Practice Notes

Practiced an hour and a half. Light night.. Standard set minus etudes, 4th, etc.

Practice Notes (5 days summarized)

Was down in the county recovering from earaches, so I'm generalizing here. Have averaged a little over two hours each day, with the least yesterday (Tuesday)--about an hour and a half. I've been mastering the first six variations of etude o45. I have the Schubert's and Bach's Maria in memory, and am fine tuning the bowing. I have had Caccini's in memory, but haven't been focusing on it these past days because first, it is easy; and, next, I didn't have the music with me. Generally, my playing has reflected my physical state of mind. I spent several hours with Ms. McGuire while there, and she helped me with bowing some. We did the Maria's and she gave me some more pointers on general topics. Bach's and Schubert's continue on their path towards expressiveness. She helped me significantly on note attack and I began applying it immediately. She slowed the Maria's down to a speed that was almost too slow for me, though I think actually much closer to the speed with which they were intended to be played. I do not know who produced the midi that I have of Bach's but as noted before, it's very very fast.


Have started helping Ms. McGuire revamp either her's or Allen's violins with new strings and whatever. I gave her my beginning bow as hers needed rehaired and/or the tension assemblies need repair. One thing at at time.


Things are coming along pretty nicely, though I'm impatient as usual. It's like little small steps as a product of sheer effort at times, but when I get new approaches like that with the note attack in conjunction with focused bowing, I feel the progress.

Practice Notes (left hand update)

Played for 3 hours. All Suzuki. All Ave Marias. 6 etudes. 4th finger. Further explored Suzuki 2-3, 2-4, 2-5, worked a little on the little Mozart minuet. Did not work on 3rd position. I decided on a preleminary mean for (t) in Maria's Passions. T=92. The midi I have of Bach's version, I think is a little too fast anyway--I've played the piano part my entire life it seems, and I've heard the piece played in several different contexts, and it has never been as fast as the midi. I'm sure I like the Bach/Gounod version best, though Schubert's is more well known. The Gounod version has really hot crescendos, broader dynamics which makes the thing deeper, and as a combination of these it becomes overall more interesting as a result. I played all three probably 10 times yesterday, and they are coming along nicely, but I'm shooting for much better than nicely: interpretive, expressive, and instinctive.


I'm liking the more difficult etudes, because I can see where it will take my bowing, and the ones with the 8-note slurs stand fun on their own. I'm not sure how long I'm suppose to be working on each--there are purportedly 60 etudes, but each one has potentially 15 variations.

The 4th finger exercise seems to be working.

My left hand is becoming stronger, though I haven't been manually exercising it as much this past week. Giving it a rest from the squeeze balls is a good thing in my mind, to allow it to heal and strengthen. I want to get back on the exercises though, for the 115% I'm shooting for long run.

Theory1

staff
ledger lines
grand staff
note duration (4/4)(3/4)(6/8)(3/2)
rest duration
...above the line (1/2)
...below the line (whole)
...the quarter rest has not flags
...the 8th rest has one flag
...the 16th rest has two flags.
augmentation dots and tenuto ties
...dots add half of the value of the note
...ties extend notes length for written values.
Simple and Compound meter
...duple, triple, quadruple(2,3,4) beats per meter
...simple means each of above can be broken into two notes (simple duple for example).
...beats in compound meter can be broken down into three notes (6/8 = 1+1+1-- 1+1+1 compound duple) or (1+1--1+1--1+1 simple triple)
...Notice that each beat in 6/8 is a dotted quarter note. In fact, all compound meters will have some dotted note as its beat.
...Any time signature with a 6 on top is compound duple. Of the above time signatures, 6/8 and 6/4 are the most commonly used.
...9/8 time is classified as compound triple. (another example).
.........there are three beats (three dotted quarter notes), thus making the meter triple.
.........Any time signature with a 9 on top is compound triple. Although 9/8 is the most common; 9/2, 9/4, and 9/16 can also be used.
.........Finally, 12/8 time is classified as compound quadruple. (another example)
Odd Meter (An odd meter is a meter which contains both simple and compound beats.)
...The first odd meter that we will discuss is 5/8 time. It contains one simple beat and one compound.
...order of the compound or simple beat does not matter.
...(7/8's) has two simple beats and one compound beat--order not important.
...8/8 time contains two compound beats and one simple beat.
...10/8 time has two compound beats and two simple beats.
...11/8 time has three compound beats and one simple beat.
Steps and Accidentals
...half step is distance between any two adjacent notes or keys.
...whole = 2 halves.
...flats and sharps are called accidentals
...Whenever a certain pitch has multiple names, it is called enharmonic spelling. (e as f-flat, b-flat as a-sharp).
...there are also double flats and double sharps--the flats are two flat signs, the sharps is a little x looking character with tiny squares in four corners.
...the natural mark returns a key to it's natural value. When a song uses a sharp/flat beyond the song's key signature, that note stays that way until it is naturalized.
Scales
...major = wwhwwwh,--- this whole whole half.... is true of any major scale, and adds sharps and flats to our key signature e-flat maj=3 flats b-flat maj=2 flats and f major = 1 flat
...minor = whwwhww----same as majors (in piano it's more complicated because one must also have strict fingering in practicing these scales.)
...harmonic minor - to convert any natural minor scale into harmonic minor, raise the seventh note by a half step.
...melodic minor - to convert a natural minor scale into melodic minor, raise both the sixth and seventh notes by a half step.
............Most of the time, melodic minor is used only when ascending. When descending, composers prefer to use the natural minor scale.

