Placeholder Image

字幕表 動画を再生する

  • Nah.

  • Today is not about us playing.

  • Tsk tsk...

  • We'll be reviewing...

  • your guys' playing.

  • That's right. My name is Eddy Chen.

  • My name is Brett Yang.

  • (both) And this is our masterclass.

  • (both) This is our... masterclass.

  • That was so hard, dude.

  • Alright, since you guys requested it so much...

  • Literally all the comments with like-

  • 5,000 likes being like...

  • "This needs to be a series."

  • "I hope they see it!" "They have to see this!"

  • We saw it.

  • We heard your call.

  • Just make sure to accent the like button,

  • - Yeah. - and legato the subscribe button.

  • And we will be reviewing

  • some more of you talented Ling Ling wannabes.

  • Yes! Let's do it!

  • Who is up on the list?

  • The brave souls.

  • Eugene Berg, 17 years old,

  • has been playing for 4 and a half years.

  • Hello, Eugene.

  • How are you doing?

  • Whenever you're ready.

  • - It's like a real masterclass. - Yeah.

  • Dude, that was really good!

  • Very good playing for someone your age.

  • Very good considering you've only been

  • playing for 4 years and a half.

  • - That is really good for 4 years. - That'd be like us at 10.

  • Big congratulations.

  • I have a lot of things that I could add on,

  • but I've never played the Bruch myself.

  • - I think I need to warm up if I wanna show- - Well, I've played Bruch.

  • Oh okay, so you can demonstrate it.

  • Nah, I can't demonstrate.

  • I wanna say one good thing as well.

  • Your double stop, the intonation is pretty good.

  • - Oh, and the octaves were on point. - Yeah.

  • Sometimes I don't feel the rhythmic energy?

  • Yes. I think sometimes you hold the note value

  • for longer than it should be.

  • I know it's kinda like a cadenza at the beginning.

  • But...

  • Let's say if you hold the first note, "duh--,"

  • - the value needs to be the same as the shorter notes. - Yeah.

  • Like, they need p...

  • proportionately similar.

  • - If you know what I mean. - Yeah.

  • When I hear you,

  • - I feel like I can't hear the orchestra playing - Yeah.

  • during the...

  • *sings orchestral part*

  • You're not sure where the rhythm is.

  • One way to fix that is actually...

  • listening to the recording,

  • and trying to hear it while you're playing.

  • Also I remember at the beginning, the...

  • Your sound disappeared a bit.

  • Eddy: Yeah.

  • It should be...

  • Yes.

  • That whole line needs to feel like one line.

  • Yeah, like a whole phrase.

  • - Yes. - And not just note by note. You have to go...

  • - ...all the way to there. - Yes.

  • - And every note has to be in context of building up to there. - Yeah, from...

  • to...

  • That's all we need.

  • - Yes. - And everything in between is kinda like...

  • an embellishment, ornament.

  • You're like...

  • "Whoa... where we going?"

  • - Woo... going there. - WOO!!

  • Oh, and that...

  • I think you should vibrate the...

  • The 1.

  • That was a bit...

  • - Yeah. - a bit nasally.

  • The energy and the intensity actually has to sustain.

  • Even though-

  • Yes, we want the second phrase to be more intense.

  • The first one still needs to-

  • It's the first thing that audience hears.

  • - It has to grab the audience... - Yeah.

  • - by the sound. - Yeah.

  • Once the main subject comes in,

  • - it's a bit- sometimes crushed, the sound is... - Oh! The...

  • Eddy: Yeah.

  • Sometimes it sounds a bit...

  • - Maybe your bow speed can help as well. - I think so.

  • - Bow speed. - Rather than just...

  • Play with your bow speed a bit,

  • and contact point as well.

  • - Yup. - And also the amount of weight you put in.

  • I would-

  • - Yeah, I would draw the bow out all the way. - Yeah.

  • Find a way to make your violin ring.

  • It's not about the loudness,

  • it's about how much it resonates.

  • ...resonates, because in the concert hall,

  • - that's what... travels through. - Carries. Yeah.

  • Nice one, Eugene.

  • - Actually very very good. - I'm impressed, like...

  • - Much better than I can do in 4 years- 4.5 years. - Yeah.

  • Jonna!

  • A piece on accordion.

  • - Oh! Sibelius! - Ay!

  • How do you say um...

  • Yeah, don't ask me how I remember that stuff.

  • - Is it like the Paganini of accordion? - Yeah, I don't know, man.

  • - It's more sustained than my violin playing, like... - Yeah...

  • The sound is like... holds.

  • - Sounds pretty cool. - I don't know enough to criticise it,

  • but I know enough about music to compliment it.

  • - Yeah! - You can hear the way she phrases

  • - and adds air into the notes, like... - Uh-huh.

  • That...

  • It's like...

  • - Yeah... It's nice. Yeah. - There's like a contour to that.

  • Which I'm assuming is controlled by... that.

  • 'Cause I'm guessing that's kinda like the bow, the motion.

  • And this is like the notes.

  • Yeah, I'm not gonna comment.

