Lesson Night.

Played overall two hours. The Denti passed!. Worked on short strokes, regrouped, and created strategy for site reading exercises.

Supplementary Notes (Gavotte Slurs lessons learned)

I also learned while working with the little rift in Volume 1 Gavotte, that besides adjusting my bowing for the slurs, that the actual pressure I'm putting on the strings with my left hand is instructive. It really boils down to the left hand connected to the wrist, to the elbow and shoulder. This means possibly this challenge is some of remnants of the injury and the callous that formed on my left index outer joint as a result of over compensation. The callous is pretty much gone, the hand is stronger, and I'm approaching 95% days occasionally.

Practice Notes

A little over two hours, with the standard set, also focusing on tonalization some, Greensleeves, Ave Maria, Vivaldi's Spring, with less focus than yesterday on the etude--though I did it a few times. Intensified focus on basics earlier on. My general focus was about a seven out of ten, and I noticed it in my bowing before I corrected this. Ave Maria and Greensleeves are coming along very nicely; and, I was impressed with some of the little moves I was able to make on Greensleeves. The Denti is excellent. I hope my instructor isn't too critical.


I discovered on the little challenging rift on the Gavotte that if I add a little upstroke on the bow on the previous measure, that it helps me have better control of the slurs that follow.


I need to remember to print out Ave Maria so I can learn the official version, or rather the version I choose among several.

Practice Notes (Denti arrives)

Played well over three hours--lost track of time. Gave the new Frank Denti a grueling workout--I'm convinced. The resonance is there, the volume is there, and the price is right. Used the metronome a bunch--this metrononme thing is going to work. Played the Gavotte until I got sloppy, and quit. Played the etude three times in a row with no 'major' pain. Focused on bowing farily intently. Though in the words of another, "one never gets good at bowing", I am at least improving. Played the Musette almost up to speed. I still have a long way to go on it, even the Gavotte, but it sounded pretty good. The objective however, is not to hold my breath focus like heck and 'get through it'. The objective is to be able to play it at speed comfortably.


I contaced another instructor today to supplement my primary instructor, where I will focus exclusively on vibrato and double stops. I simply cannot wait much longer to focus on vibrato and will disuss this decision with my primary instructor. It's not so much the patience thing, as my tendency to cheat, creating more bad habits. Anyway, time will tell.


I didn't focus as much on tonalization a I did yesterday. I played through Greensleeves several times. Played like once, with Ave Maria.


Summa: The Denti-yes!

Practice Notes (Weekend Summary)

Two hours plus each Saturday and Sunday. Had real good sessions, with intensive focus on bowing, slowing down and working on tonalization. Played all music, including first two in volume two. Learned Greensleevs very quickly in two octaves. Worked a little (very litte) on Ave Maria, deciding which versions to go with--I think all of them. My hand is tired, but seems to be improving--used a lot of heat, and rests. I used the metrononme on the Gavotte, the second etude, and some more songs--I'm gonna like this metrononme. Before, way before, I never really mastered using the metrononme however now it's coming pretty quickly. Life for those who are truly alive is often a thousand hindsights!

Practice Notes (ASTA benchmarks)

Practiced for a little over two hours last night. Pretty good night overall. Began exploring circumstances that allow me to extend my focus, by exploring how long I can play before I start getting sloppy. Also went back and slowed the bow down on some basics, which worked out even nicer than I imagined. I hope to continue this intently. I had been working on my left hand for the past month plus, and still need to focus on that, but I want to work in some intensive remedial type bowing on the basics as I do so. I got through the etude farily nicely, with the help of some heat in between sets.


Left Hand: I recently noticed another advance in healing--there was a little clicking in one of the tendons that was damaged that has now gone away, surrounded by a general strenthening. So along with further healing, I still need to work on my slower approach to learning pieces for efficency's sake as well as restore/improve my confidence in my left hand.


