Since his death Ivan Galamian has passed into legend as perhaps the greatest teacher the string world will ever know. Barbara L. Sand asked some of his. Ivan Galamian was one of the most influential violin teachers of the 20th century. Using his technique, the violinist should place the bow hand on the frog in a. [2] Ivan Galamian also includes exercises in his book, Principles of Violin Playing and Teaching. [3] Mastering the technique of playing long, sustained notes.

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Brief Notes on the Galamian Technique

Bach how different the performances are depending from the epoch. A Biographical Sketch, by Stephanie Chase”. Any accompaniment should never exceed the volume of the soloist.

Four part chords can be broken 2 boow 2 or can be “scrolled” like an arpeggio. Changing all three factors result corresponding combinations. This is above all the case when there are several bound notes and then is following a short up or down bow [in shorter passages also called “flash bowing”].

Priority has the idea of the music, and one should not elect only the most comfortable galzmian of technical performance.

Ivan Galamian: Basics and methods of violin playing

During playing in the first position the left hand should not be hold in the position of the half position. Ask students to play one down-bow and one up-bow each lasting nine beats, trying to make the string vibrate widely. Then there has to be looked for an activity for the children where they can find their sense of life for their own. There are other breaking procedures which are not so common: NY, Carl Fischer, revised In big halls fast works have to be performed always less fast because of the echo effect because any very fast tempo would harm to the clearness of the work.


In these cases the whole left hand is blocked. The aim of the teaching person should be to educate the pupil for an independent thinking. This is the basic movement for a straight bowing. Simon Fischer suggests the following exercise be practiced using various note lengths, various string crossings, and playing them in various positions.

Keeping longer ovan upper or the second upper note is no problem when the chord is broken from the bottom up. The aim has to be that also the last listener in the last row will understand the performance.

Retrieved from ” https: Galamian claims — the complete knowledge of the performed music in it’s harmonic and formal structure — a clear and rhythmic kind of playing — and yalamian sovereignty of all variations of bowings and colors of sound. I will not tolerate this and will endeavor to ‘root’ out such behavior wherever I find it and expose it for the corrupt behavior that it is.

There is no pressure stopping the bow, there is no noise.

Ivan Galamian

When the position of bowing is changed, so technque and arm should be allowed to adapt and have to find a new balance among themselves. A chord should sound with all it’s volume without unnecessary accents.

Playing the violin the line between the back of the hand and the lower arm should be near straight. With the swinging hand the finger is extending and contracting again. Legato – Portato 2.


By the late ‘s Galamian came to the U. Retrieved May 8, It should also be possible to play with a good intonation on a badly arranged violin. Grace October 9, at The purpose with this is, — the training of sparing bow without losing or breaking the continuity of the tone — to learn the resistance of the string — to learn to manage precisely the pressure and the friction of the bow on the string.

The music playing person — has to understand the sense of music completely — has to present a creative fantasy — has to have a personal, intuitive and sentimental access to the music peace. Also any force for training or the comparison with other children which are regularly performing their training are psychological torture seen from the point of view of children’s law.

One tone scales — first the training goes with a fixed fingering — then the scale training is going with different fingerings — and at the end the scales can also begin from other tones than the basic tone, eventually one can even change the chromatic signs.

When the thumb is short the thumb has to be put more under the neck of the violin. The right hand 5. For such slow, bo bows, the contact point needs to be nearer the bridge and maintained there.