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First, it sounds like you're doing just fine.
Ron suggests playing it at a slower tempo. Learning a song at a slow tempo is always a good idea, of course. I think it's Itzhak Perlman that says: Learn slow. Forget slow.
Just keep in mind when playing the Wohlfart etudes that they are not just notes played for the sake learning how to play notes. When played as intended, they are very short, but beautiful musical compositions. This is what you are eventually shooting for with etude no. 3. Notice how when played up to tempo, with expression and dynamics, it's actually quite a lovely piece of music.
A positive attitude may not solve all your problems, but it will annoy enough people to make it worth the effort. ~Herm Albright
Fran, I glad someone else likes Wohlfahrt 🙂 I really enjoy trying all of the etudes in book 1. Wish I could play them all ;(
I'm amazed at how fast you have progressed. Wish I could. You're an inspiration to us adult beginners. Thanks
Bob in Lone Oak, TX
Referring to etude 4 ? Dunno for sure but moving on from 1, 2 and 3 it feels like attention to bow distribution (and string crossing, as ever !)...
I don't spend enough effort on etudes - I'll maybe "get the idea" then go off and play other stuff, without putting the time in to completely "nail" the etude as a piece of listenable music in its own right ( which it usually is ) 🙂
I seriously recommend not copying my mistakes. D'oh -
Please make your own, different mistakes, and help us all learn :-)
I can't pin one down - there are several techniques in there that would constitute "things to practice" for most beginners:
Use of the fourth finger
Arpeggio-like patterns (I don't know arpeggios well enough to tell of those are true arpeggios or not, but the repetitious rise and fall of the pitch of the melody is reminiscent of them, at least. Like playing scales, except a lot friendlier to the ear.)
Using enough bow - it's played fairly fast, but he's using 4 to 6 inches of bow on most notes, which is why the tones is nice and solid. Many beginners (including myself when I forget myself) would be using more like an inch, and it wouldn't sound nearly as good.
He's also putting emphasis on the starting note of each measure, and using some volume-related dynamics through the piece, but I suspect both of those are more advanced elements that aren't the main thrust of the etude.
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