Listening and Leaping

January 7, 2008 at 9:42 PM

I had 3 weeks off from lessons over the holidays, and even though I haven't been taking lessons very long since picking up an instrument again, I really missed them.

I am now done with Fiorillo #9, which was a good learning experience. As Etudes go, Fiorillo's are pretty interesting: shifting, arpeggios, and for the viola, lots of clef-switching. All of which I needed, and still need to do more of.

But then there is the leaping. On the viola there is a passage in this etude with a leap from an open C (the lowest note playable on a viola) to a high C three octaves above it on the A string. It is like an open G to the G three octaves higher on the E, on the violin. On either instrument, I'm not very good at that kind of leap.

I often miss the High C. When I do, I know it's wrong, and I know by approximately how much and in what direction, and I can fix it after the fact. But I don't seem to get any better at hitting it on the first try no matter how many times I repeat it in practice. In fact, sometimes, during practice, it would seem like I was just learning it wrong, so I would stop and go on to something else, rather than keep repeating the same mistake over and over.

My teacher asked me to play the open C and then try to "hear in my head" the C three octaves above. She said it might take a while to hear it. Then, once I heard it, I should try to play it with one shift.

I tried this a few times but felt like I was missing something. I did not hit the C very well. I was almost always flat. I would recognize that I was flat and try to go higher the next time and then I would be sharp. I thought I could hear a C in my head, but my fingers weren't getting the message.

I asked if I could start from 3rd position rather than 1st (where my left hand has to be to play the notes right before the open C). She thought that was a good idea: move to 3rd position while playing the open C, then shift with the 3rd finger to the A in 5th position, practice that shift for a while, and then extend the 4th finger to the C. That worked better. I kind of know where that A is. I can find it with my 4th finger quite easily and play the harmonic, and it's not much harder to find it with the 3rd finger. And I can both picture and hear the C in relation to the A, even as a 4th finger extension.

There is an old discussion thread about a similar issue: Practicing 6th position. In fact, the topic of this thread is pretty much exactly what I'm trying to do here. This C that I can't hit is in 6th position, or it's an extension from 5th position, depending on how you conceptualize and play it. I'm even using the octave harmonic as a guidepost, as one of the posters there suggested.

But I admit I'm still kind of wishing for a tape, even though everyone on the thread (and there are some pretty heavy hitters on the thread) is really negative about tapes for this type of playing. Buri wrote that "the violin is played by having a mental conception of the note before going there and then using your ear." This clearly makes intuitive sense to a great many people. I'm not arguing, but unfortunately I'm not one of those people. How are the mental conception of the note and what you're hearing in your ear supposed to be related? How is the connection made between the ear and the fingers? Is it unconscious, just something that you take on faith will happen over time with enough repetitions?

Well . . . at least I'm making some progress with Clarke, and the rest of Fiorillo #9 was good enough that I'm allowed to go on to #10.

From Stephen Brivati
Posted on January 8, 2008 at 12:59 AM

Greetings,
Karen, the last thing you need is a tape. Although I stand by what I said that you quoted (posisbly in a rage ;)) the3re is of course a lot more ot the business than this. Playing the viola/violin is a kinesthetic experience and that fatc has a great deal f significance in terms of finding notes. The posiiton of one note with one finger can also be understodd in relation to other fingers even if they are not placed in the final performance. So I would work at various ways of getting at the note through silent (or even initially played) notes at a lower interval. For example, you know where third position is reliably so pracitce different posisbilities in getting from there to the note itslef as though the note wa spreceded by a scale. Make these guide notes less and less salinet over time but let your hand absorb the snes of where they might be if oyu had ot play them. SEe if that helps you understand how the hand shoiuld feel when you play that top note.
Cheers,
Buri

From Mendy Smith
Posted on January 9, 2008 at 4:35 AM

Karen,

As I'm getting up into those nether regions myself, I'm finding that making a mental note on how my hand & thumb are positioned as well as the finger pattern helps alot. I do this ever so slowly when inching up the fingerboard at first. For instance, play the low C, stop, reposition, play the high C, adjust if necessary to get the high C just right - then STAY there for awhile. Play a few notes up there, maybe a small melody or just random notes but holding the C the longest until you can hit it right on several times. Then do it all over again.

For me at least, this helps to ingrain that "muscle" and ear memory into my brain.

From Drew Lecher
Posted on January 9, 2008 at 4:15 AM

VIOLA — Shifting from open C to C-4 or 3 on A 2nd 8va:

Karen,

Try shifting from 3rd position to 6th position C-1 on the Ding. This will work as well from 1st or 2nd, etc. Also, if yo really want the 3 to be set in 7th position shift to D-1 on D. (Yes, the shifts should be practiced with the respective notes on the Aing as well, but in this setting the Ding is often far better.)

Do this as an audible slide. Upon arrival — make it a longer note initially — thoroughly practice the 8va interval with 4th finger (use a Hand Group setting appropriate to the passage and Key and/or the Beginning Hand Group — whole half whole (overall the best for 8vas). Additionally doing the shift with an 8va makes it even more secure and better in the long run.

Then an extension 3rd finger. Note the change of angle in every part of your hand and the outward (counter-clockwise) rotation of the left forearm and hand. Here you can also shift the 1 4-8va opening into the 1 3-8va.

Practice the choice of 3rd and 4th finger separately, including the shift, as there will be other very noticeable balance and flow adjustments from one shift to the other. Do not go back and forth between the fingerings — MASTER ONE FIRST.

With each (4/3) and after numerous shifts in varied rhythms to develop flow, agility and speed with TOTAL BALANCE, add Repetition Hits. This is where you stay in the 6th position and release the 4th or 3rd finger as the case may be, and smartly set/sting/hit it down squarely on the same note — do this with 2 short 8ths followed by a sustained quarter, repeating at least 5 sets in a row without wavering or faulting pitch. If the placement is wondering do not even leave the string — simply lighten and set/hit again gradually and eventually releasing the string totally. You can feel if the finger is sliding around on this one. DO NOT LIFT THE FINGER AT ALL! Simply release the finger — a relaxing of the finger from the knuckle. It will pop off the string and all you need do is maintain shape and balance.

Do not use vibrato in the above until the note is consistently achieved, but do have the sense of balance, posture and energy flow knowing that you can vibrate and maintain the focused pitch and tone.

Now note all the details of position and balance — where your left hand is, the thumb, wrist, forearm, upper-arm, shoulder, neck, head, et al. Everything is to be balance and proportioned as flawlessly as possible making sure you are shifting into this position — having maintained it enroute and not adjust after you arrive. That is too late.

After all of this release the hand with the start of the Open C immediately progressing through the Bishops' move to the position — you will be floating the hand barely above the string (just enough to clear the pawns' heads:-) —— I know it's against the rules, but this is viola/violin playing and all is fair… Upon every arrival do at least 5 accurate hits of the note reapplying Rep Hits as needed. Also, practice the 2 possible Knights' shift moves — up the C and over (not used in this specific section, but most useful) and over to the Aing and up. The Bishop will be the actual move, but the Knights help guide and focus.

This probably sounds a wee bit intense, but remember you are learning these moves for life and they will all be used. The greater the thoroughness up front, the greater the success down the road.

Have fun and
Hope this helps —
Drew

Author of
Violin Technique: The Manual, How to master…
Viola Technique: The Manual, How to master…

Everything affects everything.

From Karen Allendoerfer
Posted on January 9, 2008 at 8:11 PM

Thanks Drew, what a detailed and helpful response!

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