As I write I'm listening to Suzuki Voluem 3. There is a little piece that though is a little too flowery for my guy thing level, that is going to be neat; and, the second theme is excellent.


Back to the points: Bowing:
The relationship between speed, pressure, form, and bow length is 'still' congealing--it's very frustrating; but, when I am having more consistent 'bring'm together' moments, the whole processs becomes a little more heartening. I have this feeling, that once I get better control both my instructor and I are going to be very pleased with my bowing--This is one of the areas I think I will be very good at for some reason--I'm not sure why. I think it has something to do with one's ability to imagine as well as manipulate not only images, but kinetic expressions (somewhat like a dancer, or soccer player) in space.

I noticed last night that I got some kind of comfort by going back and working on bowing on the basics. Partly, I had played straight throught Suzuki volume one for so long, that when I changed course and started focusing mainly on what I was working on any given week, that in one way I changed my 'experience for lack of better words' of a practice session--kinda like someone cleaning their crusted coffee cup at the office or something. I noticed a fantastic revival in control and focus though--which supports the notion that when something becomes routine, maybe even a little frustrating, to back off for awhile.

Progress
I have decided to follow the guidelines for the American String Teacher's Association standards (ASTA) to judge my progress. Currently I'm right at the end of grade one, but will clarify every expectaion with my teacher.

Below are the general levels from ASTA:
The equivalencies between ASTA grades and Suzuki book numbers is approximately as follows:

Suzuki Book 1 corresponds to ASTA Grade 1,

Books 2 and 3 correspond to Grade 2,

Books 4 and 5 correspond to Grade 3,

Books 6 through 8 correspond to Grade 4, and

Books 9 and 10 correspond to Grade 5.

There are other criteria external focusing on theory and such--I'm very comfortable with theory though in that I taught myself some severel years ago related not only to Hannon, but also to the circle of chords, the math between the relationships in scales and chord families and so forth. I'm very much looking forward to playing Ode to Joy in the circle song I created for piano--this is where one plays the last note in the theme supported by a seventh chord, which steps the song up to the next key in the logical sequence--c7th leads F leads to b-flat (a-sharp) leads to e-flat (d-sharp) and so forth and so on. At one time I became very proficient doing this--more in a technical spirit rather than expression I think. I also explored though I can't remember a lot of the details now, the implications of starting a chord on a note other than it's prime, in terms of effect and treatment--I've worked some with this recently on Ave Maria in C.

VENT: I learned Ave Maria in C, with the exception of the last few measures because I simply never got around to finishing it; and, I think relinquished to the fact that it is simply difficult to convince myself that it is melodic on piano. (the Bach version). Anyway, I downloaded the PDF version from 8-notes, and some rascal has done it in G instead of C. I found the noting a little easier, and maybe the bowing, but that also means that I would have to transpose what I've learned on piano into G--I refuse--dang it!. So I'm going to transpose the violin part into C while it's early in the process. I'll learn it in G as well, because it's fairly easy; but, in C I find that I will be able to play with it in two octaves very easily whereas I'm not sure what the case will be in G.... I was jamming (very informally) right through the PDF last night....

Finally, my Frank Denti is in over at UPS, and I'm bouncing off the wall to compare it to the Frank Lees.

Practice Notes

Practiced for an hour and forty-five minutes. Had a pretty good evening. Did the etude several times, noticing that tuck has some sort of influence on tiredness--will explore further. Did the Gavotte many times, and finally got back to intonation exercises.


Practiced free style a little, working on Ave Maria etc.

Practice Notes

Practiced for an hour and a half. Played on the Frank Lees, and the old violin. Had a pretty good night--nothing phenomonal. Hit the etude2 against the wall, and discovered/ decided to go back and give all the basics in volume 1 a review using slowed down bowing--in lieu of last song in Volume 2--it's gonna take a lot of precision.

Got into heat therapy for the hand--it's been achy the past several days. Asprin--squeeze ball (nerf) this morning.