Practice Notes

Practiced two hours. The Cacinni Ave is now officially in the mix--I played through it 6 or seven times. I played through the Bach Ave several times, and discovered from Christine the composer of the 4th Ave (Verdi) I've been looking for. Did all Suzuki plus some forward explorations, a few etudes, the 4th finger exercises, and very little if any freestyle. I also discovered that my approach to Bach, Caccini, and Shubert already exists in another form--as a collection--how cool. Maria's Passions, a creation of mine, will use recitative in music to create a conversation between certain layers of the three. I will be calling one crescendo from another for example, and descending patterned themes will be played around with in the same spirit.

Practice Notes

Played a little over two hours. Did all Suzuki, began working more seriously on the variations on the etudes, got three versions of Ave Maria going now (added Caccini's last night--played through it a little), explored Suzuki 2-3 through 2-10 or so playing around with 2-3, and the Boccerini a little. Worked a little with third position, discovering the relationship between finger numbers and the notes (from first position 0 becomes 1, 1 becomes 2 and so forth in 3rd position). Played some of Suzuki 1 in third position, at a couple points fairly well.


I don't think I'll need all those copies of etude 1. I'm finding that once I focus on what the bowing pattern is suppose to be it flows 'fairly' well. Started playing the etudes on guitar--sheesh!

Practice Notes (weekend summarized)

Had a pretty intensitve weekend. Average = 2 hours each day. Pretty much finished memorizing Schubert: Ave Maria, and played most of the way through Bach's. Accompanied my other coach on Bach's, up to the point that I've learned it(almost all). Either tinkered or played with the first seven variations of Wohlfahrts etudes, doing pretty well. Learned most of a small Mozart minuet, and should finish both this, and Bach's Ave Maria up this week. Caccini's is next. I found the Bach version especially nice, and as mentioned earlier fairly easy--my treatment and level considered.


I also played around with the 4th finger exercises some. And when I do some of the earlier Suzuki 1 in warmup have begun extending the bow tip to tip. I worked through this tip to tip as well on Bach's AM with my other coach--"save your bow!." I hope this will make me more stable on long slow pieces. I have found for whatever reason, I seem to have better bow control on more dynamic pieces like the Musette (2-2), and the Bach minuette (1-12--I think).


The name of the baby trill is a mordent. If there is a perpendicular line going through the middle of it, it is played one note below the note annotated. If there is no perpendicular line, the note is above the note annotated. The mordent is a Baroque flavored device that is most often used in keyboard music, but as in the case of at least one version of Schubert's Ave Maria, is also used on violin.

One potential use of the mordent is to simplify an accent, particularly when the music is very busy, but it is important to mention that the mordent also has a somewhat specific and unique effect upon the accent being formed--potentially.

