching and playing are more fun than ever! Thanks to all of you and this site because without you I would never have even heard of these wonderful resources.
- Practice is destined to be an all time classic. A lot of the material can be found in Basics but when applied to the hundreds of musical examples it all hangs together so much better, and good heavens , is it bigger or what? He has also explored lots of new ideas over time which show through, not least of which is the clear influence of Alexander Technique .
- Save up a few bucks and buy Simon Fischer's new book, Practice. In it, you will find hundreds of ways to problem-shoot and pick apart your piece and put it back together. I'm certain you will find at least something valuable in the book, and you will be glad you bought it.
- When Robert Gerle wrote the Art of Practicing (a must for every violinist`s shelf) he stated that there was a dearth of material that directly addressed how and what one was supposed to do in the practice room. At that time he was correct and it was a serious problem, since it is the ability to teach ourselves away from the teacher that ultimately governs our success and perhaps future standard of living. These days, we have access to substantially more literature and also a kind of work that falls into the gaps between etudes and theory- works that cover technique as a kind of daily dozen. This column will consider some examples of both. First there was `Basics` (Simon Fischer) which contains 300 classic exercises and practice routines drawing on all the great pedagogues of history from way back to the present day. It is one of the seminal works of violin literature and there is very little in the way of technique that cannot be broken down and reassembled in easy to understand exercises. However, Basics was merely the prototype as it never really discussed bridging the gap between the exercises and the music itself. That was/is up to the intelligence of the student. In his new book `Practice` released only this month (peters International) that gap is now bridged in a work of astonishing breadth and unarguable importance. This is the book that really helps you organize what and how to practice and er, it`s a big bugger. There are so many extracts from the repertoire when I casually looked for examples of my current works in progress there were significant quotes from -every one- giving me a whole new dimension in many cases. Flabbergasting! Opening the first page, the violinist may not be too impressed. Practice method one is `Practice slowly.` Well, duh! Who would have thought of that? But, consider a recent Perlman interview when he said the major weakness of most students was they did not know how to practice slowly and that this was the fundamental approach to learning the instrument. And it`s true. Lots of students practice small sections and confuse that with practicing slowly. Others do things slowly and the brain works less rather than more. The purpose of slow practice is to increase not- decrease- mental activity. In putting this first Fischer has given us a very clear frame work to work with. He is saying okay, ` this is where we start, now what do we do in this space?` It is a touch of genius. Once we have articulated this slow framework he begins piling on the techniques we can use : looping, trilling shifts, acceleration, ABC, adding one note at a time and so on. One can work through systematically trying it all so that one does what Fischer claims is the way to work: apply four or five angles to a given problem automatically. He is right. Most of us stop at one and make less progress as a result. Or, one can isolate a specific problem like lack of clarity , intonation and so on and then turn to the appropriate chapter and find the approach that suits you. Take notes and build up a repertoire of techniques. An interesting feature of this book not present in Basics is that Mr. Fischer has clearly been taking Alexander lessons and there are a number of times (even a whole section) when the integrated body, body mapping and other vital aspects of the healthy violinist are explored. (One of the all time great Alexander teachers is listed in the front.) On a lesser note there are also some instances of Neuro-Linguistic Programming. Clearly Mr. Fischer is utilizing his free time wellE The book ends with an apocryphal anecdote from Perlman which ties everything together and balances perfectly the first practice method in the book. Playing through! Something to think about. Go read!