Practice Notes

violin
Practiced for two hours. Did things very slowly--or moderately slowly. Worked against the wall some, and worked on third position a little. Had a fair night. My Denti violin was suppose to have shipped today. I hope it's acceptable. Did a little free style.


A few weeks ago I pretty much stopped learning by ear so I could focus on technical stuff. I played a few of my songs, and applied slowed bowing with excellent results. Worked a little on Ave Maria.



I've noticed that the chinrest trends towards bad posture. I need to work on that. The chin's connected to the shoulder, to the left arm, to the left hand, to noting challenges--however, the rest itself was recently correct from convex to concave.

Lesson Night

Practiced one hour and a half, and had lesson. We started working more seriously on third position, note reading, and so forth. Played the Musette, and was slowed down again on the Gavotte. I began the note by note bowing focus on the Gavotte to help bring all of Suzuki one together.

Practice Notes (weekend summarized)

Practiced an about one hour and forty-five minutes Friday and Saturday night, barely at all last night (tired and heat--but I got my garlic planted). Intensified my approach to left hand neck against the wall exercises. Got through the Musett many times, played around exploring rest of volume two. Started doing the Etude against the wall;and, a couple times got most of the way through it with extensively relaxed hand.


Lisle Music is sending another (Denti) violin this week. I have to ship the other one back.

Injury Update

Sheesh--where do I begin...... When I first fell, my left 4th finger and the attaching joints were extremely painful and tender. I immediately began my own therapy, and it has now been over four months. Initially, I about addled my stomach with asprin and Ibuprofen. Today, I rarely if ever take either--this has been the case for the past month and a half at least.


Only with huge, tremendous, phenomonal, extreme, effort was I able to bring the bad-boy back on line successfully, though it is to some extent still ongoing. The remaining symptoms are a low grade pain, a small problem with coordination, and maybe some kinetic type things where one thing leads to another that I anticipate will either disappear over the next six months or have a lasting impact.


Another remaining challenge is a horizontal weakness between the third and fourth finger. This challenge's solution has come a long long way, but every once in awhile when I don't pay attention to how I pick something up, it feels like it just gives way. For this issue, I invented squeeze ball exercises between the fingers that have had a great impact. Initially, it was like some kind of sick torture. Now, I can actually make the smaller squeeze ball which is extremely firm, 'squeeze'.... While this week, I've been focusing exclusively on flexibility, over the next couple weeks, I'm going back into strength training for this issue.



The hand overall, and there is some irony in this, but the hand feels stronger than before. (sheesh--I've got a buff left hand). When I was a young person I had these exercises I use to do for coordination where one presses fingers on each and then both hands in rhytmic patterns. One of the first things I want to do either before or in conjunction with Hannon is to reconstitute these little exercises.

A few months ago, I also began Osteobiflex treatment, and there is something good happening, though very subtly, with my joints overall.

I now feel confident that at a minimum, that the injury will not hold me back in terms of being a good general player. Virtuoso? Well, that was probably a pipe- dream anyway???? I'm not instituting limitations, or negative attitudes, just reality. This is love babeee!

Practice Notes

Practice Time: Two Hours


I hammered the Musette (2-2), and got through the entire thing seven or eight times. I also was 'fairly' successful in teaching myself to slow down to the speed necessary, and to focus--almost every pass.... That's truly a good-thing. The Musette, is wondefully challenging for learning to divide the bow, so at this point is still a little slow and awkward, but I look forward to what this means in the long run.


I focused intently on the remaining Gavotte rift, using our agreed upon against the wall approach. It appears to be working, and I want to explore focusing on this technique hopefully to help my left hand regain it's confidence post injury--I'm still considering Hannon's Virtuoso Pianist for this.


I also hit the Minuette rift (dragging 4th finger) issues with some success.