Practice Notes

Practiced a little over two hours and fifteen minutes. Got the Schubert Ave Maria going in rhtythm and time, playing it almost ten times. I also explored the Bach version of the same, and realized it's going to be very easy because it's the version I've hummed in my mind for years. Got through the first variation on Wohlfhart etude, and got the hang of the second and third variations, spending some time on the second, and a little even on the third. With this burst of energy and focus, I also tackled a little Mozart Minuet, and got the gist of the thing. Worked through the tonalization exercises, and the 4th finger exercises my instructor came up with. Practiced a little Eric Clapton by ear, hitting one song in a couple keys, as well as octaves--it's gonna be smoooooth. Played all standard music from Suzuki 1 and first two in Suzuki 2. Also explored Suzuki 4, finding a very neat Bach movement for two violins, as well as a Vivaldi piece that if I can learn them, are going to be sizzling.


Got my music and things organized. Bought a couple extra quick rosins yesterday. I keep encountering extraneous songs to my studies that are becoming distracting. Everything from Corelli to the Eagles, I have to get and stay on task--I want that Vivaldi and Bach in Suzuki 4!!!!. One of the (I know me) only exceptions I'm going to make is as follows: The three (maybe 4) versions of Ave Maria, the Mozart minuet, Bach's "Bist Du Bei Mir", and a couple (see how I left room here to cheat) popular pieces (Clapton, Eagles, Beatles).... Sheesh!. God forbid I run into Wolfy's violin version of "Eine Kleine Nachtmusik ", or the song from Requiem I don't know the name of but keep picking out. STOP!!!!!!!!


Summa: Ptolemy

Historical Timeline

9th -10th c. Central Asia, then possibly several places independently on several continents.

Middle Ages: The French six string fiddle

1520-1550 Violin evolves from the viola da braccio family of instruments in Italy. Some notable families: Cremonese Luthier Andrea Amati(1500-1576) in 1542. Qualities are combined.


Cremonese School
(1596-1684)Nicola Amati
(1626-1698)Andrea Guarnieri
(1644-1737)Antonio Stradivari


Brescian School
(1540-1609)Gasparo da Salo
(1580-1632)AGiovanni Paolo Maggini


Other Schools (Note that the violin was a phenomona in Italy)
(1698-1744)Giuseppe Guarnieri (Niccolo Paganini's (1782-1840) Luthier).
(1621-1683)Jacob Stainer (JS Bach's Luthier).
(1628-1672)Nicholas Medart (Frances main Luthier)
(1678-1740) Barak Norman(England)
(1720-1781)Joseph and Daniel Stadlmann(Vienna)


Modern Violins

The French revolution's upheavals caused larger audience and larger halls around 1800, leading to a further refinement in the instrument focusing on volume, strength, and thicker bows. Italian violin making disappears in deference to mass production (such as it was).

Modern Bows

The modern bow was developed within the space of a few decades, the main credit going to French bow maker Francois Tourte(1747-1835).

Modern Chin Rest
Louis Spohr(1784-1859) German virtuoso creates chin rest, really because of sliding movements of the left hand.

Lesson Night

Told instructor I have found an additional coach for bowing and though I said vibrato, my additional coach is mainly for bowing and noting. She wasn't too happy in that she mistook my move as minor betrayal, but we talked about it and she understood that my coach is an 82 year old very accomplished graduate from the Conservatory at Cincinnati. Of course there was some intrigue in my choice, because I 'am' frustrated in not being able to learn vibrato early on. And, yes I do realize that tonalization is critical to making not only vibrato but also various forms of pizzicato effective, also including martel bowing, shifts, and other techniques. Nonetheless, my first goal has always been to first, be a good general violinist. My second goal has always been to move through a series of basic concepts as quickly as possible in that I 'do not' intend on investing thousands and thousands of dollars in lessons--I just wanted a quick start overall. And while I am trying very hard to be patient in deference to my instructor's obvious excellence, I also have my path to consider; and, even where naive, the foundations incorporated in the notion of 'quick start' stand on thier own.


Anyway, we touched on various topics. We spoke about the wonderful effectiveness of the 4th finger exercises she created for me. We broke apart the bowing for specific slurs in Schubert's Ave Maria; and, I further increased this notation after I got home and started thinking about it more. We talked about specific variations in Wolhfhart's etudes, she clarifying the patterns in two of the variations. She helped me further intrepret the notation related to what I'm calling a 'baby-trill'; and, she also hammered me for notes I'm still messing up on the Farmer's piece.

I am consistently getting through Schubert's Ave Maria now and further committing it to memory--almost complete-- so I can either begin work on Bach's or Caccini's version (either in that I intend to to both).


