Ping Pong Concentration

Whilst playing ping pong I find that I often play surprisingly bad. I invisage the 'shot', line up the action, but then when I hit the ball it goes in some random unexpected direction... I've found the reason why is because i try to play a game of 'adjustment' from intial thoughts rather than simply 'watching the ball'. I seem to lose focus. I seem to get bored of watching the ball. I seem to want to orchestrate the game rather than actually hit every ball properly.

Whilst playing the violin I find that I often play surprisingly bad. I invisage the melody, line up the action, but then when I hit the notes it goes in some random unexpected direction... I've found the reason why is because i try to play a game of adjustement from intial thoughts rather then simply 'listening to the current sound'. I seem to lose focus. I seem to get bored and observe the melody. I seem to want to orchestrate the music rather than actually play every single note.

The performers mind must first be a simple mind.

Either way, the golden rule, set down by michelangelo and bach...
Stop thinking. Start playing. Keep playing.

Double stop and a high thumb.

I find that double stops are much easier to handle with a strong 'high' thumb (LHand).

With the thumb high it forces the hand and fingers higher and closer over the strings. The fingers are less flexible but they retain their intonation whilst shifting much easier etc.

I would like to join the MCO

Dear...

It was nice to meet you at the concert on Saturday.

I spoke to you following the performance and agreed to send across a brief CV with my orchestral violin experience. Please consider the following...

2006 - 2009: London Charity Orchestra (1st Violin)
1999 - 2003: Sydney University Orchestra (1st Violin)
1998: A.Mus (Violin)
1998: Trinity College (London) Performers Certificate (Violin)
1996 - 1999: National Music Camp
1995 - 1998: Sydney Youth Orchestra (1st Violin)
1995 - 1997: Australian International Conservatorium of Music Young Artist Programme
1992 - 1998: Violin Tuition from Philippa Paige & David Saffir.
(Violin)

In addition to the above, on occasion, I have performed with the London Whitehall Orchestra, TOPS, Ku-ring-gai Philharmonic and Balmain Sinfonia.

Having recently returned to Sydney from London I would like to join the MCO. I believe the orchestra has a very bright future.

Please let me know if you require any further details. I Look forward to hearing from you soon.

Regards...

SYDNEY CALL-OUT FOR EX-CONS

http://www.usyd.edu.au/news/music/763.html?newscategoryid=158&newsstoryid=3906

Dear Scott Saunders,

Hello. I am contacting you in regards to the call out for "missing" musicians and teachers..

When i was a child I used to spend many years (1991 - 1998) in the young artist programme as an ambitious violinist. During that time I went onto complete...
- A.Mus.A (1998)
- Trinity college of London performers certificate.
- 8th grade piano.

In 1998 i enrolled in a double degree (science & music) bach. degree at Sydney university. I ended up leaving the music component because I had to care for my brothers mental illness. I graduated in 2003 with only a Computer Science Degree.

Since then I have been working as an IT professional.

To continue my musical passion I have spent the past few years performing with many orchestras in London. For the past 2 years I have been the chairperson of the London Charity Orchestra.

I now have hopes, at the age of 28, to rekindle my musical ability and have been working hard towards possibly doing my Bachelor of Music again.

I know that you are looking for pre1990 students, so this message may not be relevant but I thought I should send this message all the same.

Regards...

Drawing & Music

Drawing. Creating music. Recording music. Enjoying art. Enjoying music. What is the significance.

Drawing is by definition a process of documenting and recording.

Music isn't. Music is in general a real time enjoyment. Art is a pre recorded enjoyment. Music is more challenging.

What are the benefits of music given this additional challenging attribute?

Is there any significance to music being real time.

Perhaps I have been hoping that I could avoid the performance nature of music. Perhaps I have misunderstood this crucial element.

Although, I'm honestly not interested in being a performer. So what?!?

Also, us there sone significance to a drawing being a single not changing image. Quickly assessed. Music requires some patience and time to assess.

With art the subjectis visible. Illustrated. With musis the subject is effeminate and alive. ?

There is somethig more fundamental about this difference. Why do I find art so much less confrontational?

Is music more or less convenient?

tbc...

