I must apologize to Charles Zacks for poo pooing Schradieck. As it turns out it's just the mind numbing exercise that allows the nerves free rein. I play along with this: Schradieck page 1
. So slow it takes over 20 minutes but is good for seeing how your posture/technique is for stamina. Before any complains about the type of intonation used, a good sequencer will allow you to choose. I don't do it legato but try to make each note a 'pearl'. I'll add other midi pages - unless you want to do some folks?
As I said, one can use just intonation or even pythagorean if one wishes. The midi file is like a personal trainer - even in orchestra I don't play for a solid 20 minutes. One note to a bow, 4, 8? I think there are many ways to get something out of this exercise.
Something happens when I'm about half way (10 minutes) - my proximal joint on my RH index finger gains a relationship it never had. Now I understand! Only at 40 bmp separate bows. Here's page 2:
Thanks for doubling back on the topic of Schradieck - Clearly, any given excercise might not be useful to everyone, and perhaps more to the point, an excercise might more useful at a particular episode of learning compared to another. My teacher suggested Schradieck when I was having trouble with a subtle but systematic sharping of intonation on A,E strings and corresponding flattening on G,D strings. Schradieck was the particular cod-liver oil I needed to cure that. My current use of Schradieck is to gradually accelerate (as written, one or two bows per line), so that the fingers rise and fall quickly as well as accurately in smooth, integrated gestures, not "one at a time". Like Christian said, starting slowly is OK, but gradually accelerating seems to help develop the desired automaticity.
Since coronavirus has put the lid on orchestras in my area until early next year (if we're lucky!) I've decided to reappraise my technique in the loads of free time that has suddenly appeared.
I think it pays to re-read the instructions that Schradieck himself wrote at the top of the page. That's what you focus on. Lots of more efficient ways to work on intonation. I assume we're talking about Exercise 1 in Book 1 of Schradieck School of Violin Technique. Only about 5% of all violinists turn the page. When you do you will find out that it gets hard, fast.
I am about to turn the page! But first a cat among the pidgeons - what do you think of listen to the radio/audio book whilst doing them along with the midi file? Liszt would have been fine with it. In fact I think you could actually read a book eventually.
Given a choice between Schradieck and Sevcik, I'd choose Schradieck every day of the week.
Liszt was an overrated violin teacher, Bud!
He sure was well read though!
Looking at the first two pages of Vol 1 of Schradieck's School of Violin Technique I think they would also make a good basis for a pianist's training exercises in the earlier stages - developing even and steady control of dynamics and timing, etc.
Bud, before you turn the first page: do it again but in A minor, i.e., no C#. Makes quite a difference (meaning, it is harder and you need to have an even better left hand position to do this properly).
Just did. Yes, if you're keeping your fingers down C to D's quite a workout!
Glenn Gould reputedly listened to the radio whilst practicing. When we were kids my brother (cellist) used to memorize his pieces immediately, like after playing through them twice. He was fascinated with electronics (and eventually became an electrical engineer by trade, and a standout jazz bassist on the weekends), and one day he got caught having the Radio Shack catalog on his stand whilst practicing solo Bach. He learned to make sure his stand was facing away from the door.
I went to another edition (also IMSLP) as I wasn't sure of the bowing for no. 4. This is very interesting! Any comments? The second measures always copy the first.