Practice epihany

November 30, 2006 at 07:48 PM · Practice or playing that changed your overall playing for the better. I saw this subject elsewhere and thought it would be interesting to ask what was being practiced, and what was the overall result on your playing.

Replies (7)

November 30, 2006 at 06:26 AM · I swear, I can spell epiphany. (figured I'd better say that before Buri goes beating my head against the wall again--ouch).

December 1, 2006 at 01:10 AM · Greetings,

that`s an interesting question. A few years back I decided I was going to practice son file on open strings for 15 minutes minimum whatever else I was doing. I have stuck with this prgram and have noticed over time that I have acquired huge reserves of quite effortless power which cna be invaluable playing in an orchestra.

Cheer`s

buri

December 1, 2006 at 02:36 AM · Buri talk to us---What all do you do on open strings. I can imagine 3rd bow regions, whole bows, bow changes, and so forth--but is there anything else.

That said, my sessions are already running into 3 hours, so I'll have to rearrange some... But, I'm struggling with some string crossings on Gavotte in G minor because it should be so silky, and am thinking open strings would be a 'good' thing for me too. Thanks man. al

December 1, 2006 at 03:55 AM · Greetings,

son file, or spun stroke is, according to Flesch, any stroke longer than about twelve seconds. As an exercise various taehers have advocated much longer strokes over the centuries. Gingold wa sfamous for advocatin the practice of a one minute bow stroke reglarly. I can`t be botehred so I do eitehr 40 or fifty seconds depending what mood I am in. It is done right next to the bridge and should produce a reaosnable sound although once you get past thrity seconds considerbaly less. Other teacher shave not been so keen on this stroke and advoctated perhaps ten or fifteen seconds as the most useful. The down side is taht a lot of pracitce leads to the bow arm becoming sleepy unless you follow the exercise with some very rapid movements such as half and whole bow marteles.

I like open stirng practice of bowings but you can`t make it the be all and end all becuase thta is only one string lenthg. Bowings needs ot be practiced with all manner of lengths so thta you are constantly alert to what sound point you should be on and what bow speed and weight is required..

The palce where do think open stirng pracitce is especially valuable is string crossing. A string crossing usually has one of two problems. Either the left hand is not prepared in advance of the bow. (easy to correct- pause with the bow and move the left hand first- then do the string corssing as a double stop). or your bow arm simply doe snot know what direction it is going. In this instance open string will solve the problem very rapidly. It may off course be a combination of oth problems,

Cheers,

Buri

December 1, 2006 at 04:05 AM · Thanks Buri...

I'm sure you are correct about the string crossings. I do excellent anticipating the crossing and preparing my elbow and bow. But, I've only recently really gotten serious with finger dropping and related coordination--'especially' in anticpation of a string crossing. I'm using Wohlfahrt, again, for this and will try and focus on better anticipating finger placement. My southpaw is growing stronger (injury), and I'm starting to be able to drop f3 into position quickly, and raise it quickly--f4 too. That has been very long in coming, but I'm starting to see it and hear it in Wohlfahrt--finally. Who'd ever dream the thing can resonate...

I threw open-bowing into my list, and should've been doing this as you and others advised me of this quite a while ago. It would help me with stick angle as well, and in that this past week I started adding bow changes to my mix, this will allow me to etch it in my brain better.

I will only be able to mangage probably 5 minutes of open bowing per night though... But, I'll try to do it really focused. And I'm thinking about using repetoire for bow changes so I can combine some things--my list is getting long, beyond the pieces I'm working on.

Thanks a bunch... al

December 1, 2006 at 04:32 AM · Greetings,

a useful tip for helping developa smooth bow change in repertoire is to use modelling. That is, play the two notes betwene which you desire smoothness, using a slur. This is the sound you are aiming for. After that try and emulate the sound of the slur while changing. It can make a lot of differnece,

Cheers,

Buri

December 1, 2006 at 05:32 AM · My most recent one: that I never have to play wrong notes or out of tune if I practise getting my fingers onto the right spot (or just above it), in advance. Seems obvious, but I've spent years frustrated at wrong notes but not really analysing why it kept happening. Now, I just have to speed the process up...

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