Learning a single note
I am just wondering what is the longest time you have ever spent working on a single note. Minutes, hours, days?
The high note at the beginning of Lalo consumed some chunks of my time.
Believe it or not, the first note of the Beethoven F major Romance is something I've spent a bit of time on.
Maybe two hours. Last note of the Bruch Romanze for viola, trying to get it to sustain/fade just right.
Andrew I love that piece. Not attempted it just yet though haha. Mine is the solo entrance is Zelter's viola concerto. Did around 2 hours on it
A single note is not a problem. The problem is moving from one note to the next. I have spent a lot of time on various long distance shifts. Most of our technical problems happen, or get solved, between the notes.
When working on tone production you can see that as working on a single note. For example I remember working long before I could produce a fourth-finger C on the D-string that sounded acceptable to me, sound point, vibrato, bow speed, a lot of work. I am getting there ;-)
Every single note is a problem but also an opportunity. Most pieces have too many
The first measure, a single note, of Kreutzer 1. Get that sorted and you'll be well on your way.
I’ve spent copious amounts of time on the opening notes of Lalo and a lot of time perfecting the opening note of the Mendelssohn concerto!
Music is the space between the notes, as they say.
The amount of time I've spent on my G major/minor 3 octave scales and arpeggios (including sub-dominant, mediant, sub-mediant, dominant and diminished sevenths) is innumerable. And that was just G... Short pinkies don't help much up in sixth and seventh positions!
I have spent and continue to spend an inordinate amount of time it seems practicing a single B half note trying to develop a nice sweet attack and romantic feel. Sometimes I envy piano players.
The downshift to that F on the second line of Don Juan, bar 13.
I wasted many hours on the opening of Brahms Violin Concerto. I realize how foolish it was. Yet I can still be tempted to obsess at times with difficult openings that I have upcoming in future such as Beethoven Violin Concerto. When I try to focus more on the music rather than the technique, I have way more success and less wasted time.
Every time I've had to prepare the Don Juan excerpt for something I have spent some time on the 4th G in measure 35, and the D in measure 36. For some reason it is always necessary to suffer a little before I get those little cheeki-breeki under control.