Practice tips for playing a 3-octave run, e.g. final measures of Debussy String Quartet
I struggle with various ways to learn to play three or more octave runs fast, such as in the first movement of the Schubert cello quintet, or the last measures of the Debussy String Quartet, op. 10. I would like to hear suggestions for practicing these runs.
Practice using groups and rhythms. Also known as "acceleration" technique: as you build larger and larger groups of notes, you are playing them faster. Very fast and efficient way to learn fast passage work.
Well, I would enjoy receiving such a list, but I don't know how to email you. :)
Anita, if you click on Scott's name, there's a button which says "CONTACT" Click on it, and it'll take you through to email :)
On my device, it was a broken link...
Thank you Scott. Yes I would like to get your list. As with others, the email link with your name does not seem to be working. When I google your name, I get to Scott Cole Photography in the UK. Is that you? Mari
Having performed the Debussy in a professional string quartet on many occasions the solution is simply to start the scale sooner than marked. No Problem then. It will not help to practice in rhythms, etc. Bruce
Prayer may help. :-)
Prayer doesn't help passagework...
Mari not contradicting Scott, just adding that the idea for such fast scales is that the end goal is for a group of notes in one position to feel like one single movement. For example take a 1-octave scale in one position starting with the first finger. You can think of the first four notes to be a single movement of the hand, and the same for the last four notes. These groups can become extremely fast, just one gesture where the four fingers are directed to the string each arriving just a split second after the one before. Then you work on the transition between the two groups, which involves lifting the first finger during doing the first group gesture (effectively modifying that gesture) and placing it on the next string so that a clean connection can be made. This also involves the bow of course as it has to cross to the other string. In the end the entire 1-octave scale is just one single gesture. The same principle can go for multiple octaves but now the connections between the groups are done by shifts. These connections can be practiced to get them very fast, with the goal to join the groups and their connections increasingly into bigger and bigger single gestures. The final goal is that the final 3-octave scale is just one large gesture for body and brain. This is of course the theory, which is always easier said than done! But I do think this theory is correct, although people may want to correct me.