Sibelius Practice

June 14, 2004 at 04:53 AM · I'm starting the Sibelius and I remember discussion on how to practice some techniques in it. What parts of the Flesch scale book should I be working on?

Replies (28)

June 14, 2004 at 04:59 AM · Greetings,

the Sibelius discussion was a while back and focused on the first cadenza.

Practice all the Flesch. A good way to divide up the time you spend on it is to follow the guideline sproposed by Rostal at the start of his edition which is pretty much the only verson used these days. Does anyone have another version?

Aren`t you practicing four octave scales? I feel these are part of the tehcnical background rewuired for the Sibelius and other major cocnertos. You might take look at the Russian scale book by Gilels,

Cheers,

Buri

June 14, 2004 at 12:23 PM · Francescatti version is also very mcuh in use.

June 14, 2004 at 01:13 PM · I agree with Stephen. Sibelius requires all that stuff Flesch includes in his book. Make sure you are able to play well thirds, sixths, octaves, tenths, harmonics, fast runs and have an effective bowing technique...

George

June 14, 2004 at 02:05 PM · I'm also working on the Sibelius, and am spending most of my time on octaves (both kinds), but am doing everything else in the Flesch, except admittedly the double-stop harmonics. (Can anyone motivate me to practice this?) I've also been working on shifting for fast, even runs, and bow distribution for a lot of this concerto. I think we're going to be much better at octaves after this...

k

June 14, 2004 at 05:21 PM · I'm not taking music theory till next year (me=hs student), so what keys would be most beneficial to practice in. Also I have trouble with clear bow changes at the frog, so the first half page is very stressful. How should I practice that?

June 14, 2004 at 06:01 PM · kismet, listen to lots of paganini and maybe you'll be inspired

June 14, 2004 at 06:00 PM · For bow changes, try taking out left hand notes and try open strings as if you're playing the melody, slow motion so you can see where to correct yourself. It helps to have an idea what the bow feels like when you're changing bows and when changing strings, i.e. the weight at the heel and the point, etc. And also it helps to practice a lot of open strings and string changes slowly and quickly as a warm-up. After the open string first page study feels easy, the next challenge will be to decide about shifts, technical or expressive, and how they correlate to the bow changes.

For keys, I'm going to be sure I'm studied in at least D major and minor, G minor, F; then again...but I wouldn't limit myself. I do one a week...it helps to feel competent in more than just those you're working on in your piece...you end up playing the same notes and finding similar handshapes in each key. Just my opinion.

k

June 15, 2004 at 12:22 AM · one a week?

June 15, 2004 at 01:35 AM · You seem shocked. ;) It varies in truth, but I try not to spend too much time on one key. I've done so in the past and I never got out of the key I was in, also I found I was never practicing minor keys out of fear of the double stops. ;)

I do the first two pages of Flesch every day with thirds, octaves and fingered octaves one day, and sixths and tenths the next day, and when I'm feeling really motivated I do scales in fourths, and I avoid double stop harmonics as often as possible. ;) I'm a horrible procrastinator. And I spend at least an hour on them. This is my current method.

k

June 15, 2004 at 03:40 AM · Greetings,

I have always used the Flesch scales and enjoyed them...

But, these days I find the Dounis Artists technique book much mor efficient, for me perosnally.

The reaosn is , I think that practicing scales (especially double stops, is just too tempting to allow one to stop on every litlte fault. They are just too complex for me Duh!. Thus the Dounis breaks them down into one string (two actually) shifting and separate string crossing work. This is exactly the procedure Flesch advoctaed in his first `Art of..` book but it is really systematic in the Dounis.

For regular scales I also use more of the Dounis shifting exercises. I find that if I practic e these on week days then at weekend sall my four octave scales and three octave thirds, fourths, 6tyhs fingered octaces etc are working flawlessly (Isuppose...).

You also cover more of the fingerboard more systenmatically with Dounis,

Cheers,

Buri

June 15, 2004 at 03:38 AM · I think I've asked this 294 times, but is the Dounis book only available online? Maybe I'll go find it this time. (Lack of memory and motivation: they often go together.)

June 15, 2004 at 03:41 AM · Greetings,

Not sure Kismet. It is widely available in Japan and is -the- Dounis text which is still circulating and often used (recommended in the ASTA lists) so I think you should be able to get it anywhere,

Cheers,

Buri

June 15, 2004 at 03:59 AM · groovy

June 15, 2004 at 09:14 AM · While we're talking about Sibelius and I can't sleep, can anyone tell me the fingering--more importantly the strings on which you play that fingering--for two bars before the arpeggios in the 1st mvt?

