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Thread: What Are You Working On Right Now? (Strings Version)

  1. #136
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    Quote Originally Posted by senza sordino View Post
    I had a violin lesson this afternoon, my first in over ten years. I started 16 years ago, and took lessons for about two years, and progressed quickly. For the past 14 years I've remained somewhat static technically, though as part of the orchestra my ensemble playing is much better. I went back to my first violin teacher today. I'm not sure he's the best for me. I know him and it's a safe environment for me to try music beyond my current ability. I had forgotten that his repertoire is a little limited and he doesn't perform, hasn't for years.

    I took to the lesson The Lark Ascending to play. It's challenging for me, lots of high positions, but not loaded with double stops. He didn't really know the piece, he had probably never played it himself.

    I'm probably going to see him once every couple of weeks for three months and work on the RVW and Mozart #3 in G and the Bach E major partita, all of it. Then I'll decide if I want to find another teacher, or stop lessons again. I didn't get a good vibe today considering it was my first lesson in a very long time.
    Someone who hasn't performed for years would be fine for a really really advanced music student because at that stage interpretation becomes personal choice and so demonstrations are less important. However for the average amateur player being shown how to do something technical or musical can be a very good way to learn. So rather than stop lessons, I would like to suggest that you find a teacher who can actually play the repertoire that you want to have a go at playing.

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  3. #137
    Senior Member Op.123's Avatar
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    Quote Originally Posted by Burroughs View Post
    1st mvt of Brahms - piano concerto 2
    oops, sorry, this is not a work written for a stringed instrument. I seem to have put it in the wrong section. Oh well...
    “Neither a lofty degree of intelligence nor imagination nor both together go to the making of genius. Love, love, love, that is the soul of genius.”

    - Mozart

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  5. #138
    Senior Member Ingélou's Avatar
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    Yes, I noticed. It's easily done. Just put it up again in the keyboard section.
    But anyway, I don't look there much, so I'm glad to know about it!
    ~ Mollie ~
    My fiddle my joy.

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  7. #139
    Senior Member senza sordino's Avatar
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    I am making progress with The Lark Ascending. The central faster section is still a challenge. But I always get stuck on the double stops -the bane of my existence. But it's starting to sound like music.

    I've also been playing the Prelude from the E major Partita, Bach. Tough bowing and super fast string crossings.

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  9. #140
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    Quote Originally Posted by Burroughs View Post
    oops, sorry, this is not a work written for a stringed instrument. I seem to have put it in the wrong section. Oh well...
    I expect the violin part is quite difficult anyway. Brahms tends to be.

  10. #141
    Senior Member senza sordino's Avatar
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    I've put aside The Lark Ascending for a short while. With my teacher I'm working on the Mozart 3rd Violin Concerto, in G major. It's not too difficult to play the notes, it's making the notes sound lovely and sweet that is the challenge. And I'm working on the Bach E major concerto. What is challenging here is that there is no definitive version, different versions have different bowings, slurs and fingerings.

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  12. #142
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    I am about to add 3 more movements to my string quartet # 0,i sent the pdf of the first movement this week trying to get a grant here.

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    Senior Member Ingélou's Avatar
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    With my fiddle teacher, I am working through a simple book called Baroque Violin Pieces, Book 1, ed. Richard Jones. It was my idea; I hope that I'll learn about bow strokes, hemiolas, trills and so on in an ordered way - a new piece every week. Sometimes Jim is kind enough to record a piece for me & that really helps me with expression and dynamics, not to mention timing, my Achilles' heel.

    This week I'm on a lovely Sarabanda by Johann Jakob Walther & Francois Duval's Gavotte La Romaine. I'm trying to reproduce what Jim calls 'spoon shaped bow strokes' - start light, apply pressure in the middle, and tail off, slightly early. But I'm finding it very difficult. As for trills, I just can't move my first finger on an open string at all well.

    But we persevere. Next week's offering will be an Aria by Willem de Fesch; I've found a cello version on YouTube, and I'm already madly in love with it...
    Last edited by Ingélou; May-26-2014 at 20:15.
    ~ Mollie ~
    My fiddle my joy.