It's the music

Earlier today i was playing ping pong with some friends at work and I realised that playing harder and faster wasn't going to help me improve. I needed to slow my game down, lose a few points and an ego, let myself warm up and focus on my actions rather than my points.

Earlier today I was practicing guitar and I realised that the exercise I was working on was difficult. So I stepped back one in the book and tried to master that rather than continue to hit a wall with the current exercise.

Earlier today I was practicing piano and I realised that the exercise I was working on was difficult. So I stepped back one in the book and tried to master that rather than continue to hit a wall with the current exercise.

Just now I have been practicing the violin and wondering why I'm not up to the instrument like I might have been yesterday / previously. I thougth it was me. Instead I took the same approach and worked on something simpler. It paid dividends.

My point is: it's the musician, it's the music.

Playing music that is too difficult leads to no progress.
A technique that causes tension is invariable a technique that should be considered 'too advanced' and reattempted in days/weeks to come following the improvement of techniques that are progressive.

It's on the musician. It's the music.

It's not the body. It's the brain.

Playing suitable music is the best way to progress. Working on simpler techniques is the best way to progress.

..... days later.

My point is.
- For some reason I know my level with ping pong. I know when I am challenging someone who is too good for me at ping pong.
- For some reason I know my level with the guitar. I am keenly aware of my failures as a guitarist and can disect inabilities.
- For some reason I konw my level with the piano. I am not hanging from a cliff and fighting to climb. I accept that I am unskilled at some level.
- For some reason with the violin I am UNABLE TO correctly assess my level. For some reason I feel as though I am struggling.
- Most interestingly. I also immediately know what is beyond me with my drawing. I can accept my limitations with my art and yet share what I do achieve willingly. I take pride in my imperfect drawings.

I am in denial about my imperfections as a violinist. I am incapable of assessing my ability as a violinist.

The Music Library of Sweden

Another awesome online resource for sheet music.
http://www.muslib.se/ebibliotek/boije/

I've primarily used it for classical guitar music.

Another reference.
http://www.stormthecastle.com/classical_guitar/free-sheet-music-for-classical-guitar.htm

Violin Piano Guitar

This evening I did a few hours of violin, piano and guitar and it was all awesome.

I LOVE THE IDEA OF CHANGING INSTRUMENTS RATHER THAN continuing to try with one over and over. 3 hrs on 3 instruments is really quite fun.

Czerny, Wohlfahrt, Hanon, Sagreras, Kayser, Sevcik, Schradieck, Burgmeller, Fischer.

I can't imagine ever getting bored of all this. I can imagine exhausting myself with it all though.

I guess I should savour it all rather than try and get to the end of it and say 'i got to the end of it all'.

Too much music

Struggling to come to tersm with how to cope with all the following music I feel like I need to master in the next few hours.

Violin: See previous posts. A 10 yr project. Currently at Sevcik, Wohlfahrt, Schradieck, Kayser, Fischer, ...

Piano: Hanon, Czerny, Burgmuller, ...

Guitar: Sagreras, Barreiro, Carcassi, Carulli, Shearer, ...

Confused.

Physicality or Artistic Development?!?!?

http://en.wikipedia.org/wiki/The_Virtuoso_Pianist_in_60_Exercises

Getting back into the Piano

It's been over 10 yrs and i miss the simplicity of the piano..

Going to give Czerny, Burgmüller and Hanon and shot. etc...

Burgmuller's 25 Progressive Pieces, Op. 100
http://imslp.org/wiki/25_%C3%89tudes_Faciles,_Op.100_(Burgm%C3%BCller,_Friedrich)

CZERNY Practical Method for Beginners on the Pianoforte Op. 599
http://www.4shared.com/file/60191848/8dc141cd/CZERNY_Practical_Method_for_Beginners_on_the_Pianoforte_Op_599.html?s=1

Hanon's The Virtuoso Pianist
http://imslp.org/wiki/The_Virtuoso_Pianist_(Hanon,_Charles-Louis)


http://www.thefreelibrary.com/Burgmuller,+Czerny+and+Hanon:+32+Piano+Studies+Selected+for+Technique...-a087025861

Take your violin out for a jog

This morning I woke up and went for a jog. Why?