Overall I stayed focused on remaining issues in Suzuki 1, the Etude, and the Musette. Played 2-1 a few times as well (I've been adding accents to 2-1 that hopefully will help me quit spazzing out because of not knowing, or using, vibrato). I also, started the listening part to 2-3, and played around with the first theme a little. It will be excellent in beginning to flex out my treatment, especially along with 2-2.... 2-4, is going to be cool as well, as it will take me into areas that I'm already very comfortable with in making songs step outside the box. And, I also listened to my first major goal in Suzuki 2--the Brahms Waltz (yes I'm blushing--it's all that--down boy down!).

Lesson Night

We tried out the new violin. Also, we worked on the bowing for the Musette. We agreed on a technique to tackle the rift in the Gavotte, and again addressed the pinging of one specific note in the Minuet.

Practice Notes (2 days)

Practice time: a little over two hours daily


I basically did the same things that I have been doing, adding a little to the Musette (2-2). I'm going to send the violin back to the shop as my instructor feels that I should be able to get a lot better quality for the price. I had heard the interference in the strings earlier, and she picked right up on it. "The pegs seemed not right". "For the price, the tailpiece should have been ebony". "The bridge is warped".


Of course I'm a little disappointed, but that's life--better now than later.

Practice Notes

Had a fair night--went right at two hours.


The second etude went pretty well. Was able to zen it out a little, with finger mechanics considered. It's not great yet, and my hand still gets tired, nonetheless....


Began by fooling around with early Suzuki a little. Then hammered on the Gavotte, until it got sloppy.

Also, did the Handel, and learned the first theme from the Mussette by Bach that follows. Also jumped ahead to 2-5, and worked a little on the Brahms waltz. Finally, I practiced the theme from Concerto in C by Rachmaninov, with surprisingly nice results.

I look forward to doing things with Concerto in C. Also, I don't know if I mentioned it, but I worked out the theme for the violin interpretation of Ave Maria in C on two octaves, that I have been working on on piano this past weekend.


I'm going to have to get brave and learn to get some of these notes down on paper. For example, it would be much nicer to have something to work with on paper in the event I ever get to play with the accompaniments I've been developing in my mind.

Practice Notes (weekend summarized)

Practiced between an hour and a half and two hours throughout the weekend. I had phenomonal amounts of work to do, so my focus and energy reflected this. Nonetheless, I was able to focus in on a specific rift in the Gavotte that continues to be a challenge. I also played the rest of the Suzuki pieces several times, and played the Handel a bunch. Rock'n Rolled on the etude Friday night, and began more seriously considering getting Hannon's Virtuoso Pianist to restore and maybe even improve confidence in my left hand. Either I over did it last week with the exercise and extended sessions, or something else is going on, as my hand is tired and the bad-boy joint is tender a little--but it's a different kind of thing than earlier when I was doing my own therapy. Bottom line: I'm focusing only on flexibility exercises this week rather than strength.

Practice Notes

Played two hours and fifteen minutes again. Would have played more, but my focus went awry so I cut it off when I started getting sloppy. Laura, from Lisle Music in Huston Texas said she normally doesn't go over two hours for about the same reasons, so I'm guessing I'm in pretty good company.


The, actually second etude--I forgot about the small one in Suzuki one, is coming along pretty good. Every day or so I discover a tiny bit more strength and clarity. Again I played it at a few different tempos. Played the Gavotte in the same contexts.


Practiced the Handel song quite a bit, and it's coming along nicely. I'm getting past that fourth finger to open E rift fairly quickly. Also played the last several from Suzuki One, and earlier I did all the basics.

I'm starting to notice the relationship between bow pressure, bowing speed, and bow tension just a little. When I say notice, I'm saying half-formed thoughts at this point. I'd really like to be around some gifted violin players and just watch their mechanics, kinetics, and so forth.

Anyway, it was a good but so-so session. I really really need to get back on third position.

