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My scales and arpeggios are getting better.
I've began to work in my intonation for past two days. I took about a one and one half week break because of random circumstances but I am back to practice only a bit rusty. In this video I'm playing scales with a few arpeggios. The difference is that now I am focusing on sharps and flats taking in regard to what kind of emotion I want to express. These music could be described as key changes because of how/when I choose to increase spacing between tones or take spacing away. Have a listen and tell me what you think.
In regards to my past videos of scales and arpeggios I was practicing in a linear/horizontal approach when it came to intonation. No flats, no sharps, just I knew "okay, D, A, E, and B are all right next to each other"...
This video is much more focused on sound / music quality rather than the later of technically land as many notes as I can without regard to precise intonation.
@Fiddlerman feedback please!!
Ok, now i need feedback on my new focus. (Slurs/Ties)
Hi @Jaques, I've not listened to every one of your videos, but from my beginner point of view you seem to have a sound enough technique and I can tell you love playing!
Your style of practising isn't the way I work - you seem to be constantly improvising what you play (which is fine if that's your style) while I tend to work on simple exercises that isolate a particular technique I am trying to improve. Maybe it would help you focus more on a particular technique if you found simpler lines to play? I don't see for example how you can improve intonation if you never play the same phrase twice as your fingers won't get trained in hitting the same spot every time. Same goes for other technical aspects of playing.
Just my thoughts.
PS: forgot to say, your bridge looks very high in your new set up. Have you checked the height of the strings at the end of the fingerboard?
Jim, as far as "lines"/phrasing go, I root my melodic approach on reoccurring arpeggio sequences and I simply fill in the gaps with random scales to bring dynamic to the music as the melodic timbre changes.
Fiddlerman, I left the orchestra I was in because practicing for their concerts took away far to much time for my own enjoyment of music. I didn't have enough time to fiddle, improvise, freestyle and was too focused on keeping up with the ensemble via sight reading/passage memorizing. It just didn't work for my approach of virtuosity.
I wonder - Have these 2 played and practiced these specific improvisations? If yes isn't it no longer an improvisation?
This young man is great!! https://www.facebook.com/video.....38;theater
Violinist start date - May 2013
Fiddler start date - May 2014
FIDDLE- Gift from a dear friend. A 1930-40 german copy, of a french copy of a Stradivarius. BOW - $50 carbon fiber. Strings - Dominants with E Pirastro Gold string.
what i discovered last night is that improvisation is considered free handing scores similar to composing, yet for a single instrument; perhaps?
In regards to the first video, it could be improvised or freestyled. I've personally performed with a guitarist before it is not very hard. we'd discuss the chords he would play and from their i would freestyle an arpeggio based on his chords.
The second video is as fiddlerman stated, a cover song. he is performing another musician/instrumentalists work although he may be "freestyling" he is also copying; thus, I would consider it neither original nor virtuous. However, I could make an exception to virtuosity if the cover was of a great musical work with very dynamic tempo, expression, color, timbre, phrasing, all of Those words of That library of This which Is music.
P.S. if he could do samething with a classical piece (Music composed for the violin) it would incredible. That, type of music he covered is based of of simpler wind and percussion instruments. if he was to say cover Eugene Ysaye that would be a different story and would be a whole new song in its own niche because of the endless room for freestyle in classical music. Harmony can keep the root of the song while an artist can freestyle a melody. the hard part is of course competency with the fiddle (multiple-stops) and remember how the song "goes" or sounds.
All of that is up for debate.
I've witnessed amazing things come out of a violin that doesn't make logical sense to my eyes yet makes logical sense in my ear. One should be able to glue two songs together into one piece without a problem.