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 Thoughts:February 1, 2008 at 5:33 AM In response to observations and questions — T —
The RHs and the other studies in the book are all about efficiency of time. Many of my students are not headed for the conservatory either. Some do not have the level of talent, but they want to learn and love playing the instrument — I can't ask for anymore than that. Others show real brilliance and a few of those will opt for and apply themselves to be outstanding pros. In teaching such a wide variety of students I have tried to find the most economical method to train my pupils, and keep myself in reasonable shape. Many years ago I left the traditional study books, developing my own method on the way and working it directly into the répertoire. Except when a student is required to audition with an étude, I now exclusively use only my book and répertoire — it works exceedingly well and both I and the students don't go 'brain dead' from the études. I did many of them in my own training — Whistler, Fiorillo, Laoureux, Sevcik, Kreutzer, Hrimaly, Flesch, Rode, Gavinies, Dont, Wieniawski, etc., etc. This is not written to 'pump my book', but to point out that it is truly all about efficiency with creativity. I believe those that wrote the studies did so for their pupils and possibly the idea of others picking up on them — which is really what I did. But I do not feel that one should work through ALL of the studies ever written, as we would never play what it is all about — MUSIC on the VIOLIN. Simply use studies to the extent needed — including mine.
With 2-8ths and 1-qt (2 short and 1 long), I count the 3 RHs as 1 set, having my students do 1 set per note if excellent, but 3 or 5 sets (9 to 15 RHs) if they have been inconsistent. We will even make a game of it as the RHs have to ALL be in tune consecutively, or we begin again. This is also done in 3rds, 4ths, arpeggios and scales and the repertoire!:-) — what ever is being worked on. When your student is successful with martellato in the upper half, it can be very good tonally to have them hook the 3 notes together with 2 staccato and 1 broad détaché connecting into the next bow's staccato. For starters, use 1 eighth, 1 eighth, 6 eighths portions of the bow. Then add a thousand variations upon seeing/sensing the need for the individual student.
Your discovery of it being more beneficial when played stronger is true in almost every instance of practice. I have found it better to add the softer, more delicate dynamics and styles after the accuracy with a confident tone is achieved. Then it is easier to soften and MUCH easier to remain relaxed, keeping freedom in the actions. So often a player of any level of experience tightens up when playing light and delicate passages. Frequently this tightening is also due to bad posture. Keep your form/posture with energy flow.
Author of Everything affects everything.
From Tara S.
Hi Drew. I was looking for a little clarification on the RHs from your book, but I'm afraid this didn't do it. Maybe it's the fact that I'm sick and not really thinking straight, but I'm still unclear on how they should be utilized. I think I'm missing what this blog was a response to. Posted on February 1, 2008 at 7:22 PM If I make no sense, or the answer should be obvious, forgive me. My body is trying to come down with the flu and my mind is fighting it. The hand groups are of interest to me now, though, because it's something that my teacher is trying to get across in a different way, and I guess I'm at a loss how to practice them specifically... Oh well, that was muddled enough. I'll stop now. Thank you again for your blogs. :)
From Drew Lecher
Tara,Posted on February 3, 2008 at 7:14 AM I am not totally sure of your question, but will be happy to respond more if you wish. Basically the Rep Hits are all about developing the free throw of the fingers from the knuckles having set up the measurement ahead of time — much of which is done with opening and closing the knuckles, palm and fingers along with the varying of angles depending upon the combination of strings and finger sequences or patterns. In essence, if something changes we must adjust accordingly — sort of keeping on our toes, or fingertips:-) The freedom of throw must be dead accurate, "bulls eyes," hence the measuring/setting up ahead of time — we hear it in our mind, measure and prepare the move, playing by touch before we hear the sound coming out of the instrument. If not as accurate and balanced as desired, the Repetition Hits will develop this. The additional bonus which is vastly important is that we do not lift the finger off, but rather rhythmically release and the finger pops off of its own accord. This release is a constant relaxing and freeing of the finger, hand and arm and therefore the fingers gain incredible agility, energy and strength without fatigue. There is absolutely no need to squeeze and pulverize the string into the fingerboard. I hope to do more on the Hand Groups/Interval Patterns soon. Hope this helps and I trust you are feeling much better. From Tara S.
Thank you. That mostly answered what I meant to ask. The other part is how exactly to work them into practice.Posted on February 4, 2008 at 12:47 AM In the blog, the part about "doing arpeggios with RHs" caught my eye, because I'm having particular difficulty with intonation there. How would I practice using Repetition hits. I can understand how to use them with the hand groups, I guess I've had trouble going any further. (And I'm only looking at RHs on page 7 of your book. Other than there and the glossary, is there more to them in the book?) Thank you again. I get so much out of your blogs, and appreciate your time answering questions. (Especially such basic ones.) This entry has been archived and is no longer accepting comments. |
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