Practice Notes

Practiced two hours and thirty minutes this evening. The etude, God love it's soul, is surving me and asserting it's usefulness. I successfully slowed it down, and played it at six or seven tempos. I had a little pain at first, but I had jumped right in there and as the evening progressed it went away-sore muscles versus injury type thing. The Gavotte came another step online as the smoothness and crispness of the rift that is holding me back improved some. A couple times I think the rift sounded almost nice even! Nontheless, it's not there, because there is a smooth brilliance that has to come with that rift that is becoming smooth--but not brilliant.


Played all the basics, doing Suzuki one through sixteen at lunch time.


The Handel Chorus is awesome!!!.. I made good progress with the little rift that is challenging, playing the entire thing five or six times. This type of song is what I've had in mind since the beginning, so it is especially welcome and timely.


SUMMA: God and Handel kick butt!

Practice Notes

violin
Practiced for two hours forty-five minutes right after work just to mix things up--plus--I had some energy...


Finally got the Etude slowed down, and got through it twice with no pain!!!!!!!! Worked my way through all basics, and made the observations, that I want to slow the Gavotte down for awhile. I HAVE to get the hang of the difference between learning the notes, and when to speed a piece up as it's causing way too much wasted effort--this playing the same phrase wrong over and over because I want to get it up to speed.


Speaking of speed, I now have everything except the Gavotte up to speed, and can play along with the piano parts on the CD. Nontheless, it's now getting to be not only up to speed I'm after but rich expressiveness... WHERE'S MY VIBRATO!!!!!!!!!!!!!!!!!!!!!!! I think it's criminal to make one listen to the amazing vibrato and not allow them to learn it as they go along..Yep, I'm venting again. One point is that once I start learning vibrato, there is going to be not a little but volumes of music to retrofit....


Worked through the first song in Volume two (Chorus from "Judas Maccabaeus", G.F. Handel). The piece is amazingly beautiful, and has some bowing that at least to me, is very beautiful as well. There are a couple phrases with slurs leading from a three quarters to an eighth note that are very nice to play; and, tease me with expressiveness. I got them first pass. There are a couple phrases I'm still learning, but have played through them. I'm certain that I'll be playing this song for a long long time if it's up to me.


Once again, I've played my hand tired.

I need to find out about cleaning the violin.

Minor Epiphany:
I mentioned earlier, that one of the things that I need to work on is slowing down. The notable part is grounded in the fact that the way I just grabbed the notes on piano and did my own thing, most often listening to the music for nuances, and then jumping into interpretation, makes it necessary for me to use the metronome, count the beats, and then slow it it's down for awhile on violin. While I've written in my book, 'slow down' several times, this is different in that it's actually a little odd that I honestly did not have the skills to slow down... I hope the metrononme will help--I think so, actually. I also am starting a progress note in my mind, to test my theory that learning to slow down will actually improve the efficency of my learning.

SUMMA: The etude--no pain--yes gain.

Practice Notes

violin
I practiced for two hours and fifteen minutes this evening. I was kind of all over the place, with extra rather than total emphasis on the Gavotte and etude.

I started using the online metronome I found more consistently, and think this will help.


Now that I can get through the etude note wise, I'm going to really slow that puppy down and start trying to approach the zen of it. I played it a couple times with the metronome, a couple without it just jamming through it, and it is still rather frustrating. I'm not sure if I'm making it more difficult or what, but time will tell.


I'd really like to progress to vibrato--where have I heard that before (grins). I get very frustrated. "The Anniversary Waltz, Scarborough Fair, Poor Way Faring Stranger, and on and on, are simpy nothing without it." Anyway, I know I have a lot of work to do on basics, note-names to positions etc.....

I downloaded a tuner to use while I am at home--very nice.

Practice Notes (weekend summarized)

violin
Saturday, was a strange day, where I played on and off all day. After playing many hours Friday night, I was really still half zoned out I think, and it seemed the more I played the worst it sounded.

Sunday, I didn't play at all. Went fishing with my dad, and chilled. I left the violin home, as we stayed over night, so that I couldn't even pick it up, on purpose.