I went out for a jog to get my body moving. I didn't try too hard. I didn't achieve very much. But with persistence I will get fit. I didn't struggle too much or think about anything in particular. I enjoyed the cool breeze and fresh air.

This process of working though the complete gamit of etudes should be the same. I am playing this music not because it is, in essense, difficult. I am playing this music to get my body and mind in order.

This is a physical and intellectual violin work out. Nothing complicated. Nothing beyond the required.

Interestly. When I went jogging this morning all I focused on was maximising my potential. Analysing my paces and pressures. Reducing tension. Reducing impact. Optimisation. Relaxation.

..........

The sound of the violin lends to a loose free flowing mellow temporament. It helps to maintain a pragrammatic approach to the sound whilst running through daily exercises. The free/magic/creative end of the spectrum can be left unrehearsed and improvised. The beauty of music is not conjured but rather enjoyed.

Just play the notes and then move onto the next etude.

All this talk about 'understanding' and 'composition' is perhaps a bit of faff. Perhaps it isn't helping.

Been looking at guitar exercises by Sagreras recently and found I'm progressing. Interestingly most of them a basically scales. Most of them are intially not overly interesting. I presume as I get further through the books they will become more interesting.

When I practice the guitar I check if i can play the notes in tune and in control. If I can then I move onto the next study. I find that easy.

When I practice the violin I try to 'gain some sense of purpose' and 'unleash some hidden quality' from the instrument... Perhaps these etudes don't have such magic to offer. Perhaps they should just be played. Perhaps the magic comes from the accumulation of these basic studies. Perhaps I should stop trying to play something magical and get on with working through these studies.

The violin seems to have an airy nature which gets in the way of progressing with this studes.

[Note; in general I am playing violin studies that are more difficult and so I should also take a step back and work through them more methodically rather than analytically. Working on a study that brings together too much technique doesn't help]

Just like with the guitar. Just play the notes and then move onto the next etude. If there be magic, let it unfold unknowingly. If it's difficult perhaps take a step back and find an etude that works on an easier challenge.

Getting the notes down is the hard part. Capture the nature of the music is easy, the instrument does most of the work.

Don't get technique mixed up with musicality.

Working on musicality is exhausting. Working on technique can be less consuming.

Scales are not magic.

Comprehension

Perhaps the only thing the audience gathers is how well the performer understands the music. Intonation and technique pale in signficance.

Nothing helps technique more than listening

Interestingly. Spending some time at the start just listening to the character of the instrument before getting into studies help the body accept what is required.


Listening to the sound & comprehending the music is a shortcut to technique. Technique without listening to the character of the sound & comprehension of the music is inhibited and easily undermined.

Physical technique without musical comprehension & an ability to listen is meaningless.

Additionally. Playing with the metronome makes it difficult to listen to play with comprehension. I think the metronome should only be deployed when checking any hiccups. Primarily used after the music has been comprehended.

I find it helps to think about the following whilst playing...
"How would this sound if someone else wasy playing and I had never seen/heard/considered or known of the instruments existence until right now? What would I hear?"

I've been playing the violin for years without actually listening to the instrument?!

Bizarre. I'm actually able to practice the violin (study the music, analyse phsyical technique) without listening to the sound of the instrument or the melody of the music.

WHAT A SHAME.


When I read a book the words come together to create some meaning. Sometimes a book is full of ideas. Sometimes a book might make me cry and laugh.

Whe I read music it is series of detailed instructions. A diagram of movement. But, perhaps there is something beyond that?

A sheet of music is rather a collection of ideas with meaning that can make me laugh and cry.

What is the meaning of this passage? What is the context?

Reading music is like reading a book. The actual words off the page have a combined meaning. They do not stand on their own. They are not interesting whilst they are analysed as individuals or dealt with as challenges. They are simply another's thoughts to be considered.

More time listening, Less time Reading

I need to find some new method of reading music and then focusing my attention on the sound of the instrument rather than reading and processing what is required.

The answer: simpler music.

Perhaps starting the phsyical exercises isn't the best idea. Maybe I should start with a focus on enjoying the sound of the instrument, whatever it is.

Putting the fingers down should be simple right?

I think I gotta spend more time on simplifying my left hand.

MY RIGHT HAND / ARM SEEMS FINE.

