Does anyone have any recommendations for any studies/etudes for someone around the Haydn g major level?
It doesn't partcularly matter, but there are a whole load of things I haven't done in terms of technique (most if not all bow strokes come to mind)
Thanks for any suggestions
Your teacher should be loading you down with appropriate etudes, given your conservatory ambitions.
I've asked him, as compared to my previous teavher he seems to be a stickler for etudes just not done any yet
Kinda depends on what you've done previously as far as both etudes and repertoire go.
If you haven’t had any, ask for some. Your teachers guidance here is key, given that you’d like to aim for a conservatoire.
If you are 22 and want to make a living in music with Haydn G level, want to attend a musical school, don't do it. What is your previous university training in any other field? Listen to Lydia who has a day job and enjoys doing music as an outside pursuit and does very well with it.
I don't have a degree or anything at all. I should also clear that its music school on viola not violin (may not make a whole lot of difference, but nevermind)
Dont op. 37
Violin, viola it makes no difference. At the age of 22 you should be performing the Bartok or Penderecki viola concerto. If you think that a music education degree is the answer, then think again. You will just be a bad example for your students. Thanks to Mary Ellen
My teacher thinks I can do it in the time frame I suggested
Best of luck, you will need plenty of it. Just looking at your photo, I see lots of problems in your basic setup.
I agree with Dont Op. 37. Bruce Berg is one of the most level-headed guys around here, plus his experience runs very deep and his pedigree is impeccable. I would not dismiss his advice too easily.
I started viola at age 15 (but with a background of piano and singing) and made rapid progress..to begin with. But at university I was playing with folks who had simply played twice as many hours as me. This was particularly clear in subsequent orchestral auditions.
We need to make the distinction between those who are able to make a living in teaching music and those we believe are effective (or even not-actively-harmful) teachers. There are
I agree with Lydia. Responsible teaching is a vocation but also a profession.
Adrian, my previous teacher had a similar mentality to you. He very rarely assigned etudes.relying on passages in "actual music".
Some teachers can be effective teaching technique only in the context of repertoire. Those teachers often have a Sevcik-like mindset, able to extract little exercises from the repertoire, extending and expanding to ensure that the repertoire-"derived" exercise covers the technique in a more general way than is presented in those couple of measures. Alternatively, those teachers make extensive use of repertoire whose focused technical challenges ensure that the student gets a pretty thorough workout on the technique that they've got a lens on. A lot of that pedagogical repertoire is scarcely more interesting than an etude, though.
Jake, your teacher should be setting studies based on a combination of your general playing level, particular technical strengths and weaknesses, forthcoming repertoire and long-term playing ambitions. Only you and your teacher can work this out.
Lydia, I agree (again).