Working on the violin hold. Trabajando la colocación del violín.

Working on string crossing in a scale.

Trabajando los cambios de cuerda en una escala.

Working on the distribution of the bow.

Trabajando la distribución del arco. Concierto Kachaturian.

Working on the expressiveness and the use of vibrato.

Trabajando la expresividad y el uso del vibrato.

Tres piezas op.42. Scherzo. Tchaikovsky.

Working on the sound, searching for the weight and relaxation of the right arm. Trabajando el sonido. Buscando el peso y la relajación del brazo derecho. Sonata op. 78. Brahms.

Working on the sound and the connection between the notes. Trabajando el sonido y la conexión entre notas. Partita 1 BWV 1002. Allemanda. Bach

TEACHING PHILOSOPHY

 

THE GOAL

Playing the violin is a lifelong journey for both teacher and student. My goal for the students is that they become their own teachers, and through all the information they acquired over the years as a students, find enough tools in order to need their teacher less and less. Thus, success becomes a natural process for both the student and teacher.

 

My different experiences as a violinist, first as a student and then as a performer, soloist, chamber musician and professional teacher, led me to develop a method of teaching the violin in which I have adapted the different influences received from my teachers (with great emphasis in the knowledge from Maestro Fuks), and my own intuition as a teacher.

 

The experience I have gained in recent years has led me to develop a vision of teaching the violin which focuses on the student's musical growth as an artist, and on improving aspects of violin technique and musical interpretation with a wide repertoire.

 

As a teacher, one needs to develop a sixth sense to see what the student needs and to realize that the time is right to show this information to the student.In each individual case it comes to diagnosing "the problem/s", identify them, break them down as simply as possible and provide the student with the tools and information to solve them.

 

This process should be carried out in the healthiest way possible, where the "problems" are not judged as a personal criticism, and are used as information for the student to develop as a musician and performer. In this way the student is responsible for his progress and personality as a musician.

 

This vision of how to study and perform with the violin gives students more confidence and freedom to express and develop their artistic individuality.

 

THE PROCESS

The interpretation of the violin is a holistic experience that includes movements (physical appearance), musical skills (mental aspect) , and psychological skills (spiritual aspect). My concept of teaching focuses on the combination of these three aspects.

 

1. MOVEMENTS. THE PHYSICAL APPEARANCE

For this aspect, my fundamental principle in teaching the violin is based on following the natural physical movements of the human body applied to the interpretation of the violin. Physical freedom to interpret is the first step to play with musical sensitivity and confidence.

 

Following a school and applying it individually is of great advantage to the student, as you can see a clear guidance that doesn't lead to confusion. In my training I have acquired knowledge of the Russian School, the Franco- Belgian School and Galamian's School.I have benefited and learned from all three, and I have experienced how the latter provides a great physical, mental and spiritual freedom to interpret.

 

With the technique developed by Ivan Galamian, the student discovers how his body reacts and is freed by taking advantage of this technique. Through my own experience as a violin performer and through my students I have observed and experienced how this violin school has benefited and continues to benefit dozens of students from many different levels, such as students who are discovering the art of violin playing, students who have already achieved a solo music career, students who nowadays are great professionals in the world of chamber music, great teachers and musicians at prestigious orchestras. Each student is an individual case for me, and I apply this technique according to the need to solve issues, to improve and master in every student and every moment in his development.

 

For each student I keep an organized and personalized plan.There are some key points to consider in the implementation of Galamian's technique.

 

Posture and position: very important is to check that the student has a good balance when it comes to play and the body is aligned in the ideal position and physical structure in relation to the instrument. The whole body is part of the interpretation process. We must develop and apply this principle in the process of study and interpretation.

 

Right hand: the right position to take the bow is key to producing a great and individual sound. Our sound is our voice. We have to fall in love with our own voice and have the capacity and diversity so you can play all the roles that the profession demands us. It is necessary to develop and refine all the bow strokes, through studies and baroque, classical, romantic and contemporary violin repertoire. You also need to make a study of the different acoustic possibilities of the violin always relating it with the stylistic and emotional needs of the repertoire.

 

Left hand: implementing a natural posture of the left hand acquiring the best freedom to achieve a good tone, agility and beautification of sound (through various types of vibrato). Freedom give us the confidence and security necessary for interpreting repertoire. Within the work of the left hand is to develop the muscle memory necessary for exact execution. These points will be applied to the repertoire given the stylistic characteristics of the pieces to be played. The work of these three points is developed with the application of various technical exercises (scales, arpeggios, studies of double-stops, diverse and varied exercises for both hands, and the coordination between them, etc.) as well as studies and repertoire applied to individual needs.

 

The goal of this working method is to prepare the student to a high professional level where technical difficulties will not get in the musical interpretation and artistic personality.

 

2. MUSICAL SKILLS. THE MENTAL ASPECT

Each student has differents qualities as a musician and as a person, and in each case the student should be encouraged to achieve his full potential. A good musical education begins with a good performing ability of a varied repertoire of classical and contemporary music, with understanding of the different periods and musical generes.As a teacher, it is always interesting to see what the student's strengths are and what are the points that need to be developed. My experience has taught me that there are students who have better performing skills for certain styles and genres and I consider that is important to promote and develop these qualities.

 

My goal as a teacher is to prepare the student to a level in which he can move professionally in various fields, and overcome weaknesses in the interpretation and understanding through musical exercises and a rich and varied repertoire. The ideal is to prepare students in a global manner, to gain experience as an orchestral musician, chamber musician, soloist or as a teacher, if he decides to go into teaching.

 

3. PSYCHOLOGICAL SKILLS. SPIRITUAL ASPECT

The assessment of the social and human aspects of music in our society is one of the fundamental points in pedagogy. To visualize and see the qualities of the different students and develop them during their years of study is an important step for their professional future.

 

The teacher-student relationship is one of the keys to success in teaching the violin.As an educator, knowing how to appreciate and respect the interests, habilities and achievements of the student are part of that relationship. The student must develop globally as a person, with interests in diverse areas of music and society in general.

 

In my work as a teacher, apart from the information in the technical and interpretive development, the relationship with the student is based on a controlled process of how to achieve the proposed goals. A guide to how to study and the steps to follow is one of the keys for success.

 

An open and sincere comunication helps the student in his development and set clear goals for both sides. Understanding and cultivating the student interests lead to a solid artistic training, allowing him to develop his potential and achieve his career goals.

 

My experience as a teacher has shown me how a great majority of students need to find their own voice, their individuality in a world where technical perfection is an indispensable element for work. In my practice as an educator I search for the connection with the inner voice through various exercises with music to ensure that the student is aware that he transmits what he feels. It is vital to have a high level of musical understanding and developing the full potential of interpretation at all times within his own progress.

 

I would like to mention, last but not least, that it is extremely important practicing in front of an audience. Liberating and controlling emotions in front of an audience (a paradox in itself), is a key element in the development of the student as an artist. As in all aspects mentioned above, this point also requires individual treatment. In my teaching is a priority interpreting regularly to the public.

 

In most cases, for the students, offering concerts and performing in public regularly is the ultimate goal, and where the results of the hard work done is a reward for the student and a gift to the public. These performances should be organized regularly and in various collaborative situations: with orchestra, piano, with various chamber groups and solo violin repertoire.

Working chords, mov.1 Concerto A.Dvorak.