The Song List

violin
Pathetique Slow movement--in D, if I were courageous I'd wait and do it in A-flat.
Air on the G string.
Some jig type things.
Some dynamic minuet type things.
Some things that would allow me to enhance expressiveness--teacher's choice.
All kinds of songs from the past:
Eagles, Simon and Garfunkle, Jesus Christ Superstar, funky songs that most people don't recognize like various Largos from movie themes and so forth. I'd like to be able to take songs as I reinterpret them, and simply play the melodies--a half-formed thought but I know where it's going.

Practice Notes

violin
Practiced about four hours yesterday and last night. Jeez, I'm exhausted this morning, and feel like I was drugged or something though I wasn't. Had an excellent time last night for about three hours, to the point of actually wobbling my way back to the house about one o'clock. The closest image I can think of because I have immersed myself in this culture academically, is an old school preacher staying up all night talking scriptures or singing hymns with the elders.

I like the new violin alot, but will reserve my enthusiasm until my instructor puts the instrument through the ropes, which I hope to do Wednesday. I also worked semantically on overall direction a little as I practiced, and decided to form some somewhat abstract goals:

I'd like to be able to progress technically classically, about three or four levels beyond being able to play bluegrass, blues, and jazz with solid proficency. I'd like to have a song list that gives my instructor general ideas about where to go with me. I know she knows I'm a mess ;), and feel like this will help her figure me out a little better. I'd like to have a basic set of skills developed that include the basics: vibrato, double stops, one or two positions beyond third at my instructor's discretion as they apply to my overall goals. Although this might change, I'd like that specific song list to somewhat define some of those outer parameters.

I had a pretty good technical night, with a few warm fuzzies. Now, if I had cheated on vibrato a little, which I'm not saying I did, I wouldn't say so, but if I did...

I started teaching myself the themes from the slow movement of the Pathetique sonata (Beethoven) by ear, and it's not only going to be unbelievably beautiful, but technically valuable. I played it in D, the key that I transposed it to when I was a kid, and actually got a good deal of it... (definitely one of those warm-fuzzy moments).

I also practiced all current patterns, and went back with some basics--remember it was three hours, in my evening session.

After I finish this post, I think I'll start what I will call my song list parametized construct.

Practice Notes

violin
Practiced a little over two hours last evening/night. Though I didn't find my metronome, I did find a cool one online, that with my speakers allows me to control the volume. Same progression as recently--gavotte, etude, incidentals. Started applying the even bow length to other minuets wth some success--evolving... The new violin arrived in Charleston last night. I'm looking forward to trying her out.
I decided to add Mel Bay's solos to the mix as I go into Suzuki volume 2 for instructors benefit as well--she likes the songs. Briefly looking at the table of contents, I feel I will too....


I've been working on overall direction and have been exploring the possibility of using the standard 'grade x' approach. I'll talk with my instructor about it, so besides using up through Suzuki 4, we will have a more organized plan as I figure out what to do long-term . It's not really clear what the grades mean, but I feel I need this structure, or some structure to judge my progress.

My instructor was practicing when I got to lesson Wednesday--my God!. She quit just as I got into good hearing distance, and I teased her that she should quit tantalizing me!!!!!. She's so good, not only with the violin, but with people.

While I'm a little high strung, I'm working on putting my direction etc., in my instructor's hands within the context of this discussion so far; and, as long as the flexibility exists for me to be able to allow my interpretive instinct to evolve. I've always had to be responsible for my own progress in these ways, so this will be new for me.

I saw some players on some Country Music Association show the other night, and it was awesome!. Along the same line, several months ago I got home from my lesson and WSAZ was broadcasting an "Eagles" concert. I jumped right in there and even had rifts from Desparado going along before the song finished--that was equally aweome! The point I think, is that as I learn to let my instructor take the helm in some ways, it has to be in the spirit that I really have become a musician, even if I didn't start out as an inherently musical person. And, there are literally hundreds and hundreds of songs I know, many many which are candidates to be retrofitted with either violin accompaniement, or interpretation.