Recommendations: Run scales, do a zen on each note in each scale. Visualize any existing trauma leaving left hand, and back it up with heat and exercise, and pretty girls smellin roses. Visualize the path to 105%, then 110%.

Insights: Often, if it's songs I really like, I find that my tonalization and note accuracy are fine. With violin, there's 'always' room for improvement, however given my newness it's not as bad as it seems when I'm in class.

Practice Notes

Practiced an hour and a half. It was just so-so as I was preoccupied with other things. Nonetheless, practice went pretty well. The Wohlfahrt etude is coming along nicely. I'm getting through Schubert's Ave Maria more consistently and will start putting it in memory.

Practice Notes

Played for two hours. Did everything, many things two or three times. Worked the fourth finger exercises, and have a feeling they are going to help in many ways. Focused a little more intently on bowing in general in terms of pressure, extending the actual bowing length, and so forth. Played around with the Wohlfahrt with good results--not great yet, but good.

Sassmannshaus Levels information

Level 1
Sassmannshaus, Egon
Early Beginner, Books 1 & 2

Suzuki
Books 1 & 2

Schradieck
School of Violin Technique, Books 1 - 4

Sevcik
School of Bowing Technique, Op. 2

Sevcik
School of Violin Technique, Op. 1

Level 2
Sassmannshaus, Egon
Early Beginner, Books 3 & 4

Suzuki
Books 3 & 4

Schradieck
School of Violin Technique, Books 1 - 4

Sevcik
School of Bowing Technique, Op. 2

Sevcik
School of Violin Technique, Op. 1

Level 3
Suzuki
Books 5 & 6

Fischer
Basics

Kayser
36 Studies, Op. 20

Schradieck
School of Violin Technique, Books 1 - 4

Sevcik
Preparatory Trill Studies, Op. 7

Sevcik
School of Bowing Technique, Op. 2

Sevcik
School of Violin Technique, Op. 1

Sevcik
Shifting, Op. 8

Wohlfahrt
60 Studies, Op. 45

Level 4
Suzuki
Books 7 & 8

Fischer
Basics

Flesch
Scale System

Galamian
Contemporary Violin Technique

Kayser
36 Studies, Op. 20

Kreutzer
42 Studies

Sassmannshaus, Kurt
Virtuous Moments

Schradieck
School of Violin Technique, Books 1 - 4

Sevcik
Double Stops, Op. 9

Sevcik
Preparatory Trill Studies, Op. 7

Sevcik
School of Bowing Technique, Op. 2

Sevcik
School of Violin Technique, Op. 1

Sevcik
Shifting, Op. 8

Wohlfahrt
60 Studies, Op. 45

Level 5
Suzuki
Books 9 & 10

Fischer
Basics

Flesch
Scale System

Galamian
Contemporary Violin Technique

Kreutzer
42 Studies

Sassmannshaus, Kurt
Virtuous Moments

Schradieck
School of Violin Technique, Books 1 - 4

Sevcik
Double Stops, Op. 9

Sevcik
Preparatory Trill Studies, Op. 7

Sevcik
School of Bowing Technique, Op. 2

Sevcik
School of Violin Technique, Op. 1

Sevcik
Shifting, Op. 8

Level 6
Fischer
Basics

Flesch
Scale System

Galamian
Contemporary Violin Technique

Kreutzer
42 Studies

Sassmannshaus, Kurt
Virtuous Moments

Sevcik
Double Stops, Op. 9

Sevcik
Preparatory Trill Studies, Op. 7

Sevcik
School of Bowing Technique, Op. 2

Sevcik
School of Violin Technique, Op. 1

Sevcik
Shifting, Op. 8

Level 7
Dont
24 Caprices, Op. 35

Fiorillo
36 Caprices

Fischer
Basics

Flesch
Scale System

Galamian
Contemporary Violin Technique

Gavinies
24 Etudes

Kreutzer
42 Studies

Rode
24 Caprices

Sassmannshaus, Kurt
Virtuous Moments

Sevcik
Double Stops, Op. 9

Sevcik
Preparatory Trill Studies, Op. 7

Sevcik
School of Bowing Technique, Op. 2

Sevcik
School of Violin Technique, Op. 1

Sevcik
Shifting, Op. 8

Level 8
Dont
24 Caprices, Op. 35

Fiorillo
36 Caprices

Fischer
Basics

Flesch
Scale System

Galamian
Contemporary Violin Technique

Gavinies
24 Etudes

Kreutzer
42 Studies

Rode
24 Caprices

Sassmannshaus, Kurt
Virtuous Moments

Sevcik
Double Stops, Op. 9

Sevcik
Preparatory Trill Studies, Op. 7

Sevcik
School of Bowing Technique, Op. 2

Sevcik
School of Violin Technique, Op. 1

Sevcik
Shifting, Op. 8

Level 9
Fischer
Basics

Flesch
Scale System

Galamian
