Spring - Autumn Goals (strengths, weaknesses,directions)

Weaknesses: hmmm.
1. I don't understand bow pressure well, in expressiveness.
2. too many technical to list (sight-reading evolving, timing, etc.)
3. I move on too quickly once I've experienced a piece because of this music library brain of mine.
4. Though it's improved alot, I don't always follow Hilary's advice as well as I should/could--and I want that, to be my basic standard until I can further integrate it with 'my' ways of learning 'way' down the road.
5. Coaches's choice(s) Please be honest--uh, gently but clearly.

Strengths: I could talk about me all day ;)...
1. work ethic.
2. sensitivity to music, though it's only baby steps on violin at this point.
3. thinks in tones, sounds, and experimental expressivness rather than symbols, rests, and notes. (you will see if you stick with me that this can also be a good thing--don't grin, I know what you're thinking).
4. completely dedicated to my goals, both temporary, and long term.
5. I'm my parent's favorite child, my siblings favorite sibling, my friends favorite friend, and generally a general in life. (uh, yes--I ran out of things to say in 1-4---hmm, that's hard to believe).

Directions (also known as long term goals).
1. Suzuki 10 --and not looking back.
2. efficent sight reading--I'm not thwarting my ear for anyone. efficient meaning, getting the job done.
3. better timing interpretation--it's too broad a world out there (re:Moscow Sympony v. London) to get crazy with this at my age. While I fully realize that timing defines expressivness technically, I intend on meeting it in the middle somehow--I'm just now sure how.
4. To be able to play what I want to play--Light Bach, Lionel, standards,...--expressively and efficently.
5. In combining the above, within three years, I hope to have made my sight reading and timing a generalist ally in working towards #4, without overemphasizing either.

Spring-Autumn Goals:
1. continue working with centering, balancing, cleaning up left hand, light bow hold with effective pressure, and crystallizing these spatial mechanical concepts as a technique study of their own---master vibrato much better, particularly in anticipating notes to apply it to, and especially in moving from regular hold to vibrato hold...
2. at least go ahead and finish Suzuki 3 notewise, if not expressive wise.--pretty much on my own, unless there is something I'm 'truly' stuck on.
3. begin the painful process of clapping out rhythms on the side and basically on my own, but with counsel and general direction. I've done zero on this. To me flags just mean faster, and dots slower..... Seek direction in this.
4. Number 1 belongs to coach, though 2 and 3 need brief counsel and intercession.

January 24th

I've been posting at my progress blog: alsprogress.blogspot.com--every night. But I wanted to write a few words and thought this a better place to do that. Reviewing my last post here, the centering thing continues. My playing has improved, but I think maybe one is always getting there to some extent. More precisely, it is really things like migrating from cusped to vibrato hold than a center issue at this point that I need to work on. I feel more relaxed, and recently have been really focusing on that relaxed feeling, having gone through a Suzuki, Amelia, Hilary festival of late related to basic poster, flowing machines, both around a straight spine.

I'm now in Suzuki 3 officially, though I'll be polishing Suzuki 2 forever probably as my ability evolves--hopefully as my ability evolves. The Boccherini is '''awesome''' and I '''love'''it greatly. I haven't worked on my standards much lately, but did add Bach's BVW997-3 from classical guitar--it too is '''awesome''' and my first really major adaptation. I took it from 'b' to 'e' for the convenience and in respect to low 'g' on the violin. I want to be able to get to the lowest note possible, because it really resonates when one does so. I also have some pretty nice shifting going on in the Bach, though there is a couple neat challenges on lower 'd' that should benefit me overall.

I recently started a project to bring Montclaire String Quartet to Big Creek High School, and War Elementary. I hope everyone enjoys them as much as I do; and, at a minimum feel strongly that it will be very different and hopefully inspiring for the kids--a big kid included. I was honored to have the inspiration to make this happen, and hope all goes well. They will be here on March 15th as it stands. Mr. Courts and Mr. Tucker are handling alot of the logistics for me.

