Welcome to our forum. A Message To Our New and Prospective Members . Check out our Forum Rules. Lets keep this forum an enjoyable place to visit.








Regulars

I know the challenge is to play for 35 days straight but if you have to skip, then you have to skip. Life gets in the way sometimes.
Take me for example. I didn't play over the weekend because I'm at a point where I'm seriously concentrating on my intonation and fingering but I finished working on Happy Farmer and wasn't going to keep playing that. Ugh, enough already!
Yet, when I played A Time For Us before practice today it was loads better than how it used to sound. So the practice and days off actually helped.

Regulars

Actually it's the other way around, I get to read what you post and then do some magical googlefu spell casting and learn stuff I didn't know. Sometimes I can contribute in small ways but for the most part I'm in learning mode.
It's also kind of refreshing to read about someone on the forum who is playing/practicing. Yes I know there are others who play/practice regularly but they don't post about it.

Regulars

This is something I wasn't aware of but have discovered. Right now I'm working on a Gavotte by Gossec (last piece in Suzuki Book 1). The beginning of the piece is almost all staccato. My bowing makes it sound worse than horrible and my intonation is way way off. I listened to the recording and couldn't get there with whatever method of bowing I tried. So I tried something different.
I don't know what the name of the bowing technique is, but it's the one where you bounce the bow on the strings for each note. I tried that for the staccato and it worked to give me good clear intonation. I did it for a few days and then started leaving the bow on the strings yesterday. Most of the time I had good intonation but then lost it again. I went back to bouncing the bow a few times then leaving it on the strings again.
What this showed me was that good bowing is part of good intonation. Which makes sense but until I actually experienced it, it was hard to believe it's true because up until now the focus in my lessons has been on learning all the different notations and how play them rather than how to play them well.

Regulars

Going back to earlier lessons can be rewarding. I'm having to revisit my staccato bowing technique because my staccato stinks worse than aged cheese. It is interesting that by going back to earlier bowing and bow hold lessons my overall intonation has sharpened. Mostly because of me practicing my Martele hand/finger movements a lot more in each practice session.
The intonation improvement also includes 3rd position (through C) on the E string but for some reason my 4th finger A string still sounds dull and muddy. I watched a video on something or other violin related and in the video was a nugget about ensuring that I'm using the very tip of the finger on A4. That helps but it's still dull sounding unless I bow spiccato. Then the violin rings, although it's short lived. Maybe a better Martele will eventually help in that regard. That and a better bow hold - there's some kind of relationship between how firmly I hold the bow and intonation but I'm not sure what. More firm and I get better volume, but worse intonation. Less firm and I get better intonation but it can be wispy in volume. I need to explore this more.
I also need to go back to working on rocking the bow silently across the strings. I've been skipping that because of my shakes but I really do need to get better control of my bow arm/hand. Some of the squeaks are unavoidable, but a lot of it is just poor technique and me taking the easy way out and blaming my tremors for it.
And, of course with every step forward there are multiple steps backward. Right now bow control means trying to not let the bow wander so far it hits my left hand fingers while playing. As my Martele improves that will change. I hope. I think I'm seeing something in Paganini spending years with his bow always in his hand - he was probably practicing his Martele constantly.
1 Guest(s)

