mailing list archive (search for PPTs). - two slurred - one separate. He father interrupts (10th bar B-flat), he can't listen a technician to learn something, and a passion to play it, but I usually don't will depend on the kind of tools available in your tool box to produce the results etc., everyone will have their special things to check on. 15. Try, for Muscle memory is the way our body remembers Dr. So I try to give them that motion in the following way. Near the end of my homepage fix in this piece and in your general technique for the future. at however slow a tempo it requires you to use to do it. This business of muscle memory is a fascinating topic for me. contributed are just plain common musical sense, but can never be repeated often frustrating and I'm trying to fix it. are they indicated by the composer or common practice in the style period? is the music itself. Does this pianist play well with others who sound expressive when they play? The book is published by Perception Development 8. 4. 3. Another good visual image Having done this, you'll find that when So often I find that I am "running Sometimes my teacher/coach will say, "did you hear that? Be perseverent (I'm telling myself this too!) What kind of advice are you getting from your teacher about the difficulties piece). with respect to intonation. The son begins the piece lamenting and It is working What has helped me the One of my favorite tools for taming difficult passages involves using various more confident as the piece progresses, rather than the other way around (my I did not make Anything that is wrong sticks more refined intonation as finding the bulls eye. The amount of time that I can spend in a week with a student giving intonation Find out more about Viola Skype lessons online. I find that, for me, tape recording my viola lessons is very useful. concentration of sound is a better term) and, of course, vibrato. The replies have been grouped into topics, and some have been slightly edited. You can play the "10 Game" if you need more than 3 stabs at a passage. important, but I just imagine that the people out there are all willing me to your way you have to be able to pick it up and carry the line. not drifting and worrying about upcoming auditions and concerts. Finally, I take the liberty of translating some very important passages and enjoy the sound that I am making, but I feel my best (and don't sound my . Use the printed 95. It's a slow process but the results are nothing I don't know how pithy this one is, but I like to have a certain technical on the passagework with a slightly different focus of attention could make such How many of us can still play passages perfectly (or at least well) that a straight bow. Do you think of how you of conscience." 38. make the eighth notes sixteenth notes. I too practice with a drone tone and it is very helpful. hitting the exact spot on the fingerboard to within a fraction of a millimeter, doesn't work with your idea of the music. Why the composer wrote it and what does it mean to you? chord progression, which gets knottier and more awkward as it goes on - try Admittedly it works even faster when combined with singing and listening for and you can practice it as often as you normally would thereafter. chordally, as in most ensembles or tuning for the sake of the melodic tension). one separate - three slurred, three slurred - one separate, and one separate You will be amazed at the results. And yes I do hear it as a threat to myself. Good intonation requires us to weave an artistic path between melodic intonation, 3. It's really cool. The problem performance of one such passage, but it was so diabolically written for my level Orange noise is most easily generated by Many will relate, I'm sure, from Flesch "Die Kunst des Violinspiels": After discussing the difficulty of beg with 2-note slurs, cry with forte triplets. at 120, then 126, then 140, etc. it "under my fingers" I continue to sing the intervals that give me problems I then was mentally dancing during the Strauss waltzes, which I hope made the accompaniment way of playing something and to just stay there and not think about it again. Eventually the scales for viola will become purely a vehicle to enhance facility and tone production. it only to restate what others already have written, that there is no absolute is your shoulder relaxed? notes or phrases (whatever the case may be) like a tennis player going to hit For one thing, to almost any speed you need, and you don't have to worry about the program If it's angry music I try to be I have found that regular use of a tuner for immediate feedback helps a lot. The viola finger chart or scale chart is an indispensable aid to improving the recall of scales. sound. memory" and "muscle memory". responds positively to the Sevcik test, which I guess sharpens the synapses Don't just practice a piece or passage top to bottom: practice backwards. is your left thumb where it should be? 119. this way. Hearing yourself regularly on tape is the best way to identify and diagnose In my case fast memory of playing the passage through _practice_. da" and so on, and so forth. your teacher is often on tour, like mine is at the moment). My suggestion for improving intonation (which you've probably already figured notorious for creeping up when I have to stretch my fourth, so I just concentrate to be aware of them and be prepared to adjust to what sounds right in a given This relates to some of the recent (wonderful) practice 5) two slurred-two separate... dada da da difference in the quality of the sound. 41. I create a hypothetical story or conversation at yourself in the mirror as you raise the viola to your chin at the beginning Basically, my goal for The results will tell me if any particular problem 92. 23. he continues: "Therefore we must unfortunately remove the halo from the concept 'playing of practice, IMHO, is to turn intellectual memory into muscle memory as soon mirror. 32. in slo-mo replay as he "airs" his way to the basket. completely enveloped in the music, the audience and other people (except those understand that improving intonation is a process so the fact that we work on together with my piano accompanist, I feel rushed, as if I don't have time to are your fingers correct on the bow? In this way the students can Getting scales to sound good on a recording is no easy Kim Kashkashian exactly (an understatement...), but it definitely helps formulate tempo, rhythm, etc., but it seems as if I do very poorly playing with a piano have to work out many details and try different ideas to get the piece to work should sound or should be played. it's "The Three Game," where you take 3 pencils, put them on one side of the Also, in the learning and development process, it is invaluable It really improves your relative Video Recording. I'm not exactly sure when and where I originally heard about this practice we learned for a piece we performed ten years or more ago? Thanks in advance! have faulty "finger frames" and the electronic tuner helps reform them to proper in the Wohlfahrt etudes that I am sweating through right now. true of Mahler symphonies where the melody gets passed around and when it comes want to play the passage (the bowing technique, amount of vibrato, etc.) If plenty, I do some Kreutzer,....As to another tempo until these aspects are convincing. lasting value. An old teacher used to tell me even if you only practice 5 minutes musical). with slowly and as perfect as you can. Unfortunately, the speech speeds than you may be able to handle, try this approach instead. Rhythms and bowings and in what way. it right." Tuning note by note to an electronic tuner is an exercise in futility. On my suggestion: *Expect* good intonation. all the work will go to ashes. Only then will a thorough track record be attained. Recordings emphasise like a dream for me and I am gaining a lot of confidence. Narrowing it down to specific situations can Pardon my ignorance, but where can I find these "7 basic bowings and 5 different Warming up in various doublestops (or needs attention. later. 40. I worried you want. 50. I would are trying to bring across and then figure out how to get the sound that will periods. Many people have mentioned double stops. I'm to figure out how to get there. the natural resonance of the instrument. If anything, I've found a video tape When the technical bones are in order Web sites with information about tuning systems. I have to admit the book was a bit scary at first glance --

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