Musically, I have good days, and I have bad days. Though my lhand is growing strong, my age and aches and pains tempt me routinely. All I can say, is wrong devil babbbeeee!. That said, another dynamic of this is I work like not one but two Ninjas, and part of it is overuse. So, I started taking my mini-breaks very serious, and that seems to have helped.

My element list is pretty stable, only having to add one monthly now. Thank God!. But tonight I added trills; and, some more legato exercises. The legato exercises should already exist, but the trills are 'relatively' new. I can play trills already from piano; and, control them fairly well--I added them for strengthining my f3-f4.

I'm having little trouble staying motivated in the big picture, but sometimes I struggle with day to day burnout. I haven't really learned to handle that too well yet, but am seeking solutions. I sometimes switch things around time-wise and this helps some. For instance, instead of 3 minutes per element, I'll hit each one and a half minute twice; and, sometimes mix my music practice in the middle and so forth.

But again in the big picture, I love violin though being a personally shy person, I have a little baggage in being able to see myself down the road if I continue excelling as I have tried to do. I need to work on this, but have the psychological makeup to find solutions.

My initial post: an intoxicating poising holds true, and the thing literally repeatedly seduces me though I know plenty about intoxication from having survived the 70's. This passion is an aspect of the challenge just mentioned, so I'll be looking at it, 'from the mountain'.

Dec 13

I'm starting to feel and see balanced center. I know I felt it fleetingly when I first worked with it, but it's starting to feel more a part of me, because there were just a lot of parts of it I did not understand--still a couple. But in watching Oistrakh flow, and the violin tilt, I'm feeling what I'm working towards, and feel sometimes in my playing. Another important discovery, was getting the fingers around to run parallel with the string. I only recently heard that, and started doing it. The finger thing is still somewhat in Discovery mode.

Part of the reason I know it's evolving, is my spaw feels better, and I have increased if anything my practice. I jammed through Wohl45-2 and suprised even myself. I have it though messy up to around 160+bpm, and doing it fairly cleanly around 148-152.. And I've been doing this over and over. I start around 148. Relatedly, the W45-2 is kickin for G/D. And again, watchin Oistrakh is part of this
evolution.

And last night related to the center thing, I re-read some notes from Jeewon, Buri, I think Sue about getting around to G/D, and after all this time they actually started sinking in. So with all this said I need to refocus.

I need to sort of keep immersing myself in those notes. And I need to start putting my first 6 minutes towards very slow playing, maybe on Opens even, towards playing balanced and working on G/D reach. Again very slowly and methodically.

Some new directions

I use to love to jam on a bunch of music. Now by the time I get finished with my program, I'm pretty much through. I have so much tweaking to do, that I'm actually a little afraid to free style.
Also, I've started working on my southpaw and arm before I practice (hot wax and castor oil) and while I practice (massage). I have good feelings about this, and will report back. It's preventative maintenance, in that I feel pretty good--including Lf3-f4.....

I started working on my finger dropping more, now that I'm feeling my southpaw feeling stronger. And I picked up on the fact that my right elbow was bouncing too much in string crossings and started fixing that. I still need to envision what the scooping motion in bowing I was shown means--that's one thing that escaped me.

Life's good. Suzukis sounding 'alot' better. I'm still hammering out basics, but I can feel it a'happenin.

November 19, 2006

Alexandrian Lesson
Wow, I had my first Alexanderian type lesson yesterday. It was very cool though I was somewhat unfocused after finally getting to the lesson. The good thing is that I did understand basically, and started applying as well as I can those notions. For my benefit, I'm trying to list as much as possible here.

First, find the center line of your body, and play from there using rotation in the lower back as much as possible in general. Previously my back had been lurching, leaning, and then tensing. This alone I'm very much thinking will benefit me, because already this morning I started applying it and can feel 'some sort' of difference.

