Bloch Nigun from Baal Shem Suite

October 5, 2016 at 02:02 PM · Hi! I am learning Bloch's nigun from Baal Shem Suite. I have some difficulty with getting the octaves in tune fore this piece.Could somebody please suggest me appropriate exercises to get the octaves in tune especially the ones that are really high on the fingerboard

Replies (15)

October 5, 2016 at 03:16 PM · How about.....scales, daily?

October 5, 2016 at 04:35 PM · That is a good solution.

For octaves, it helps to

1) Trust your fingers. As long as the shifts are not rushed, the octaves will probably all have perfect intonation.

2) Play a chromatic scale up each string with the 1st, and then just the 4th finger.

Wheb this is in tune, do the scale (still chromatic) in octaves. :)

October 5, 2016 at 04:35 PM · Double post

October 5, 2016 at 04:38 PM · Hi-The Baal Shem Suite is a piece very dear to me I'm happy for you that you're learning it! I don't know what kind of technique regimen you're doing but Kreutzer Etude #24 is a good one for octaves. I started playing it when I was a little one and still pull it out from time to time a few decades later. -M

PS: I'm still a kid at heart.

October 5, 2016 at 05:09 PM · Just a side note, there are a number of passages that have parallel 4ths intonation in these spots can require a little extra attention as well but if octaves are your only concern then awesome! -M

October 5, 2016 at 06:13 PM · The Nigun is very dear to me, too! Anyone who is ready to study it should have been doing daily scales for some time - including 3rds, 6ths, octaves, fingered octaves and 10ths.

I presume the OP is especially referring to page 2 with the octave A's going to the octave G sharps, then octave C's to Octave B's. One thing that might help with the C's to the B"s is to finger them 1-3 instead of 1-4.

October 6, 2016 at 01:49 PM ·

October 6, 2016 at 03:17 PM · Maurice, you mean double stops with the fourth finger? Interesting :)

Raphael, I have no idea :)

but, folks, i mean, does it really a coincidence with the OPs naming a few scales ?

I mean, if we're talking about anything here, I mean, you know , explicitly, or concretely, yes, and then it's probably somehow related or stimulated (or maybe even feedbacked) by the newsfeed. Who reads that? ;-)

October 6, 2016 at 08:21 PM · Scratching head in puzzlement...

October 7, 2016 at 02:17 AM · why?

October 7, 2016 at 12:39 PM · Because I didn't understand your last post - and scratching my head feels good!

October 8, 2016 at 03:33 PM ·

October 8, 2016 at 03:37 PM · I found this, on the other hand. I wonder if it is in Locrian?

October 8, 2016 at 03:38 PM · I agree with Ballaro, written in some other posts, that the violin industry mainly only consists of manufacture plants, and less good luthiers...

October 12, 2016 at 07:29 PM · otherwise I found something very strange....

these two compositions bear remarkable similarities.... they are exactly the same intonation, and structurally evoke a similar rasa.

and, more strange, that in the carnatic, the tonic (sa) is Bb, but on the violin played very low on the A string, and then it is a baroquish augmentation (tiny) which makes me wonder about a fluctuating (binary) tonic. or ginger ale :) whatever :)

they are talking about an unheard note...

I wonder if the story associated with these ballads were similar, or they just evoke the same archetype.... ?

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