Contemporary Violin Technique

Paganini
24 Caprices, Op. 1

Sassmannshaus, Kurt
Virtuous Moments

Sevcik
Double Stops, Op. 9

Sevcik
Preparatory Trill Studies, Op. 7

Sevcik
School of Bowing Technique, Op. 2

Sevcik
School of Violin Technique, Op. 1

Sevcik
Shifting, Op. 8

Wieniawski
Ecole Moderne, Op.10

Wieniawski
Etudes Caprices, Op. 18

Level 10
Ernst
Six Polyphonic Etudes

Fischer
Basics

Flesch
Scale System

Galamian
Contemporary Violin Technique

Paganini
24 Caprices, Op. 1

Sassmannshaus, Kurt
Virtuous Moments

Sevcik
Double Stops, Op. 9

Sevcik
Preparatory Trill Studies, Op. 7

Sevcik
School of Bowing Technique, Op. 2

Sevcik
School of Violin Technique, Op. 1

Sevcik
Shifting, Op. 8

Wieniawski
Ecole Moderne, Op.10

Wieniawski
Etudes Caprices, Op. 18

Practice Notes (weekend summarized)

Whoa! Where do I begin. Took Friday off from work so started weekend schedule Thursday night. Averaged an hour and a half Thursday, Friday, and thirty minutes Sunday. Played probably three hours Saturday.


Did street music Saturday and raised fifty dollars for hurricane Katrina--it was a blast. Wearing a funky house coat, ugly straw hat, and a sign that sold songs for fifty cents, or no song for a dollar, we (my cousin and I) hammed it up with great effect--overall we raised 600.


Spent a couple hours Friday with Christine Carr McGuire, a teacher from the past. She helped me with some terminology, general understanding, and overall expectations. Ms. McGuire is a graduate from the Cincinnati Conservatory. While she suggested some patience with my desire to learn vibrato, she also suggested that it's ok to learn vibrato beginning with first position.

Ms. McGuire also suggested it may be time to start extending my bow length to where I started when I first purchased the violin, starting with open string patterns--no problem there--I love that type of bowing.

Didn't get home until nearly dark last night, so I only got about thirty minutes in. Overall, the weekend was good, with some progress in strength and confidence on the etude. I did work consistently on the the 4th finger exercises my instructor wrote for me, and feel that they will be effective--very effective I hope. Practiced site reading a little (there's a story there), and it went pretty well after I turned the music right side up!!. ;)

Lesson Night

We worked on the etude, some remedial 4th finger exercises for strength and dexterity. Next Monday, I'm suppose to check out another violin. Played a little on the etude, making the proclamation that I'm not letting the one little phrase that has become a stumbling block because of the injury/4th finger hold me back any longer--I'm already two pieces deep in volume 2 anyway; and, the problem child phrase is coming online albeit slowly.

Practice Notes (weekend summarized)

Only played about an hour and fifteen minutes (a little more) each night. Played all current material. Played through Ave Maria (Schubert's), and will be playing that with accompaniment very soon. Worked on tonalization, first two in Suzuki 2; and, worked some on the first Wohlfhart etude. Have been extremely busy getting the gardens wrapped up, working on relief projects for hurricane Katrina (working on adopting a family, who is also a family member), and arranging a yard sale for War's fall festival.

Practice Notes

Only practiced an hour and a half---was way too busy installing DSL, groceries, clothes etc... Had a fair night. Went further into Schubert's Ave Maria--I have a feeling this song is going to be God awful beatutiful when I'm through with it if nothing happens.


Got through the etude several times nicely. My hand continues to improve in little tiny steps that are almost too difficult to recognize at times. I started hitting what I will now call the problem rift in the Gavotte at speed with good results, however I'm shooting for consistency so time will tell.