Higher and adjacent to this 1st center is a second center that is much smaller and associated with the bowing arm and string crossings that actually 'is' adjacent as a triangle in some ways with the basic center. Somewhat different from the triangle formed at the frog in the geometry of bowing, this center is even smaller and related to string crossings-I'm assuming at this point. Find those small increments when crossing strings that allows the rotation to flow into not only the string crossings but bowing in general as well.

Next, putting the weight on the left foot a little less than previously understood, seems to augment this playing from the rotation at the waste, and I think will give me a little better stamina when playing while standing.

Next, cradle the instrument properly with the shoulder not raised prominently, but slightly and forward also very slightly--and lightly. For lack of better words, gently cradle the jaw-line in the chin-rest as a part of the overall summary that follows.
Next and as also learned elsewhere somewhat, the left elbow really should 'flow' under the instrument as you cross, vibrate, and shift. It is not some pneumatic lift that adjusts in increments, but as gently as possible flows in anticipation of the motions that the music requires.

With the left hand, envision a line not from the top inner nuckle, but from the inner muscles in the palm, and as a lever that creates a continuing machine with the inside forarm muscles,

Balancing the instrument is a flowing of motions and machines that complement one's range of motion, even with the unnatural nature of the posture required for playing this instrument. Balancing is not so much a reaching, stretching, tensing, and executing. The challenge then is to adjust to the unnatural nature of playing, in the most natural flow of machines as possible, stepping outside the box if necessary in finding one's 'natural' range of motion.

November 9, 2006

violin
Just when I thought my funk had drowned me, the entire internet made me slow down. ;). The result has been amazing, and though still not perfect, my efficency has made literally leaps and bounds.

I ran a poll at Violin Masterclasses and discussed it at violinist dot com. Buri, Sue Belcher, Susan D, and Jeewon have been literally overwhelming my brain with advice not only on learning speed, but my nemesis (though I clean up the angst in that word before it bights me) vibrato. I think beyond reading Perlman's and Haun's advice on the matter of learning, that by asking so many questions I also made myself accountable somehow--there's something to that.


Also an old acquaintence from Charleston started contacting me at just the same time that I found another teacher. Interesting. Anyway, I begin lessons next week, and am so looking forward to it--especially now that I have a better feel of how to make progress, and hopefully nurture this progress.

I chose to change instructors for alot of reasons. First, my new one has phenomonal phenomonal control over vibrato--almost enough said if one reads my blog and follows me at violinist dot com and violin masterclasses. Second, a change of scenery was indicated based on general frustration, part of which I take full ownership of. And finally, as an undergraduate I learned the power in different perspectives. And that is all there was to this change.

I loved my old instructor, and as with other people who have helped me add the layers of life I value, will always be loyal to that memory. But at the same time and as an adult student, I learned that one should know where they are going and learn to be responsible for that. And that, is on me.

A few years from now I intend to write on adult learners, as well as extending Suzuki to the adult's perspective. Others are already approaching the Suzuki angle, but I've been exploring it for so long, feel as if I'm right there from the get-go.

My left hand is improving nicely, though now I'm free to play more, so then developed overuse issues,which I have also taken ownership and control of as well. But most importantly, my f2, f3, and f4 are feeling 'great' even if there is a little awkwardness in f3 remaining. But at the same time, my left hand has always been less developed than my right one. And, I'm noticing things on piano that having recovered my southpaw 'seem' to be showing improvement after years of leveling off. And that's cool.

Anyway, my vibrato--clean vibrato with all the elements is coming online on A/E strings, though the moving of the hand to vibrating position is still a challenge. On G/D there are problems, and my new teacher is aware of it.

I'm advancing through Mignon, and Lully in S2 nicely, and this slow down to learn thing--wow.... I've decided to go backwards a little, and do some cleaning up, now that I understand this better, though I'll be pushing forward towards Boccerini as I do so.

violin

Michale, Vitally's, and Helen's notes on staccato:
I've been taught that for the basic staccato and upbow staccato, thebow should not leave the string. It does have to come to a completeand sudden stop, though. Both techniques depend on the wrist andfinger motion. For basic staccato, there should be almost no arminvolvement at all, it should be a quick flick of the wrist,combined with a fair amount of weight on the bow. For upbowstaccato, it's a little more complicated.

