Talent is the ability to include technical sensations, as part of the traditional practice process. Sensations are the internal, felt experiences of intuitive playing. They are the felt perceptions of ease. This is why some violinists have the ability to capture rapid technical progress, without understanding how they do it.  

Technical Sensations

Technical sensations are actions that just feel easy for gifted players. They occur when the mind assimilates the violin as an extension of the body. The purpose of the book is to help students who cannot capture them from traditional exercises, to understand that they exist and explore them as a technical resource. This is done by explaining in technical detail the timeline process, and then teaching the student to remember the sensation that occurs at a specific moment. When the mind feels these sensations, it automatically overcomes the overthinking problem. The mind is a technical engine that can do things, that are not captured by practice alone. 

Every physical movement has two potential feelings. They can feel difficult or easy to do. In fast technical passages, explore what is easy, then refine these at a musical level. Consider the improved potential for musical quality of the bow's follow through, if a player is comfortable.

Technical sensations again come from the application of logic. For instance, if a student wants to experience the sensation of listening, then simply play a progression of notes using the same intervals, on an untuned violin. This is not mastered by repetitive muscle memory exercises, or from looking at a marked fingerboard. It is mastered by the need to listen.

Technical sensations build on and are applied to traditional use of scales, caprices, and etudes. Students must do traditional pedagogy, simply add some logic of talent. The same as students may play an etude with a different bowing, they can also play an etude, or technical passage, with the use of an easy sensation. Solo violin repertoire allows the performer the freedom  to solve their own technical problems in a way that is easy, and musically valid.

History of Technical Talent

Historically, the very nature of being a professional soloist has been driven by competition against other violinists. Any soloist who creates impressive virtuosic techniques attracts an audience. For instance, the scope and variety of technical talents required for late romantic virtuosic repertoire are more than those required for baroque repertoire. Technical talent is not a straight line development captured by practice alone. It has totally different inputs and characteristics that occur at different historical periods.

In all periods, intonation and co-ordination security are crucial techniques. These require the talent of active listening that controls technique as it occurs. 

In late classicism, the violin bow transitioned to the modern design. The techniques of talent required players to assimilate the weight, balance, muscle groups, air pressure and string crossing use of gravity. 

In early romanticism, fast passages require sport techniques that control changes in directional momentum.

In late romanticism and C20th, techniques of logistical analysis and individual invention are required.

The Process:

• Turn implicit knowledge (what great violinists “just do”) into explicit pedagogy.

• Make high level technical thinking accessible to average students, not just the gifted.

• Offer teachers a new diagnostic tool: when a student plateaus, you can locate the moment in time when the logic breaks down.

• Unite physical, mental, and aural training under one framework — time and logic.

小提琴才能研究

• 你被告知要听，但不知道如何做？
• 你被告知要按调弦演奏，但不知道如何做？
• 你被告知要协调，但不知道如何做？
• 你从一个老师那里转到另一个老师那里吗？
• 你练习却没有进步吗？

尽管勤奋练习，并接受了大师教师的指导，成功并不总是确保的。传统的教学方法，对一些人有效，但往往无法为大多数人带来广泛的成功。从历史上看，在满足大多数候选人的学习需求方面，教授文凭级别技术的“如何做”通常过于模糊。时间轴定义了技术才能的详细科学。没有奇迹，只有魔法。

La recherche sur le talent de jeu en violon

• Êtes-vous invité à écouter, mais ne comprenez pas comment?
• Êtes-vous invité à jouer juste, mais ne comprenez pas comment?
• Êtes-vous invité à coordonner, mais ne comprenez pas comment?
• Passez-vous d'un professeur à un autre?
• Pratiquez-vous sans progresser?

Malgré une pratique assidue et des instructions de maîtres enseignants, le succès n'est pas toujours garanti. Les méthodes pédagogiques traditionnelles, efficaces pour certains, échouent souvent à se traduire par un succès généralisé pour beaucoup. Historiquement, l'enseignement du "comment faire" des techniques de niveau diplôme a été trop vague dans les détails, ne répondant pas aux besoins d'apprentissage de la plupart des candidats.

Une chronologie définit la science détaillée du talent technique. Il n'y a plus des miracles, juste de la magie.

Studia talentu gry na skrzypcach

• Czy ci mówią, żebyś słuchał, ale nie wiesz, jak?
• Czy ci mówią, żebyś grał czysto, ale nie wiesz, jak?
• Czy ci mówią, żebyś koordynował, ale nie wiesz, jak?
• Czy chodzisz od jednego nauczyciela do drugiego?
• Czy ćwiczysz bez postępów?

Mimo pilnej praktyki i instrukcji od mistrzów nauczycieli, sukces nie jest zawsze gwarantowany. Tradycyjne metody pedagogiczne, skuteczne dla niektórych, często nie przekładają się na powszechny sukces. Historycznie, nauczanie "jak robić" techniki na poziomie dyplomowym są zbyt mgliste w szczegółach, nie spełniając potrzeb nauki dla większości kandydatów.

Wykres lini czasu uczy jak osiągnąć talent techniczny. Nie potrzebujesz już cudów, znasz magie.