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King
I'm playing 16 th notes.
G scale. Up to mm 90, "OK". 90 - 100 mm starting to lose notes. Bow not working. Fingering getting sloppy by 100 mm.
A scale (from open A). Maybe OK to mm 103. Bow angle feels better.
FIDDLE TUNES from MEL BAY. Do samples. Key signature is definitely a factor for speed.
When you come to a fork in the road, take it.
King
King
The answer is very clear. Concentration on the right hand was very beneficial. I did not have my software metronome running in the music room but I'm sure my speed was at least as fast as reported previously.
I also noted that I was not at risk of surpassing the left hand which, I see, is really the faster of the two.
When you come to a fork in the road, take it.
King
Yes, the video is useful but mostly to review basics. Since I wrote the original post I have made very good progress.
One interesting point has to do with patterns as I realize that much fiddle music is in the key of D and then G and A ..... all sharps. So, I AM becoming faster IN THOSE KEYS but not nearly as fast in the flat keys !
I think that the reason is that I can recognize patterns of notes so that I do not have to really read each individual note in the # keys. ( On the other hand, I like best to play in A flat to avoid open strings !!)
I noticed in your video you were pulling nice long bows but I anxiously wait to see what you say about right/left hand coordination exercises ; )
When you come to a fork in the road, take it.
Member
Very informative video Pierre, in addition to some of the items you went over, the articulation of each finger (on the left hand) as you place it or take it off of the string is important when you are developing the muscles in your fingers and training them to go fast. For example going very slow on the G major scale as you suggest but also moving your fingers as fast as you can when you place it on the string and snapping it off (almost a left hand pizzicato) when taking it off. This will train your fingers to go fast even though you are going slow. Slurring at first as Pierre says and gradually decreasing the number of notes slurred. Eventually three octave scales are great for all types of exercises for left and right hands...my two cents worth PS Pierre thanks for the wedding music
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King
I am resurrecting this topic from March 2011 because it has proven to have an amazing benefit. The discussion included instructions by PH about difficult or too slow passages. He suggested playing the problem passage with a mental emphasis on the left hand and then the right hand. The suggestion meant that one of the hands was the "weak sister" and the passage would improve by concentrating on the weaker hand. It was just a matter of thinking about it and not necessarily a monster practice session for the weak hand.
I have been trying the idea on many occasions now since March and I can report that it is really spooky and it works. Sometimes when I'm fighting with a tricky passage, I simple go into right/left drive and the problem is over.
I have no idea why the success rate is so high. Maybe I'm right-brained or left but it is not always the same hand that gets the attention.
I did not believe all this when PH gave the instructions but I can only agree at this point.
When you come to a fork in the road, take it.
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