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  16. #144
    Senior Member senza sordino's Avatar
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    Quote Originally Posted by Ingélou View Post
    With my fiddle teacher, I am working through a simple book called Baroque Violin Pieces, Book 1, ed. Richard Jones.

    This week I'm on a lovely Sarabanda by Johann Jakob Walther & Francois Duval's Gavotte La Romaine. I'm trying to reproduce what Jim calls 'spoon shaped bow strokes' - start light, apply pressure in the middle, and tail off, slightly early. But I'm finding it very difficult. As for trills, I just can't move my first finger on an open string at all well.
    I'm a bit confused, and curious. You are learning to trill on an open string? This is not normally done, usually violin players shift to another position to do that trill.

    If you know the Kreutzer 42 Studies, try studies #15, 16. Trills nearly every note!
    Last edited by senza sordino; May-27-2014 at 06:39.

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    Senior Member Ingélou's Avatar
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    Oh well, you live and learn! Thanks, senza sordino. I stand corrected. I am very basic, you know - alas, not capable, yet, of moving to other positions (except the third) with any dexterity.
    I do find trilling ability improves with practice. After nearly a year spent on Klezmer, I'm much better than I was. I don't know the Kreutzer Studies you mention, but I've heard of them - I am probably light years away from moving on to them, however.

    ( Crawls away sadly, covered with confusion...)
    ~ Mollie ~
    My fiddle my joy.

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  20. #146
    Senior Member senza sordino's Avatar
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    Quote Originally Posted by Ingélou View Post
    Oh well, you live and learn! Thanks, senza sordino. I stand corrected. I am very basic, you know - alas, not capable, yet, of moving to other positions (except the third) with any dexterity.
    I do find trilling ability improves with practice. After nearly a year spent on Klezmer, I'm much better than I was. I don't know the Kreutzer Studies you mention, but I've heard of them - I am probably light years away from moving on to them, however.

    ( Crawls away sadly, covered with confusion...)
    My comment wasn't meant to be critical, with all play within our limitations. There is no law that says you can't trill on an open string. I was just curious.

    The Kreutzer studies are challenging, the first studies require playing up to at least sixth position, I've only made it to about #15 of 42 studies.

    Double stops are my Achilles heel.
    Last edited by senza sordino; Jun-01-2014 at 06:26.

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  22. #147
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    I am making good progress with the Bach E major concerto. I played through the entire first movement with only a few repeats and slow downs. It is a real challenge playing in E major, and the piece modulates. You know that slow bit about 3/4 of the way through the first movement? It's in G# harmonic minor.

    You have to listen very carefully to your intonation. You cannot play it with equal temperment.

    Playing it slowly to get the exact intonation.

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  24. #148
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    I played through the first movement of the Bach E major concerto this morning in 12 min 40 s. My recording of Andrew Manze and the Academy of Ancient Music is 7 min 20 s. I have a long way to go. What I played this morning wasn't bad, a bit slow of course, but all the right notes.

    I am also making my way through the Mozart third violin concerto. I have memorized large chunks of the first movement. I can't play the cadenza through yet, it's an Oistrakh cadenza full of pyrotechnics.

    I am practicing more now that I'm on strike and not working, I have more time and I'm not exhausted from the day working.

    I also recently learned the Meditation from Thais, Massenet. I played that through this morning in time, and fault free for the first time. Perhaps not sounding as sweet as Heifetz but I am happy with it.

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    Currently, I'm working on Esprit Chédeville's "Prélude" (1st voice) for épinette des vosges as well as Saint-Saëns's "Le Cygne" (violin's part) on my tremoloa. Struggling with slurs and very long notes (notably near the end of The Swan), since the tremoloa doesn't hold notes like a violin (plectrum). I've crudely arranged a version of The Swan for tremoloa, mostly changing the slurs and adding pitch bending to make notes stand out while slurring.

    It's strange going from a bow to a plectrum haha.

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    -Rimsky-Korsakov: Scheherazade (Violin 1 part)
    -Bach: Partita No. 3
    -Beethoven: Sonata No. 9
    -Kreisler: Preludium and Allegro

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