October 26, 2009 at 2:38 AM
What I find interesting, is that much of what you mention, is what I worked at to accomplish Schradiek Book 1 1st Etude! Not just play the four measures of 16th notes in one bow, but make it sound beefy, not whimpy! Fortunately it dawned on me to use the contact points towards the bridge which meant that I could slow the bow stroke down, and with a bit more weight get a nice full sound. Sounds easy! I'm looking forwards to what my next teacher will have me do, perhaps Kreutzer? I hope that I'm prepared?
Very true, I like your technical way of thinking! People forget this very often. Secret addiction? Musically I have two but I think you all know about them: sound since I'm a real maniac and complexed person with this... (I save you all from details : ) Second additction: listening to Oistrakh's music! Of course, be sure that I do Iove to listen to the most violinists possible even with this addiction!
Any chance you'd be able to help me, Buri? I've been looking for a Beriot arppeggio etude that goes all over the fingerboard... it's in b-minor. Does it ring a bell?
Christina, I don@t think its in the books on IMSLP. I will keep looking,
Lots of good stuff as usual. I’ve got summary in point format (I can show you if you are curious) and put it up on my music stand because I can’t remember a fraction of it if I don’t; out of the sight, out of the mind.
Some random thoughts.
To piggyback off of Yixi--this is why it is so important that we teach our students how to practice, and how to discover and apply concepts for themselves. Most of their learning is done apart from us, and I believe that even their best learning can be done apart from us. We show them what they need to know, and why, and how, but most of all I think we teach them how to teach themselves! This has been a learning process for me as I am a very hands-on teacher, and there's a place for that, but I'm discovering the possibilities even with my beginners when I make the goals and the process clear, and then allow them to take ownership of accomplishing it. I've been amazed what they have achieved!
I always seem to have benefitted the most with a hands on teacher. But I also liked a teacher to teach me about other violinists, what and why they did what they did and the back ground of peices.
“Keeping an active mind in private practice…”
Yixi’s and Kathryn’s points also jumped out at me – learning how to practice, remembering basics to apply always while practicing, clear goals – I’m a bit lost with this right now and feel like my practice time is often wasted or unfocused. Maybe sometimes this is taken for granted as something not needed to actually teach, do many people just naturally practice efficiently? I think I will have to ask for this specifically, and hope I don’t sound too much of a goofball... Yixi, I would be very curious to see your summary of points, if you wouldn’t mind?
Heather. The point you are making is , in my opinion, the one most central to the development of a violinist. Even after I left music college I still felt nobody had taught me how to practice although I knew some random tehcniques. It`s shameful that such a situation can exist and it is true that a suprising numbe rof profesisonals can`t practice that well either....
The basic problem is sensory overload. What does one actually identify as needing practicing. This must happen before the application of any techniques at all and this is where we are mianly at a loss.
Fortunatley there is one book to my knowledge that offers and approach that resolves the problem. This is by Burton Kaplan and is called something like `The artistic development o Musicians.` I can never remeber the name but it is dea deasy to find at Shar or anywhere else.
The book argues that one should firts locate areas to practice by global listenign in four areas: expression, intonation, rythm and sound (I think I got this right...;)) One plays a passage and identifies whic of thes eis sotrongets and weakest in ranking. The procedur eis repeate da number of times until it is clear that , for example, the rythm is a problem. The next step is to lsiten again focusin only on rythm. One is now sufficently focused to be able to identify the precise spot where the rythm goes wrong. It is only at ths stage that one can begn thinking about applying practice techniques to the problem becaus ewe know exactly where the problem is. It might be a shift or a string crossing or whatever but it has been clealry located.
This appraoch does much to eliminate wasteful and confusing practice. Yu won`t get it jus from my description so I really recommend you get that book.
thanks Buri. You're right, I had looked through everything that was available at IMSLP with no luck.
thanks again, I really appreciate it... it seemed like an awesome etude.
Thank you Buri, that was described so well and identifies this kind of vague frustration I have...in itself, hearing this is a great help.
I have heard of Burton Kaplan and that he has written some excellent books and resources - it's sometimes hard to know what to choose with so much out there on so many violinistic subjects. Usually end up choosing nothing. Hmmmm, I have a wish list around here somewhere and think I will add this. Much appreciated, Heather.
Heather, I emailed you my summary of Buri's instruction and let me know if you have difficulty receiving it. I'll resend if this happens.
Thank you Yixi - this is great!
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