Day 19
Previously I was deficent with my sight reading because of a very strong memory. Now, I'm afraid to let got of the printed material, and my sight reading is coming online.
The question I guess, is at what point when 'you' are learning new music do you let go of the music having memorized it and force yourself to make any remaining corrections from memory?
I literally had to put the books away, turn the metronome on and just play, but I'm thinking I could have expedited this process earlier? .
al
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Good night--3hrs... All elements: See Below.
All Suzuki (4 songs--adequate++)
Also played through Wohlfahrt Op 45, number 2 non-stop three times... 2 fairly perfectly. It's a sight reading thing... Previously, I was deficient in sight reading because of memory. Now I'm running into the opposite, and had to make myself start relinquishing the printed Suzuki material and working out any remaining issues in my mind, and on the fly... A reversal of some sort.
Elements
staccato martele
legato vibrato shifting 1/3: 1/6 4th finger bow pressure bow speed 3rd ;position colle detache bow changes finger dropping open strings
Sue's upbows notes for Minuet in G.
Hi,Al, I'm guessing you are talking about the trio of the Minuet in G in Suzuki 2, not the Mozart piece referred to? Here are a couple of ideas. Imagine the four ups as VERY shallow U shapes so your bow doesn't fly away or whomp the string. The distance you travel for each in the series can get a tiny bit shorter and lighter as you go towards the frog, to keep an even sound. I lead the four segments with my wrist. What's also challenging is how to play the two-note downbow slurs. You need to travel back to aproximately where you started the up bows, which is basically double the distance per 8th, without getting a harsh or skidding sound, and keeping the two downbow 8ths more or less even in tone and volume. Use the middle half of your bow as a rough guide for where to play all. I'd rather extend towards the frog than the tip if you feel a need for more bow length. Also practice doing just the string changes on open strings. Try saying "change" aloud before you make the motion to integrate better. Finally, find your best tempo for doing the whole trio where it will all flow well. I think this varies from player to player, but within a Minuet-ish framework, of course. Sue
The question I guess, is at what point when 'you' are learning new music do you let go of the music having memorized it and force yourself to make any remaining corrections from memory?
I literally had to put the books away, turn the metronome on and just play, but I'm thinking I could have expedited this process earlier? .
al
-------------
Good night--3hrs... All elements: See Below.
All Suzuki (4 songs--adequate++)
Also played through Wohlfahrt Op 45, number 2 non-stop three times... 2 fairly perfectly. It's a sight reading thing... Previously, I was deficient in sight reading because of memory. Now I'm running into the opposite, and had to make myself start relinquishing the printed Suzuki material and working out any remaining issues in my mind, and on the fly... A reversal of some sort.
Elements
Sue's upbows notes for Minuet in G.
Hi,Al, I'm guessing you are talking about the trio of the Minuet in G in Suzuki 2, not the Mozart piece referred to? Here are a couple of ideas. Imagine the four ups as VERY shallow U shapes so your bow doesn't fly away or whomp the string. The distance you travel for each in the series can get a tiny bit shorter and lighter as you go towards the frog, to keep an even sound. I lead the four segments with my wrist. What's also challenging is how to play the two-note downbow slurs. You need to travel back to aproximately where you started the up bows, which is basically double the distance per 8th, without getting a harsh or skidding sound, and keeping the two downbow 8ths more or less even in tone and volume. Use the middle half of your bow as a rough guide for where to play all. I'd rather extend towards the frog than the tip if you feel a need for more bow length. Also practice doing just the string changes on open strings. Try saying "change" aloud before you make the motion to integrate better. Finally, find your best tempo for doing the whole trio where it will all flow well. I think this varies from player to player, but within a Minuet-ish framework, of course. Sue
posted by al justice at 6:18 AM
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