I've been working on the first set of quick notes in the first line, any specific suggestions as to how can I play faster? And, I meant fast, as in Heifetz-fast(if not, almost). I can do it within 3~4 sec, but I do miss a note or two, and the intonation isn't quite perfect.
Here's what I do: I tend to practice by splitting them into 3 major and 2 minor parts, starting with an open G(minor part), then play 3 sets of B to G(major parts), then play B and C(minor part) + E.
I can do these very well separately, but when it comes to joining them together in one bow, my finger gets rigid and the bowing between strings always create a squeaky sound. Noise, rather.
My teacher just told me to practice more, but are there any other possible ways?
I'd like to hear all the technical suggestions; none of the 'play what you feel' such & such. If you want to share your own experience of this line, you are more than welcome.
Hi Dylan, I am no teacher (not that you seem to expect only tips from certified teachers), but for me personally it works better to think of three runs from C to B, with the initial G and B kind of glued freely in front, and the penultimate note, C, glued at the end. The final Eflat is detached from the run anyway. How I practice it is to first focus on the first two runs. If you shift on the E-string from first-position G to fourth-position B, that means that part is entirely in first position, except you end in fourth position on the first finger. You play the initial G and B freely, then try to play the two runs with as little bow as possible and you also try to nail that shift. (The two aspects can also be practiced separately.) Then the second part of the passage is the final run from C to B, which I finger 231234. I practice that starting already in the middle of the bow. Then you try to combine the two parts. The final two notes C and Eflat can be played freely, perhaps even with separate bows, the last B could also be given a bit more length. But that is interpretation.
By the way another fingering is to play also the low B on E-string in first position, then shift to first finger on C, some people prefer bigger shifts, the advantage is that you can start the final run on the first finger with a nice fingering 121233... with the highest B given some freedom, playing it with the same 3rd finger coming up from the G. Yet another good fingering, still starting with first finger on C, is 121212...
One problem with using the fancy German name "Zigeunerweisen" instead of the American translation "Gypsy Airs" is that one might misspell it.
I don't have my copy of Zigeunerweisen in front of my but some general tips:
A long standing method tought by my two previous violin teachers is the following:
Practice in groups and rhythms.
Besides what MaryEllen suggests (practice the joints) one way to speed up a piece is to speed it up with the metronome. Start with a metronome speed that feels comfortable and easy no matter what it is. Then VERY slowly build it up by putting the metronome only one notch higher. Then another notch higher. Important is to also go back down with the metronome. So if you go up say, a total of five notches in one practicing session, go back down three again. Next day start one notch higher than you started the day before and do the same. It will take time to build up the speed but you'll be very secure with it. Be careful to remain relaxed both in body and in mind :)
Good advice Vivien and a very effective tool the metronome is. My teachers used the pencil on the music stand to gradually increase speed in practicing scales and arpeggios.
How to think about this piece???
Here is my favorite rendition of Monti's Csardas with a touring Gypsy Orchestra having Jozsef Lendavy on the lead violin part. This is pure entertainment.
Scott Cole I'll gladly receive your rhythms guide. pdeck (at) vt.edu.