  • - I have no idea. - I'd love to know!

  • I got a lot more good things to say,

  • but this is a masterclass.

  • This is our masterclass.

  • We gotta critique it.

  • We need to roast it, so we feel better about ourselves.

  • Cal Alexander.

  • I like that.

  • Alright, you've played this piece.

  • Nah, I don't know it anymore.

  • Please demonstrate.

  • How old- How old is-

  • (both) 15!

  • "Played 10 years."

  • Yeah, okay.

  • - TwoSet is over, guys. - Yeah.

  • But no, really good playing.

  • It's actually really good.

  • - He's been playing for 10 years, too, - Yeah.

  • which I can definitely tell.

  • And I like the sound you're making.

  • - The vibrato, the sound. - The vibrato is quite- It suits the style of Tzigane.

  • The only thing for me...

  • is just interpretatinonal things.

  • - So I don't even think it's worth mentioning. - Yeah, I was gonna s-

  • One thing though, in terms of interpretation.

  • I think the...

  • Not...

  • - It should keep going, right? - Yeah, you need- The music needs to keep going.

  • Yeah, I- My...

  • ...only thing, and I-

  • Again, I haven't played this.

  • I know the beginning is meant to be...

  • rubato, free.

  • But some places tend to be a bit on the...

  • - taking time side. - Yeah.

  • We have cadenza or freedom of playing.

  • We still need to abide by what is actually written.

  • 'Cause Ravel did still signal...

  • - Mm. - it's quaver, or demisemiquaver.

  • And, you know, the idea like rubato, right?

  • If you take time,

  • - you have to give it back somewhere else. - You have- Yes, exactly.

  • Having said that though, that's literally just...

  • me nitpicking the tiniest thing.

  • - It's very enjoyable. - Yeah.

  • You played really well.

  • Nice.

  • Is this a rabbit masterclass?

  • There's an owl as well.

  • I can't really see the violin playing.

  • - I just see this rabbit. - I can't-

  • Yeah, the rabbit is distracting me!

  • Alright, this is a piece I know.

  • - So finally, my turn to talk about it. - Yeah. That's pretty funny.

  • That first chord, you can practice for hours,

  • like, 10,000 hours.

  • Yeah, that chord has like...

  • so many components.

  • Like the string crossing has to be right,

  • - the balance has to be right, - Yeah.

  • the intonation has to be right,

  • the speed of the bow needs to be right.

  • The contact point also has to be in the right place.

  • How I like it,

  • you need to get that fullness of the bass

  • 'cause it's establishing the harmony.

  • But then,

  • from there,

  • once you reach the top two notes,

  • it needs to... sustain.

  • Not sustain in a heavy sustain, but it needs to be like...

  • - Well, it needs to carry through. Yeah, the... - Yes.

  • the bass.

  • Rather than...

  • - You know, the sound stops. - Yeah.

  • - The sound needs to keep moving. - Yes.

  • And that's actually very much easier said than done.

  • - Yeah... - Because-

  • There's a lot of bow control going on.

  • Yeah, and you can't rely on too much vibrato.

  • My best tip for practicing it is...

  • - slow it down, and... - Spend a lot of time.

  • Spend a lot of time.

  • Probably figure out your angles.

  • - Figure out where is tense. - Yeah.

  • Because also the-

  • I find the string crossing is a place where

  • things get weird, like...

  • You know?

  • Or...

  • - Okay, the first thing I notice is your bow, actually. - Yeah, the contact point.

  • Brett: Yeah.

  • Be careful that it's...

  • it doesn't do this.

  • It's easy for the contact point to move

  • when you change strings.

  • - Because the angle actually kinda changes, to be honest. - Yeah.

  • Elbow here is also moving like...

  • - Mhm. - along with the bridge.

  • And also, where you're on the bow is very important.

  • So the bottom, I probably wouldn't use that much bow.

  • You wanna...

  • I literally just use...

  • Eddy: Yeah, less than a quarter. Brett: I don't know, less than a quarter.

  • It's very hard to do though.

  • - It is very hard. - And under pressure, like, oh my god like, props.

  • You can tell by how much we talked about the first chord,

  • how much there is to Bach.

  • I'll say one thing though,

  • I think you tend to use too much bow in the frog.

  • One thing that would make a change

  • straight away in your sound

  • - is to sustain- save bow in the lower half. - Mhm.

  • So you're not always... speeding through.

  • Otherwise you lose-

  • you lose the opportunity to make more sound

  • on upper half of the bow.

  • Yes. And speaking of making sound,

  • the bow is quite near the fingerboard.

  • The sound...

  • First, it needs to kind of...

  • It needs to feel like...

  • Yeah...

  • Right now, you can hear like...

  • You can feel the dips in the sound.

  • - Yeah. - And I also wonder if that's also

  • - combination of your left hand pulsating on the note. - Oh yeah!

  • Yeah!

  • - Yeah, maybe. - And I think maybe left hand is affecting...

  • If there's not enough control in the right hand,

  • typically sometimes the left hand does take command.

  • Yup.

  • And the last thing