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I don't have the sheet in front of me, so I'll just go by the general rule I use for learning a new piece. Start out with the hardest pieces of a new tune. This would help with the piece as a whole. There's no need to waste valuable practice time on things that go relatively smoothly. Put your focus into the difficult parts, then when the difficult parts become easier you should look more closely on the easier parts to honey up the edges.
For the writing out part, I wouldn't do it. Instead, I would just play through it slowly until it's well under the fingers. Maybe even memorized if that helps. Then turn up the tempo until it's about the right tempo in relation to the rest of the piece.
'Armed with theory, practice becomes meaningful. Through practice, theory becomes fulfilled.' - Egon von Neindorff.
I have just started Gavotte by JB Lully.
I am tempted to actually take those two measure, 22 and 23 and get out my staff paper and write it out in quarter notes. I can’t think to treat them as quarter when seeing eighth notes. My concern is that once I starting that, I will be creating a habit that I do not want to always be doing. But, I was thinking it might help be at least get the rhythm and fingering down. Then I can continue with measures 24-32 from the paper and maybe be able to do it with a little more confidence. But if it will cause an issue down the line, I don’t want to do that either. I don’t think I have improved it at all and I have been spending a lot of time on measures 22 and 23 the last two days.
@Mouse I am assuming this is cello, so I do not have much help for you there. I do not know the fingering, the clef, or much about the bowing to know what is your best plan of attack.
I can tell you in general, when I approach a new or challenging piece, I will typically first attempt to play it through in its entirety. That way I will know exactly where the stumbling blocks are. When I am working on the parts that give me the most problems I will play it extremely slow.. measure by measure. This will give me a mental and physical idea of what is actually going on. And invariably, when I break it down, the piece is usually not quite as complicated as I made it out to be in my head.
That's about the best advise I can give you. Take it very slow. I don't have any other tricks or secrets.
- Pete -