June 15, 2004 at 11:17 AM · Greetings,

Kismet, which arpeggios. Do you mean the fist cadenza (Largamnete)? That is all on the g string.

Give us a number if I have guessed wrong.

Cheers,

Buri

June 15, 2004 at 03:01 PM · I know that's all on the G string! I'm sorry about not giving adequate info...the measure is after rehearsal 11 in the 1st mvt, two bars before the springing arpeggios. I don't know where to play the higher set of octaves.

June 15, 2004 at 03:22 PM · If you mean the measure with just A's in different octaves in 8'th notes, it's

1-4 (G-D strings)

0-3 (a-e strings)

and then back to 1-4.

June 15, 2004 at 03:24 PM · And hold your 1'st and 4'th finger down the entire measure

June 15, 2004 at 03:45 PM · Thanks, Mattias. Leave it to me to make things more difficult than they need to be. Actually that's still difficult.

June 15, 2004 at 03:53 PM · when i said one a week i was suprised because i thought most people switched keys more often, i do one a day, but i'm sure there's usefullness in practicing both ways.

June 15, 2004 at 05:02 PM · (Owen, I think I'm slower than most people.) I would switch more often if I felt like I knew my way around one key pretty well. At this point I've done each of the keys (admittedly some more than others) several times. But since I rotate how I practice double stops every other day I feel like I need several days to get comfortable with the key as a whole.

June 15, 2004 at 05:45 PM · I feel bad, I only practice the keys we use most of the time.... If something comes up with a key I don't normally practice I'll practice it then. I deserve to be reprimanded.

June 15, 2004 at 06:32 PM · Wow, for some reason I never noticed how many and how different interpretations of this work there are. In the largamente arpeggios, how do you guys do them? Heifetz, Oistrakh, Kennedy, Mutter all do it so differently!

June 15, 2004 at 08:12 PM · i have a confession to make as well vernon, i almost never do the "funky" keys, i know i should but it seems like practicing d major is so much more immediately useful than practicing c flat

June 15, 2004 at 08:19 PM · I agree...it's not very stimulating to practice G flat, but then you get to orchestral Debussy or something and it's like you're on Mars. It just doesn't sound nearly as pleasant as an open or resonant key, but it is somewhat useful to practice. Needless to say I spend most of my time on the more common and violinistic keys.

June 15, 2004 at 08:59 PM · I don't get any funkier than 5 flats or 5 sharps, I don't see a reason to.

June 15, 2004 at 09:41 PM · Yeah...the only thing I've played recently with six flats was a Sevcik exercise. Sometimes I feel like he wrote those just to be smug.

June 15, 2004 at 10:15 PM · He probably did...

This discussion has been archived and is no longer accepting responses.

Facebook Twitter YouTube Instagram Email

Violinist.com is made possible by...

Shar Music
Shar Music

Yamaha Silent Violin
Yamaha Silent Violin

Pirastro Strings
Pirastro Strings

Find a Summer Music Program
Find a Summer Music Program

Dimitri Musafia, Master Maker of Violin and Viola Cases
Dimitri Musafia, Master Maker of Violin and Viola Cases

Violinist.com Business Directory
Violinist.com Business Directory

Violinist.com Guide to Online Learning
Violinist.com Guide to Online Learning

Dominant Pro Strings

Antonio Strad Violin

Bay Fine Strings Violin Shop

Bobelock Cases

Fiddlerman.com

Fiddlershop

Los Angeles Violin Shop

Nazareth Gevorkian Violins

Violin-Strings.com

Metzler Violin Shop

Leatherwood Bespoke Rosin

Warchal

Barenreiter

Johnson String Instrument and Carriage House Violins

Potter Violins

String Masters

Bein & Company

Annapolis Bows & Violins

Laurie's Books

Discover the best of Violinist.com in these collections of editor Laurie Niles' exclusive interviews.

Violinist.com Interviews Volume 1
Violinist.com Interviews Volume 1, with introduction by Hilary Hahn

Violinist.com Interviews Volume 2
Violinist.com Interviews Volume 2, with introduction by Rachel Barton Pine

Subscribe