Aside Note from Lesson Night Note last night.

violin
I practiced some after journaling last night, and tried to implement the notes at the bottom of the entry. I was 'very' pleased with what the even bow length did for the phrases in the Gavotte. And though I still have to think about it, the g to a correction was effortless. I was also successful in keeping the bow speed even crossing over strings in the slur--which helped a great deal. I feel like I made good progress, and look forward bringing this song into my repertoire. Of course I also cheated on vibrato a little as well. I had heard an extended note in a rift in the film series West Virginia that served as an excellent example of how long a vibrato may last, particularly in extended strains type phrases.

Lesson Night

violin
Practiced a little over an hour before class. Same as last night--Gavotte/Etude/incidentals.... The Gavotte is coming along nicely. I get a little embarrassed because, it's been a 'long' time since I've learned this much music, and even then did so more at a leisurely pace as I could versus what I'm experiencing now. To make a long story short, it's awesome. I think the embarrassing part though is that I know good and well that even though the violin is very challenging in terms of mechanics and kinesiology--a player in space with their instrument, the songs are way cool to me. The Gavotte, and a couple more pieces for me, really are challenging--but most importantly 'way dynamic.'

Lately I've been contemplating range, scale, scope, semantics, and where I would want to go with this. I'm certain I want to be able to accompany other music with the background string-strains. I also know for certain, I would want to be able to do Baroque type things, and maybe even chamber orchestra. And in that violin is the underestimated king of the orchestra these days, and in that I 'really' don't have that much experience being around the violin or even particularly noticing the violin other than in bits and pieces, I'm also discovering an intensely hot dynamic instrument that overwhelms my imaginings. So, as I began with an impulsive purchase of the instrument, not knowing it would completely dominate my love for it, I'm really at a loss along these lines. But, that's ok too. Like other things, I'm just getting it down in words, and will have to be patient. One option is to allow the violin to express itself through me, as I see the nature of the way God naturally unfolds through a person's life in universal terms(not a religious comment).

I've been tracking my new lady as she moved from Texas to Memphis since yesterday. I'm sure she will arrive in town sometime tomorrow for Friday delivery. I'm trying to refrain from getting over excited, because the sobering reality is that my instructor hasn't played the instrument yet and a great deal depends on her impressions.

--------------------------------

Stacatto: The three finger exercise--will have to review it again.


The Gavotte: Same amount of bow in first two measures, and similar measures throughout to achieve not only a clean stacatto, but also the accent phrasing.
Measure 4, note 1, is an A--I've been playing it wrong.( a 'g' instead of a--a wrong pattern translation from measure 1).
Part two, measure 1: Do not speed the bow up when doing the slur.
Work on a purist exercise--the one we created tonight--for Stacatto, using song 2. Keep the half notes as they are, and maybe even cantabile...

Practice Notes

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Duh!!!!. Finally clicked in what my instructor was showing me about how to approach rifts........ Oh well, I guess it's my nickel? Anyway, I completely reversed order as another approach to combat the tiredness in my left hand. Started with the etude, then gavotte, and didn't do a great deal with anything else, though I did play through the last pieces, and the adantino and allegro, but more as rest breaks than anything.


Along these lines, I need to have a few words with my instructor about some kinesiology and posture issues. Specifically, I discovered that when I lean into the G/D string a little, while maintaining elbow tuck, that the g-string repetitive notes in the etude, and some other phrases aren't as difficult. I also asserted my bowing the first couple times tonight, which while this isn't what I had in mind in terms of the zen-approach, worked pretty well. Related aside: I have to find my metronome!!!!!!


