February 25, 2007 at 11:07 PMGreetings,
These are just a few examples, but I think if one asks students to identify a specific problem rather than just a vague `this bit sounds bad` and then ask them to work out exercises as well as the ones you feed them , then the whole business becomes really interesting.
Anyway, I should probably point out that the finger pattern for the G-E-C chorded sequence I previously mentioned also shows up for a different sequence in that same Bach Minuet (as D-F#-A on the A and E strings), so the piece already has 2 different sequences built in for practicing that particular finger pattern, which works out very nicely I think -- and as it seems w/ every other piece in the (early) Suzuki repertoire, I bet this sort of repetition of finger patterns probably had much to do w/ its selection/placement at this point in the method/training, which my teacher had pointed out on occasion in the past about the various pieces when discussing certain finger patterns and bowing techniques.
Beyond that I also wonder if my teacher didn't sorta hope/expect that I'd be curious enough to try some things out (or find out elsewhere) on my own under the circumstance. I think she knows/realizes that I'm the sort that won't really be satisfied being slowly spoon fed everything. OTOH, she probably also didn't want me to get too bogged down on learning/exploring technique just yet. Although I picked up the violin nearly a year ago, I have not actually had regular lessons throughout that time -- only occasional lessons and 5-10min pointers now and then as part of my daughter's Suzuki method training. My last lesson w/ the teacher is actually my first official regular lesson that's focused on me alone, and we had a good deal to work on as it were. Still, I'll probably bring up and ask about at least some of these additional points (along w/ your previous interesting discussion about Bach's use of chorded sequences and part of what makes Heifetz so great) at my next lesson tonight.
BTW, I also find it interesting (and perhaps, serendipitous?) that here I am learning the violin via the Suzuki method -- well, not "pure" Suzuki as *some* might think it anyhow -- over here in the USA, but I'm also getting additional great pointers and insights that would not normally be taught so early in this method (to children anyway) from 1/2 way around the world where Suzuki originated. Seems like the best of both worlds... :-)
And thanks so much again!
Very best regards,
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