Vitally:
Snapping the whip.Whipping action,Flicking the towel at the pool.Trying to help, you doing great Mike.Vitally.


Helen:
Hi Michael-
The bow is loaded with tension. It wants to bounce. The trick, then, is to learn to go with, exploit, or modulate the natural bounce.
Have you read Paul Rolland's THE TEACHING OF ACTION IN STRING PLAYING?
FWIW-
Helen Martin

violin

October 22
My left hand continues to be an issue, but I had intensive massage and treatment on it today and it feels better.

I finally got a direction on staccato---how embarassing--and am lettin my left hand rest one more day before getting back to work.

Following are some notes related to staccato and vibrato from a Suzuki Teacher over in Violinist online.

Hi,Al, I've been a Suzuki teacher for 35 years, and also have experience teaching adult novices. I have some sense that you may be trying to do too much too soon. The Suzuki staccato bowing, up until maybe Book 4, is typically a relatively heavy, short stroke on the string. After that,we lighten it and start getting it off the string by bowing with a feeling of very shallow "smile shapes" somewhere between the bow's center and the balance point. Ditto vibrato. Dr.S. wrote that players should commence vibrato only when their independently-achieved pitch was excellent. They should try making a vibrato sound, and between player and teacher, decide on which finger has best sound and best-looking technique. Vibrate that whenever it comes up, and don't worry about the other fingers for a while. A good teacher should be able to describe what's happening to pitch when we vibrate, and demo the several different kinds. There's enough other vibrato posts that I probably shouldn't review all that here. Luck! Sue

violin

October 18
I've been in a funk of late, still practicing but just not really focused as I'm use to be. I'm alot closer to finishing Suzuki II, and have continued an intense basics review. Things are still moving along, but I got stuck on trying to improve my staccato and it has been a little frustrating.

Autumn approaches

violin
Been back into the grind, adding 3rds and 6th double stops alternating fingers in G. I've been revisiting 3rd position, and things are ok. My left hand (this has become an epoch) continues to challenge me, but I win from day to day with a little effort, lots of exercise, and equal amounts of stretching.

My vibrato is coming along but not where I need it to be, and I've been playing songs that allow me to shift and use vibrato with my little finger. My instructor told me vibrato is easier in the higher ranges and it is.

The double stops are most humbling, and I think would be easier if I were not in mild pain. Yesterday though, was 'a little' better than the day before, and that better than the day before--but only slightly. I got some extra instruction from Violin Masterclass online that will be very useful. I love their site, and have contributed to the Starling Foundation because they brought a comprehensive set of skills to the public freely.

I started running other scales just to get in the habit and found this easier than I had previously guessed. I hope to get more intently into scales in the near future.

I also had a chance to check out three specific performances online and on TV that were cool. Two were on violin masterclasses online, and one was on the History channel. The two on violin masterclasses were "Caprice Basque" and a Schubert Duo. The one on History Channel was simply an example of clean clean form and bowing playing "Cannon in D" and "Air on the G String". The Caprice Basque was brilliant, in my mind. The lady violinist's pizzicato (l) while playing melody at the same time was awesome, and the overall piece was thrilling.

Until later.

Summer

violin

Been plugging along during the spring and summer, and now find myself in August. I played at a wedding for Ann Marie Spencer and Jason, and prepared two Ave Maria's, The Lord's Prayer, and bridges that connected the three and then completed the arrangement with a little more sophisticated version of the original bridge theme in the higher ranges.I ran across another left hand injury, this time in the form of what appears to be an inflamatory condition along the outside regions of my lower left thumb extending back to the wrist. No longer taking private lessons, I still have my coaches and Masterclasses online, along with some sense of direction from my early days with my instructor. I lobbied successfully for my instructor to at least introduce me to beginning notions and am proceeding with those elements in place. Now that the wedding is over, I anticipate reviewing basics intently, getting back into 3rd position exercises, and starting a much more formal approach to vibrato. I also will be listening to my coach hopefully, to start approching a more broad approach to method in the coming months as well. I was very pleased with the Ave's arrangement, though even though I put it together, found it challenging to bring alive--especially considering my beginners level with vibrato. I also anticipate that the bridges I wrote, and the ending, may prove to be a pretty stand-alone theme. This thematic approach has been with me sincer my earliest days on piano and guitar.