Anyway, I've been threatening to focus on form on every note for the longest time. I'm pleased that I began doing just that a little more tonight. I'm also very happy that I'll have a new violin (rental) arriving soon, and hope that along with a better bow, I get more results in 'all this effort'. Some days it reminds me of Homer Hickam in the movie "Rocket Boys", where he keeps getting slammed at football practice--over and over again. Then I'll have those days where I can actually tell a little improvement... Homer, 'you should've hung in there man', but a national Science Fair isn't shabby either....In fact, I think I would've preferred the Gold as well...


I have good feelings about how I have approached this time/tired-factor phenomena. Nonetheless--there are still rifts and 'treatments' in the Allegro that I still haven't corrected my original bad habits in completely. I'm not sure whether just to move on and note the lesson learned about learning staccato and detache in the first pass of songs--In popular terms, I dang well better because it doesn't get any easier.....

My hand is improving but still is only at about 85 approaching 90 percent--still that's a big jump from around 45%. My instructor, the lady who carries two big sticks to keep me in line, has been very patient and recently started realizing the seriousness of the injury I think. I hope some day to make her very proud for all her hard work--but, I have to be honest: the violin thing is all about the music--and me....

Practiced just over two hours tonight. I broke my sessions down in between cooking dinner; and, my final passes through the Gavotte--especially the first and second in the last session, were very nice.

This violin!

Left Hand Recap: Some Explanations.

Left Hand:
I came to feel that I was whining in reading my posts about my left hand, which is not the case. I'm just trying to create a forum that will allow me to judge my healing, express the angst, and hopefully in the next six months or so claim total victory!



just clarifying the environment.

Practice Notes

Practice Notes
Played for a little more than an hour and a half. Changed organization by going directly to the etude, then the Gavotte, then the other minuets, with a couple incidentals in between.


It was only a fair night. I had to slow everything back down again as my bowing got sloppy. I'm not sure to what degree this change of song arrangement played, but slowing down brought the roof back on the house.


Retrospectively, I poured the last three or four pieces into the mix pretty quickly about three weeks ago, so I also need to be more patient. Yet, I also need to keep things slow in general because while trial and error worked on piano very well, it is also true that it took literally years to become interpretive.


I had one fairly good run of the etude, and feel inclined to begin all sessions with a zen tactic--'all elements considered', slowly. My other passes tired my hand as usual, though they were 'a little better' than previously.



I began taking the Gavotte apart, phrase by phrase. This piece is extremely dynamic, and I will not be satisfied until I accomplish the following:

the first phrase that crosses over the A string to the accent notes is a core rift for now as well as in the future.

the resonating notes leading in to the 16ths are a study of their own as well, including the 16ths

I cannot imagine a better study in mastering the relationship between detache and stacatto, as well as pizzicato.

Practice Notes

Practice Notes

Friday night's practice was pretty good. I'm experiencing a problem with my left hand getting nearly sore tired before I get up to what I want to focus on--specifically the etude, etc.... And then when I start working on the etude, the pain intensifies. So, I'm going to have to find a strategy, that helps me work on basic bowing, basic Suzuki 1-12 or 13, and then a separate session for maybe one advanced Suzuki piece and the etude. I think part of the problem may be my practicing for often two hours straight, and not resting properly between songs. For instance I have begun to routinely play straight through the first 8 Suzuki pieces as one song.

Saturday night, I practiced for only 45 minutes as I was exhausted from the heat and work. Went to bed pretty early.

Sunday, Came home early, and practiced for about an hour. I had things that were competing for my attention, that 'had' to be done. I get antsy when I haven't had a really intense practice session for a few days. Hopefully, I'll get back on track quickly. I have done a little with third position, but not much or enough. The etude is competing for priority at the same time, so it may not be such a bad thing that I've neglected 3rd position. I need to better attach note names to string and finger in first position to begin with, so while I feel it's ok to practice the mechanics of 3rd, I'm hesitant to create more work for myself.


Third Position 'nuances'
I've noted that there is a difference in the timbre of notes not in first position. There seems to be some sort of muting that occurs.