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First lesson from Suzuki book 2. I took a break from playing after finishing book 1 and started book 2 about a week or so ago.
Intonation for my 4th finger E stinks but I'm getting the feeling that's the best this particular violin can give me. I hate the tone so much that I'm getting tense on the b,c,d,E slur and that makes it sound even worse than when I'm just practicing scales.
Speaking of scales, I'm doing a lot more scales than I used to. About 30 mins of my practice time is now spent on those alone. It's really helping with my intonation (except for that blasted E).
My bowing has improved, I think, and my wrist is in a better position. It still needs more work to make the frame automatic because I sometimes forget to keep pushing it forward.
The deathgrip on the neck seems to be relaxing and that's letting me swing my arm underneath from the shoulder more freely. Sometimes there's still a lot of tension there and I need to consciously soften my handframe/grip.
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Ok, let me try this again. I had the post reply all done and a thumb swipe took it away. I will see if I can remember what I had typed.
Nice job, @RDP . I am assuming you are asking for help because it is the Critique Section.
The section you are referring to is measure 13-14, right? Suzuki book2, pg 4. It is E on the A string followed by the D# and E on open E string and F#. It is very clunky. I still have issues. Sometimes I try open E, D# on the A string, open E and F#, and that is worse, so, I think the E on the A string, for me is the way to go, just have not removed the clunkiness there. I feel your pain. I have the same issue with the viola in that spot. Last viola song we were working on before COVID. I am still working on it periodically, because I like this piece
Maybe break it down. Measures 1-8 until you get comfortable. Then work 9-16. Add it to the first section when you have it where you feel comfortable. Work that entire double section and any spots you need to, spend time. The last measures are almost the same as the first group, but go through it before putting everything together. This helped me both with my violin and viola.
This is a fun piece and after you get it down, you can really play with it. It has a regal tone to it, to me, so I play it like that.
You are doing fantastic with it. I was pleased to see this because I knew you were working on it.
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@mouse
Actually, it's measures 5 and 21 which are causing the tension. Measure 13 only gives me grief for the D# on my 3rd finger. Moving it that far sideways is tough so I tried setting it into position before the 4th finger but that slowed my 4th finger E down by a lot so I'm back to 4th finger first, 3rd finger afterward. Even though that's wrong and I should be putting all of the fingers down at the same time.
The problem is that I just hate the tinny sound of that E on A4 and the ascending notes set me up for the tooth grinding to come.
Book 2 is all about intonation but I've been working on that for awhile now. I think this piece is about getting the student back into the rhythm of lessons and practicing not only for technique (that 4th finger on both A and D) but also for listening for the correct pitch on the notes and getting it right rather than any old way.
Moving on to the next lesson starting tomorrow. I think it's Musette. To me that looks like fun and a pain in the neck at the same time.
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@RDP Good work on that--
It takes time to develop strength in the 4th finger and flexibility in the hand to stretch it. I remember that once I got my 4th finger to go where it was supposed to, I started “overshooting” it because I thought I needed to feel that stretch more.
For measures 5 & 21—I’m guessing trying to reach the 4th finger and then coming back to the D on 3rd finger is giving you grief. It might be helpful to practice those 4 notes up and down, slowly, like half a scale. That is, go up B C D E then stop, then come back down E D C B. Also, practice going back & forth on the D & E (3rd & 4th finger) – D E D E D E. . . I wouldn’t do it for more than a few minutes each practice session.
In Suzuki Bk2, there are exercises on the page before Judas Maccabaeus that work the 4th finger (Ex 2b-Ex 4). I’d suggest you add a couple of them to you scale practice time to help strengthen it. Ex 3a-4 are good because they allow you to hear your 4th finger note followed by the open string matching note. Playing the D on the G string is probably the hardest.
Characterize people by their actions and you will never be fooled by their words.
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Ah, I see the sections you are talking about. I did them over and over starting very slowly. I did them very slowly for a few days and then gradually sped up. I had forgotten because I have so much of an issue with the measure 13 figuring.
Musette is fun, but I have not been able to improve much, but for some reason, it is fun. I haven't tried it in a while, been working on Jefferson County and the other one I am doing with. I can never remember that title.
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Just to inform your playing: here are the lyrics from the original choral version of "See, the conqu'ring hero comes" in the third act of Handel's oratorio Judas Maccabaeus.
See, the conqu'ring hero comes!
Sound the trumpets! Beat the drums!
Sports prepare! The laurel bring!
Songs of triumph to him sing!
See, the conqu'ring hero comes!
Sound the trumpets! Beat the drums!
I'll try to watch the video closely if I can this weekend. I listened once but have been too brain-fogged (still dealing with that a month after COVID) to follow it very well.
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@AndrewH
No worries, it'll keep. Get well.
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SharonC said
@RDP Good work on that--It takes time to develop strength in the 4th finger and flexibility in the hand to stretch it. I remember that once I got my 4th finger to go where it was supposed to, I started “overshooting” it because I thought I needed to feel that stretch more.
For measures 5 & 21—I’m guessing trying to reach the 4th finger and then coming back to the D on 3rd finger is giving you grief. It might be helpful to practice those 4 notes up and down, slowly, like half a scale. That is, go up B C D E then stop, then come back down E D C B. Also, practice going back & forth on the D & E (3rd & 4th finger) – D E D E D E. . . I wouldn’t do it for more than a few minutes each practice session.
In Suzuki Bk2, there are exercises on the page before Judas Maccabaeus that work the 4th finger (Ex 2b-Ex 4). I’d suggest you add a couple of them to you scale practice time to help strengthen it. Ex 3a-4 are good because they allow you to hear your 4th finger note followed by the open string matching note. Playing the D on the G string is probably the hardest.
Right now I'm cheating for A4 by looking at the fingerboard to be sure I'm placing it where it should be. I'm hoping that eventually I won't need to do that or rely on the tapes.
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