violin

violin
Been plugging along during the spring and summer, and now find myself in August. I played at a wedding for Ann Marie Spencer and Jason, and prepared two Ave Maria's, The Lord's Prayer, and bridges that connected the three and then completed the arrangement with a little more sophisticated version of the original bridge theme in the higher ranges.I ran across another left hand injury, this time in the form of what appears to be an inflamatory condition along the outside regions of my lower left thumb extending back to the wrist. No longer taking private lessons, I still have my coaches and Masterclasses online, along with some sense of direction from my early days with my instructor. I lobbied successfully for my instructor to at least introduce me to beginning notions and am proceeding with those elements in place. Now that the wedding is over, I anticipate reviewing basics intently, getting back into 3rd position exercises, and starting a much more formal approach to vibrato. I also will be listening to my coach hopefully, to start approching a more broad approach to method in the coming months as well. I was very pleased with the Ave's arrangement, though even though I put it together, found it challenging to bring alive--especially considering my beginners level with vibrato. I also anticipate that the bridges I wrote, and the ending, may prove to be a pretty stand-alone theme. This thematic approach has been with me sincer my earliest days on piano and guitar.

violin

violin
Been plugging along during the spring and summer, and now find myself in August. I played at a wedding for Ann Marie Spencer and Jason, and prepared two Ave Maria's, The Lord's Prayer, and bridges that connected the three and then completed the arrangement with a little more sophisticated version of the original bridge theme in the higher ranges.I ran across another left hand injury, this time in the form of what appears to be an inflamatory condition along the outside regions of my lower left thumb extending back to the wrist. No longer taking private lessons, I still have my coaches and Masterclasses online, along with some sense of direction from my early days with my instructor. I lobbied successfully for my instructor to at least introduce me to beginning notions and am proceeding with those elements in place. Now that the wedding is over, I anticipate reviewing basics intently, getting back into 3rd position exercises, and starting a much more formal approach to vibrato. I also will be listening to my coach hopefully, to start approching a more broad approach to method in the coming months as well. I was very pleased with the Ave's arrangement, though even though I put it together, found it challenging to bring alive--especially considering my beginners level with vibrato. I also anticipate that the bridges I wrote, and the ending, may prove to be a pretty stand-alone theme. This thematic approach has been with me sincer my earliest days on piano and guitar.

violin

violin
Been plugging along during the spring and summer, and now find myself in August. I played at a wedding for Ann Marie Spencer and Jason, and prepared two Ave Maria's, The Lord's Prayer, and bridges that connected the three and then completed the arrangement with a little more sophisticated version of the original bridge theme in the higher ranges.I ran across another left hand injury, this time in the form of what appears to be an inflamatory condition along the outside regions of my lower left thumb extending back to the wrist. No longer taking private lessons, I still have my coaches and Masterclasses online, along with some sense of direction from my early days with my instructor. I lobbied successfully for my instructor to at least introduce me to beginning notions and am proceeding with those elements in place. Now that the wedding is over, I anticipate reviewing basics intently, getting back into 3rd position exercises, and starting a much more formal approach to vibrato. I also will be listening to my coach hopefully, to start approching a more broad approach to method in the coming months as well. I was very pleased with the Ave's arrangement, though even though I put it together, found it challenging to bring alive--especially considering my beginners level with vibrato. I also anticipate that the bridges I wrote, and the ending, may prove to be a pretty stand-alone theme. This thematic approach has been with me sincer my earliest days on piano and guitar.

