Recommended Lifelong Books/Materials for violinist

Edited: May 10, 2019, 5:45 AM · Hi everyone. Has anyone here ever find books or materials that are so useful that you actually started using it from post-intermediate level,advanced level,and until your career life as violinist...? That the content of the book is so useful for you to constantly practice it to improve, maintain, and even preserve your skills. Any good recommendation?

Replies (19)

May 10, 2019, 5:07 AM · I feel like kicking in an open door, but, since you asked:

- Kreutzer etudes
- Flesch Scale System
- Simon Fischer, Basics
- Simon Fischer, Practice
- Simon Fischer, The Violin Lesson

May 10, 2019, 5:14 AM · Materials? These are etudes useful for beginners to advanced players: Galamian's contemporary violin technique, Sevcik op1 op7 op8, mazas' 3 books, kreutzer, dont's 2 etudes... the list goes on
May 10, 2019, 5:20 AM · Schradiek
Sevcik op 1
Simon Fischer warming up
Simon Fischer scales
Sevcik op 8
Kreutzer etudes
( and if you venture into viola the campangoli caprices, the hoffmeister etudes, the fuchs etude books).
May 10, 2019, 5:21 AM · And, of course, the Bach S&P, and the Paganini 24.
Edited: May 10, 2019, 5:44 AM · Hmmm, what do I know?
A few months ago when I was an absolute beginner, I was desperate for any help I could get from Fischer or Galamian, but for the last two months I've been practising studies and scales and vibrato and slow Corelli and not feeling the need for any input except from my ears. Who knows what I'll want in a year's time.
So far then, my answer would be, Kreutzer (and the Bach S&P) looks to me like it will be my go-to book. Sure, when I begin sautillé or something like that, I may go back to Galamian and Fischer again for tips, but does a violinist who knows all the bowing techniques really need to keep referring to them?
May 10, 2019, 6:28 AM · Galamian's and Flesch's treatises, and all Fischer's books, are resource books, not methods. All three have scale systems, though.
May 10, 2019, 8:07 AM · So many scales and studies. Yes those are great, I love them too. But as answers to your question, they're maybe too obvious.

I like going back and re-playing some of the easier repertoire that I learned in the past. Haydn G Major Concerto is one that I always come back to. It's so pretty and you can always play it a little better. In fact being able to play it a little better after a few days work is heartwarming because it means you're improving.

Edited: May 10, 2019, 12:56 PM · I'm not a pro so my journey is not as long but for me:

Schradiek - so many uses!
JS Bach Sonatas and Partitas
Galamian's "Contemporary violin technique"
IM Yampolsky "The principles of violin fingering"

[Edit: I just started a topic looking for info on Yampolsky if you have any :) ]

May 10, 2019, 12:28 PM · Just how basic IS Basics? I've his Violin Lesson and have wondered if Basics would be useful at my level.
May 10, 2019, 4:44 PM · Galamian has been mentioned not one, not two, but at least three times til now. Isn't it time for some haunting words from Ms Matejsky? Hope she's well...?!
Edited: May 10, 2019, 4:50 PM · Basics covers everything from bow grip and detache to fingered octaves tenths and downbow staccato. I think anyone could benefit. I believe the name comes from Dorothy’s delays concept for her students of doing an hour per day of basics (shifting, Bowing, articulation) as in they are just basics excercises not in context completely stripped down. And many are highly advanced
May 10, 2019, 5:54 PM · Even as a violist, Basics is still my go to book. Love Simon Fischer's publications, even if some of the exercises are repeated between the various books, they're still incredibly useful.
May 10, 2019, 6:12 PM · Schradieck
Sevcik op. 1, 8, 9
Simon Fischer's "Basics"
May 10, 2019, 6:33 PM · Galamian contemporary violin technique. My teacher has been using this book for so long since he was a young student. Now he uses scales and exercises in the book for his students. I particularly like the scale on 1 string, it helps my shifting a lot
Edited: May 12, 2019, 3:12 AM · Just imagine, you finished an honours performance degree, and probably a masters, successfully auditioned for a 20 hours a week orchestra position in a large city, where you have played for ten years under two dozen conductors. You are handed two hours of new music,every three weeks.
What are you practicing?
Edited: May 12, 2019, 5:27 AM · Yes. At a minimum, some basic technical exercises will always be a crucial part of any effective warm-up routine. Hilary Hahn has discussed the need to practice basic technique and examine it on a regular basis to keep it from deteriorating, especially when most of one's attention is going to learning repertoire.
May 12, 2019, 12:13 PM · In addition to the already mentioned books:- My favorite bowing book, for both practice and teaching is the Sevcik 40 variations. I have played through the Flesch big book on violin fingering (~1000 excerpts !) twice. The first time, when I was young was very helpful. But second time, only a few years ago, I found that I disagreed with about 2/3 of it. "Szigeti on the Violin" is good, but I don't have his long fingers, so can't do a lot of it. Leopold Mozart's book is still useful, and not just for early music specialists.
May 12, 2019, 3:17 PM · When you return from holidays, when you are recuperating from surgery, when you have been intensely playing your instrumental double, basic etudes, yes, for a few weeks, at most.

But you polish fundamental techique while you take each proressive step with your career pieces. Scales (in all imaginable patterns, inludung double stops, arpeggios, etc) continue to receive attention, but basics are attended to endlessly, not with a book called Basics. Please note that I am bagging the book. But I know a little about living off your instrument, travelling long hours, carrying gear and luggage, etc, etc, and practice time is scarce. When you are not travelling, you are just as busy, "marketing", etc.

Your mind helps you discover what the music you need to play could sound like, and your ears tell how far off the mark you are, and you turn to all the building blocks of your craft as you close the gap between efforts and results, all while you aim to make a living.

The studies you can afford to do are in your daily work.

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