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  • WELCOME

    Welcome to my site. In these very strange and uncertain times, it has been nice to connect with many of you through this portal. I am continuously adding content on this site, as well as on my Instagram and Facebook pages. Tune in for music, teaching videos, and information about the slow and painstaking road back to the stage.

    As always, feel free to send me your feedback at This email address is being protected from spambots. You need JavaScript enabled to view it..

  • TEACHING

    I am very much looking forward to the 2021/22 School year. 2020/21 presented many challenges for me as a teacher, but I think the students' education and opportunities were most affected by the pandemic. As always, I welcome anyone who is interested to visit my class, audit lessons, and meet me in person. To coordinate, please email me. Our admissions will be held on April 12, 2022. For more information about admissions to the school, visit https://www.hesge.ch/hem/en/admissions.

  • JERUSALEM QUARTET

    The Jerusalem Quartet is looking towards the 2021/22 season with crossed fingers. So many planned highlights could not take place, but we are hopeful for the future. Please visit our site for our concert calendar, and for more information www.jerusalem-quartet.com.

May
28
7pm - 9pm
Mainz, Germany: Landesmuseum
Ori Kam

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SOCIAL MEDIA

  • orikam
    Musicamera Ein Hashofet 1992 Brahms Piano Trio Musicamera Ein Hashofet 1992 Brahms Piano Trio, Ori Kam Violin, Maya Blumenfeld Cello, Eliran Avni Piano
    Posted: A long while ago
  • orikam
    1-Brahms-Sextet-BbMajor- Allegro ma non troppo
    Johannes Brahms String Sextet No. 1 in B-flat major, Op. 18, Composed in 1860
    Jerusalem International Chamber Music Festival 2008
    Players from Right to Left:
    Ori Kam - Viola
    Madeleine Carruzzo - Viola
    Nicolas Altstaedt - Read More
    Posted: A long while ago
  • orikam
    2-Brahms-Sextet-BbMajor Andante, ma moderato, in D minor
    Johannes Brahms String Sextet No. 1 in B-flat major, Op. 18, Composed in 1860
    Jerusalem International Chamber Music Festival 2008
    Players from Right to Left:
    Ori Kam - Viola
    Madeleine Carruzzo - Viola
    Nicolas Read More
    Posted: A long while ago

MY VIOLA BLOG

Making the case for practicing scales

In my first post, I'm going to try explain why I consider scales to be the basis for practicing a string instrument by giving a few reasons for practicing scales every day:

Reason No. 1: Learn from the masters

Though there have been few exceptions in recent history, most of the great string players spent a significant amount of time practicing scales throughout their lives. There are many examples, but perhaps the best is Pinchas Zukerman, now in his 60's, who has been practicing scales slowly every single day since he was a small child.

Reason No. 2: Efficiency

If we analyzed our repertoire for the purpose of identifying recurring patterns, we would come up with the 24 scales and arpeggios. Master these, and most of the pieces you'll ever have to play will already be in your fingers.

Reason No. 3: Finger Patterns

Practicing scales engrains hand positions into your brain. By doing that, your brains memorizes not only the location to place each finger on the fingerboard, but also the location of the hand for each position. That eliminates the need for the brain to analyze each finger separately, and start thinking in terms of note groups. Arpeggios and octave scales are especially useful for this.

Reason No. 4: Discipline:

One of the most challenging things about learning an instrument, is developing discipline. Practicing scales slowly with a metronome develops discipline in rhythm and intonation. But it also pushes our concentration to it's limits in a way that practicing pieces by playing in tempo simply can't.

Reason No. 5: House of cards or Fort Knox?

Our practice and performance environments are very different. In addition, we never know how it will be different. Will my bow shake because of nerves? Will I be jeg-lagged? Will the acoustics make it hard for me to hear? The best way to prepare for the unknown is to build a solid foundation that we can fall back on. The most effective way to build that foundation is by practicing scales and etudes.

Reason No. 6: Don't sweat the big stuff:

So many things about learning to play an instrument are difficult if not impossible to teach. Stage presence, style and timing are some examples. Scales and etudes don't fall into that category. Practicing these correctly will yield tangible results for anyone who devotes time to them. There is no magic there and it's not a question of talent.

In Conclusion:

In my opinion there are simply no shortcuts or magic to playing well. It shocks me how often I meet students who don't practice scales. When a student takes that challenge on seriously, the dramatic improvement never fails to amaze me.

In the next post, I will post a video and some sheet music to demonstrate how I practice scales. Please be so kind as to share your thoughts and ideas.

Thanks for reading,

Ori Kam

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QUOTES

  • DANIEL BARENBOIM

    "I have heard Ori Kam on several occasions over the last few years and have always been deeply impressed with his playing. He possesses a rare combination of musical talent, technical facility, intelligence, and charisma, and he is undoubtedly one of the most extraordinary young artists I have heard in recent years."

    Daniel Barenboim
    Music Director, Staatsoper unter den Linden,
    conductor and pianist

  • SIMON RATTLE

    "I have heard many young viola players recently, and I am convinced that none is as extravagantly, naturally gifted as Ori Kam. He is already a great player, with a distinctive dark full sound, and an equally distinctive big personality! I have loved hearing him in the Berliner Philharmoniker, and he will be much missed. My advice would be to grab this talent while you can, and I would recommend him without reserve."

    Sir Simon Rattle
    Music Director, Berliner Philharmoniker

  • ISAAC STERN

    "I have known Ori Kam for several years and have always regarded him as an extraordinarily talented young mucisian."

    "...(he) is today in the midst of developing a most promising career."

    "...(he is) a most visible and respected representative of Israel the world over."

    Isaac Stern,
    Violinist,
    President, Carnegie Hall

  • ITZHAK PERLMAN

    "..I heard Ori Kam and was deeply impressed with his achievements as a violist. His technical and interpretive skills are truly unique. I see a great future for him."

    Izhak Perlman,
    Violinist

  • ZUBIN MEHTA

    "...Ori Kam is an outstanding violist who has already played as a soloist with the Israel Philharmonic Orchestra twice, much to our delight and satisfaction, and has availed himself with distinction."

    Zubin Mehta
    Music Director, Israel Philharmonic Orchestra

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