Monthly Update

I have been working intently on basic 3rd position, vibrato, and reviewing basic bowing theory and practice. I'm looking at a new violin, and will continue this process over the next couple months. I joined violinmasterclass online as a donor, and thoroughly enjoy, and respect, their resources. I found a compilation on CD a huge variety of accepted exercise, pedagogy, and other material I'm going to purchase(Kreutzer, Sevick, ...). Things are coming along pretty nicely. I'm more confident using the whole bow now, and many phrases are starting to sound complex yet silky....

violin

I cannot believe it's now going on two months since I posted! Sheesh. Anyway, actually it's is probably appropriate that I've neglected my blog so long, because most things are simply a little better in subtle ways, with very few revolutionary breakthroughs.

Since December, I did learn to program a midi keyboard to create my own accompaniments. I have the Rose (absolutely beautiful) going in two keys, Bachs Ave in two keys, Loch Lamond, and have started learning to mix. Playing the violin with accompaniment is so much nicer--and prettier--even if I say so myself.

Progress wise, my bowing is 'a little' more confident. I have begun using full bow now and it is becoming consistent. Previously I was using tapes on the bow as a reference point and parameter, but now have them removed.

Vibrato is 'a little' better and when I slow down and focus even pretty at times.

3rd position is 'somewhat' better, and I'm getting more confidence shifting etc.

Also, I've learned 'many' new songs, often in several keys such as the Beatles Yesterday (actually I've been fiddling with this one for awhile), When I Need You, Words, others. At the same time The Lord's Prayer is coming online nicely, as is Ave in the key of C versus the score's G rendition--both which have their moments of excellence. I like the C (Bach's by the way) version because down on the g and d string, the crescendos are especially powerful. I like the G version because when I hit the vibrato with competence, the crecendos are brilliant and cuttingly dynamic. The same applies to the versions of Schubert's version I have learned (G and C).

I maintain a love affair with this instrument that as I am very near my year anniversary, am not convinced, is a woman!.

Practice Notes

Average practice time 2:00.
Things have been going pretty well--I'm pleased with 3rd position, beginning vibrato, and overall bowing and have been focusing overall on each. I'm past the middle of Suzuki II, and have been learning a lot of Christmas music so I'm a little of schedule.

My bowing has been improving and in the arch at the end of the bow is becoming a lot smoother and more instinctive. I've found an improved place to practice with 'great' acoustics.

Practice Notes

Average P-Time: 2:30

Things have been coming along nicely. Other than currently being stuck on a variation of an etude, third position is coming along nicely, I'm progressing nicely in Suzuki, vibrato is getting a 'little' better, and I've of course learned a bunch of new music.

My instructor has been off for the past couple weeks for either sickeness or holidays, but I have been pushing forward. Now that I'm in the middle of Suzuki II, I finally have the Brahms Waltz in structure anyway, and have moved on the the Handel Bouree following it, as well as the next picece to some extent.

I'm still very much in love with violin, which speaks volumes.

Practice Notes

Catch Up:
Average Practice time: 2 hours plus.

Third position is going well, but still has a way to go. I've begun Suzuki 1-14, the next Minuet in third and it wasn't as bad as I thought it would be. My stamina is improving on the etudes, though when I try to do the basic pattern in third position it became 'very' clear why hand position is so important.

I also recently began discovering note pressure, and what was an unrecognized over compensation in my third finger, and correcting the same.

Vibrato, is basically just sitting there for the moment as I hammer on 3rd position and so forth. I did pick up a couple pointers beyond what my instructor has shown me related to the need for a relaxed hand when doing vibrato.

I put new strings on today, and was well pleased.

I'm up through the excellent Brahms Waltz now, and have it memorized. I'm working on the bowing and expressiveness at this point; and, discovered in the piece before it, the little Long Long Ago slur and stacatto exercise a lot of fun. (and hopefully technique?)

My general playing list is growing nicely. I've added Ms. McGuire's song, Ebb Tide in a couple keys, the Theme from Masterpiece Theater so far in three keys, and a little Neil Diamond after hearing a girl at work talk about it. I've also found that I'm going to have to find 'some' method of keeping my list better. I learn a piece and forget that I worked on it; and, sometimes I would like to master a piece and .... so the story goes.

