February 5, 2007 at 11:46 PMGreetings,
And as regards "must be a Czech thing"....some of the best musicians I know are Czech and Polish, so you may be on to something...
I was looking up son file, and ran across the entry. I'm changing mine around to include bow-pressure/speed notions along with sounding point notions and was seeing if I could find words of wisdom on this.
While I realize fully that the objective is the 1 minute stroke, I'm applying it differently at the same time with some shorter but still quite lengthy stroke, in an effort to develop my sounding point control better (it's fair but can improve, as always). I'm also using both the shorter strokes as well as traditional ones to explore and further the instinct in relation to speed and pressure.
I'm not doing ricochet yet, but will soon based on your article. I am practicing nightly:
(Loure--in the mix)
But I was encouraged that based on conversations we had a long long time ago that things came togther in my program at least in the ball park without obsessing over the details of what you taught me back then.
I also do things like use colle to practice my bow returns (frog to tip--specifically on the return), and try to combine concepts when I can. Though I'm certain you aren't as pretty as I, you're one smart cookie!.
I agree Pauline. Once when I was in church, a soloist (soprano) was so amazing, it left me grinning for days.
>I was looking up son file, and ran across the entry. I'm changing mine around to include bow-pressure/speed notions along with sounding point notions and was seeing if I could find words of wisdom on this.
I think this depends on your working definition of son file. Flesch suggetsed it was bow strokes longer than about 12 seconds. I have no argument with this. However,my own use of the exercise is in bow stroke sof 30 seconds or more. Some teachers are anti this exericse some swear by it (Gingold was a strong proponent of the one minute bow stroke practice). Others probably don@t give a damn ;)
As you know, bowing is based around the interaction of SP, bow speed and that horrible word `oresusre` whihc it is better to avoid as much a spossible. The problem then facing us is which comes frist, which leads us in our selction , or do we do mudlde around with all three and hope for the best? Flesch was quite clea ron this point- the Sound Point - is the overriding factor which dictataes what you do with everything else. So in the case of son file I would simply place the bow as close to the bridge a sposisble. You don@t have to worry about changing speed because it is dicated by the metronome ticking away and visula subdivision of the bow. Nor do you have to worry about how much presusre to feed in explictly. If you are listening to the sound you will know straightaway that you have given it too much becuas eof the scrunch.
>While I realize fully that the objective is the 1 minute stroke,
MMMmmm. I think that is for masochists. I am quite happy with 40 seconds.
>I'm applying it differently at the same time with some shorter but still quite lengthy stroke, in an effort to develop my sounding point control better (it's fair but can improve, as always).
Al, there are many exercise son this i Basics. On the whole they tend to use WBs at slightly differnet tempos depending on the SP and similar but the son file is kept separate. I think this is wise. I kind of like these exercises but I am not completley convnced this utterly mechanical approahc to `sensitizing oneself to soundpoint use` is the be all an end all. I use another exercise whihc is a lot more fun.
Take any slow piece you like and isolte a decent chunk of music.Play it on SP five searching for the maximum vibration and expresison you can find. Do not moe from this SP. Now play it on SP four. You will immediatley notice that you nee dot chnage the bow speed, pressure and maybe even the tempo a litlte to get maximum expressivness. Now move to SP 3 and repeta the procedure. When you get to SP the tempo may need to be real slow to get the bets posisble sound. Apply this to whole pieces of music. Use it in your pracitc eeevry day. It is a relaly importnat approahc.
>I also do things like use colle to practice my bow returns (frog to tip--specifically on the return),
Colle pracitced in any part of the bow will improve your sound enormously.
>and try to combine concepts when I can. Though I'm certain you aren't as pretty as I, you're one smart cookie!.
I am the Bhudda. Which is , not coincidentally, similar in pronunciation to the Japanes e word `Buta` which means pig.....
And I am simply, 'the great one'
Do you teach typing on the side? ;)
More to the point, though, some of the "best" performances I've heard have been from street musicians. I remember waiting for the T one snowy morning in Boston, when everyone was late for work and tense, and then on the platform there was this wonderful steel drummer, I think it was, playing calypso, and everyone cheered right up. It made such a difference!
This entry has been archived and is no longer accepting comments.
Violinist.com is made possible by...