Comments

Two questions:
1. "simply say when working slowly and they will become natural and instinctive" Simply say what when working slowly? Is a word left out there? Say the notes, positions, hand groups/intervals, all of those? Say them aloud? Play through once saying notes, once saying positions, once saying intervals? Do each 5 times?

And, if you've got brain freeze, what about writing it all out first so that you know what to say when you get there?

2. I'm also not sure what you mean by climbing Mt. Everest. Where's the base camp? An octave lower than the passage is written, and then start the transposing in half steps, so you'd play it 11 times, a half-step higher each time, until you got to it as written? Or do you start with it as written and go even higher? And do you say all that stuff (question 1)as you're doing that?

Sorry, a lot more than 2 questions!

Hi Karen,

A few quick answers IN CAPS. You really caught the points very well.

"Two questions:
1. "simply say when working slowly and they will become natural and instinctive" Simply say what when working slowly? Is a word left out there? Say the notes, positions, hand groups/intervals, all of those? YES.

Say them aloud? YES, THAT IS INITIALLY BEST.

Play through once saying notes, once saying positions, once saying intervals? YES, THAT IS AN EXCELLENT WAY. AS YOU BECOME MORE FLUENT, THINK NOTE, FINGER, INTERVAL (SUM=HAND GROUP) THE POSITION NUMBER IS SIMULTANEOUSLY ARRIVED AT, AS WELL. Do each 5 times? AS MANY AS NEEDED. AT FIRST, IT MIGHT TAKE MANY MORE TIMES. WITH FLUENCY AND KNOWLEDGE COMBINED WITH SKILL IT BECOMES LIKE READING A BOOK — WE DON'T SAY THE LETTERS, WE READ THE WORDS, BUT WE DO SEE THE LETTERS AS WE READ.

And, if you've got brain freeze, what about writing it all out first so that you know what to say when you get there? ABSOLUTELY!

KNOWING SIMULTANEOUSLY THE NOTE, FINGER, INTERVALS/HAND GROUP & POSITION ARE THE 'ADDRESS' FOR LOCATING SAID NOTE(S). THE SAME HAND GROUPS OCCUR IN THE SAME KEYS NO MATTER WHO THE COMPOSER IS, IF PLAYED IN THE SAME POSITION. THE HAND GROUPS OVERLAP AS THE KEYS DO IN SHARING NOTES, i.e., 3RD POSITION ON THE A-STRING IS "HIGH 3 GROUP" IN G AND D MAJORS. IN HAVING THE ADDRESS/LOCATION CLEAR THE ARM, HAND AND FINGERS WILL INSTINCTIVELY GO TO THE CORRECT LOCATION AS WE MASTER THE MOVE. DO NOTE THAT WHEN GOING FROM 1ST TO 3RD POSITION, THE FEEL AND MEASUREMENT ARE SUBSTANTIALLY DIFFERENT FROM GOING 5TH TO 3RD POSITION, THOUGH THE ARRIVAL SET SHOULD BE THE SAME IF PLAYING THE SAME TYPE OF PASSAGE.

2. I'm also not sure what you mean by climbing Mt. Everest. Where's the base camp? BASE CAMP IS WHERE YOU ARE STARTING WITH THE WRITTEN NOTES—HOWEVER, IF ONE NEEDS TO FALL BACK TO A LOWER ALTITUDE AND THEN WORK UP TO BASE CAMP, THAT IS STANDARD PRACTICE. LEARN DIFFICULT PASSAGES, AND THEN CLIMB AS HIGH AS YOU CAN, HENCE 'MOUNT EVEREST.'

An octave lower than the passage is written, and then start the transposing in half steps, so you'd play it 11 times, a half-step higher each time, until you got to it as written? YES, EXCEPT YOU MUST MASTER EACH POSITION BEFORE CLIMBING HIGHER.

Or do you start with it as written and go even higher? YES:-)

And do you say all that stuff (question 1)as you're doing that? YES, YES & YES:-)

Sorry, a lot more than 2 questions!" NO PROBLEM, HOPE THIS HELPS.
DREW