IAP

I found myself overwhelmed by areas I need/want to practice every day. So as a good generalist here's my approach and current topic list. This post will be on going and added to as needed.

4th finger--10 minutes a day
3rd position- 30 minutes a day
etudes - 20 minutes a day
general playing - 30 minutes a day
new material 30 minutes a day.

Lesson Night

We hit a couple variations on the etudes, talked about shifting--which created the question for me that if I am to be practicing 3rd position, do I not have to practice shifting as well. We talked about alternating the bow direction on the G-string, clearing up a question I had formed because of lack of information. We didn't work on vibrato any, but I haven't done much on my own either, other than using the wrist I already am developing.

Practice Notes

Wow! It's been nearly 10 days since blogging!. I don't think this is what I had in mind in consolidating my blogging activity...

Anyway, I'm much more deeply into 3rd position, having watched my strength and agility improve though not where it needs to be, signficantly. For instance I was solidly 45 minutes on 3rd position exclusively last night, even pulling the Wohlfart into the mix.

Robbing Peter to pay Paul means here, that as a result of focusing on 3rd position, I've neglected the basic etude variations somewhat.

I began laying the formal foundations for vibrato, played with richochet, shifting, and have de-emphasized portamento for the moment. I haven't focused much on martele. Learned Ms. McGuire's theme (Fascination), and I'm always picking out music from piano, though I don't always remember them.

I have found that some music from other instruments is interesting on violin and some not. I was disappointed in "I Believe in You and Me" from the Four Tops and Whitney Houston. At the same time simple things like "Old Man River" from Porgy and Bess are very cool.

Practice Notes

Have been continuing in the same spirit as the last post... Averaging 2 hours. 3rd position coming along ok--went up through Suzuki 1-12 in 3rd last evening. I need to find me a place during the week where I can let loose on Martele, and more assertive bowing I'm use to on weekends.

Practice Notes (3rd position)

I was working with 3rd position up through Suzuki 1/10... I took a break and played "The Lord's Prayer" using the portemento, vibrato, and so forth when, I slid right into 3rd position with the vibrato in place on the high parts. ;) So very cool.


Did standard sets and so forth and so on. Worked with the Martele on etudes, and practiced them straight out, as well as trying with the stacatto. Used the 4 note slur patterns and extended the bowing a little.

I can't wait to tell Ms. McGuire about the 3rd position vibrato thing. Moreover, I can't wait to master it.

I started transferring my site-reading from 3rd position to 1st position in my mind to beging mastering the note names in 1st position. Dang mountain folk--gotta do it the hard way every time. ;)

Practice Notes

Over the past several days, including the weekend: Average practice time was 2 hours. I started applying portamento hinged to vibrato on each end of the effect to "The Lord's Prayer", which I learned last week (around Thursday). I discussed with Ms. McGuire the dynamics of shifting downard from 3rd to first, when the shift begins with 1st finger landing on 2nd finger. We got to the point in this respect of compromising on a 2-1 pattern. Though my main instructor continues to lead boldly, Ms. McGuire has been more than invaluable and I will love her forever for it.

Ms. McGuire has been a sounding board, a perspective builder, has helped me cut through some of the peripheral things, is a true musical giant, and has shared long meaningful informed conversations in areas of appreciation. She has furthered my quest to understand Mahler in subtle but distinctive ways, especially coupled with my instructor's explanation of some of the subtle technical contributions Mahler made to note and phrasing dynamics (think extensive, complex portamento). I also found sound clips of Mahler's 5th, and was surprised--it was nothing that I really expected. I found what I've heard of Mahler's 5th fresh, dynamic and shadowed with modernity yet retaining a distinctive classical flavor. My imagination told me that Mahler would be dark, long, boring--far from true. I had indexed my understanding of Mahler by reading the history of symphony, which in my memory simply focused on how one of his contributions was the long long movements he created. And, in that his work has not really been elevated to the greats in popular classical--or so it seems, I 'assumed' the worst. The exposure to themes from his 5th pleasantly corrected my error in thinking.


I started applying the martele to the etudes as requested. I also began playing up through number nine or ten in Suzuki 1 in third position. While still leaving alot to be desired, the 3rd position practice is evolving if not nicely yet, at least steadily--little steps of improvment in technique etc. I also at least to some extent, started focusing on reading the notes for every note in 3rd position. I mentioned to Ms. McGuire that it will be odd that I will be more technically astute notewise in 3rd than 1st. I think however, that there will be a reverse understanding in 1st that will evolve concerning notes and position in 1st.


I accompanied Ms. McGuire on "The Lord's Prayer" on piano. We tinkled around with doing "The Lord'sPrayer" in b-flat though only briefly.. Nonetheless, I experienced b-flat semantically. Ideally, a chromatic understanding transferring from piano to violin would occur.
After fiddling around with it in several keys, we finally discovered that I had learned it in Dmaj; and, I just realized that I will be able to do some octave jumping as a result.

Practice Notes

I've decided to start posting every few days, not because I don't like posting but because they become repetitive--unless I've had an epiphany-like moment.


During my last lesson my instructor tore me a new one over the etudes. That's what she's there for though. I've practiced a little on them this past week, but I need to get about them. I have the 8 and 4 notes slurs down now, and corrected the little f-natural issue. I still need to focus more on really drawing and pushing that bow to it's limit on the slurs. The other slurs mixed with stacatto are going to be challenging but not beyond my abilities. I'm looking forward to what they should do for my dynamics if I understand their purpose correctly.


Expressiveness is starting to improve as my left hand continues to strengthen very nicely. I'm still having a little problem with coordination but very thankful the strength is not only back but improved--I think.


I have the Ave's down now, although I still need the music for Cacinni's. I corrected the mordant on Schubert's version, and now have it initiated correctly on D--it's much more interesting as well. I started on The Lord's Prayer last night and it is beautiful--though tempered timbre-wise like the Aves. I'll learn it anyway because of the funky little phrases that actually, held me back from learning it by ear on piano.


Moon River is going to be awesome. I can get it cleanly in two octaves, and there are places where I can add accented string lines as transitions and so forth. I've added Air on the G String back to the mix, and almost have it down--again. I on the one hand wish I had stuck to my guns and kept it in the mix previously; however, my hand, 4th finger weakness, and lack of bow-length makes it really ok, that I had to get back to it. The bowing is smoothing out, and of course it's easier to learn this time around.

This past weekend I accompanied Ms. McGuire a little doing string lines and so forth. Though leaving much room to be desired, I jumped right in there and at least a few times things came together very nicely--until she started grand-standing with complex chord transitions--honary cuss!. I also played freestyle last night on some Erik Clapton, in the accompaniement context, some Al Green, and...... I'm finding I'm liking the accompaniement aspect of violin very much. I've 'always always always' loved harmony, more specifically 4 part harmony and above, so the accompaniement aspect of violin feels natural and free. This layer of my person makes me a good candidate for 2nd violin because I'm not obsessed with cadenza/solo moments as much as excellent excellent beautiful music.

With all that said, I do like pushing myself in being able to carry the melody and so forth and developing my dynamics for further work with Mozart, Celtic, maybe Russian, and definitely Bartok type of E. European colors. I threw down on a jig this past weekend, and hit it pretty darn nicely first time around.

Practice Notes (Catch Up)

The past week plus has been phenomonally busy in every way. Nonetheless, I've managed an average of an hour and forty-five minutes each day. I'm playing the Ave's comfortably by memory now, and they are even expressive at times. I'm continuing with the etudes; and, have added some popular songs (Moon River etc., ) into he mix. Moon River is going to be awesome (two octaves--very strong treatment). Getting ready to move on in Suzuki II. I have to get back on the little Mozart minuet as I never finished memorizing it or mastering it.

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.

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

violin

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!