I am struggling with putting my fingers down a relaxed and regular fashion. My techique could be improved on but it isn't completely out of order.

I think I need to spend more on the following 2 thought processes.
- Give the brain enough time to organise the melody.
- Give the brain enough time to put the finger down before the sound is required.

All this comes naturally on a new instrument. When I play the guitar this thought process happens automatically. I enjoy the melody of the guitar. WIth the violin I don't enjoy the melody. Withe the violin I am confused by it's unpredictable temporarment. The violin catches me off guard.

The violin is not a difficult instrument. Perhaps it requires more patience.

Like all forms of art, playing any musical instrument should be effortless. The challenge should be in the purpose and expression.

A simple question: why is it that my fingers sometimes go down in the wrong place and I don't rememdy that even though I KNOW THEY ARE IN THE WRONG PLACE. Why is it that I am caught off guard by my body. Very strange.

I am trying to play rather than enjoying the music.

Oh. so the final point was.

I NEED TO SPEND MORE TIME ASSOCIATING MY LEFT HAND ACTIVITY WITH THE QUINTICENTIAL TRAITS OF THE GVEN MELODY. RATHER THAN CONSTRUCTING FORMS AND ALGORITHMS that will help me comprehend what is required. The music is not mathematical. The music is a physical creation. A simple physical creation.

The processes of placing a finger on a string over the finger board should remain easy. A process to build on.

It's as though I can't draw a distrinction between the left hand fingers and the melody. Perhaps I need to some how enable the mind to associate the sound / intonation with the finger rather than create a recognisable phsyical formation. To feel the melody. To enjoy the melody. To play slower and hear what the violin actually offers. To enjoy the melody. to enjoy the melody. To enjoy the melody.

Somehow this is much easier on a new instrument. If I were to pick up a sitar and strum it I would be captured by its sound. With the violin I do the reverse and try my hardest to capture the sound.


************ I need to spend more time listening to the sound of the violin and less time reading music.

************ I need to spend more time listening to the sound of the violin and less time studying physical technique.

There is a beauty to the sound of the violin, a key to all technique however simple, that should be maintained at all times.

Why does my guitar sound better than my violin?

I woke up this morning and picked up my guitar. Started strumming random chords. Nothing special. Groovy spanish type stuff and what I realised was that I was incontrol of the sound much more so that with my violin.

THis is strange because I've been studying the violin for 25yrs and the guitar for 3 months. But, to be honest, I do believe that at times my guitar sounds better.

What does 'better' mean. Is it that I prefer the sound? Is it that it is easier to play? Is it the music I play on the given instrument?

All this made me once again reflect on Bach quote (see previous posts) but also to notice that the purpose of these instruments:
- guitar: more earthy and relaxing.
- violin: sorrowful and intimate.

To push against these common traits is to fight the instrument.

I think it is a great help to play many instruments. Sticking to one constantly makes it difficult to distinguish what it is suited to. Difficult to see its better qualities. Difficult to remain interested in its personality. Easier to take it for granted.

Anna Goldsworthy - Piano Lessons.

A new book?!

The little school of melody

Going to perform this!

Petite Ecole de la melodie, Op. 123 By Dancla.

http://imslp.org/wiki/Petite_%C3%89cole_de_la_M%C3%A9lodie,_Op.123_(Dancla,_Charles)

Skipping Diary Tension

I find that if I don't keep this diary between each exercise I built up a huge amount more tension.

GRRRR. I AM ALWAYS WANTING TO RUSH EVERYTHING.

I AM WANTING TO RUSH WARMING UP. WHERE THE FUCK AM I GOING. WHO AM I TRYING TO PROVE MYSELF TO???? FUCK OFF????

.... 25%

Playing on dominant strings is...
- Faster and louder 'attack'. Ubrupt starting sound.
- Larger range of frequency.
- Abrasive.

I think i'll drop out of this concert thing. It's just not really worth it. I'm not even doing a solo and it's exhausting.

I should play with friends for a while. Perhaps my new art friend who plays the piano will be keen.

.... 20%

As dominant strings are more ubrudpt and abrasive I find that they illustrate unskilled bowing more than obligato strings.

35%

I have no idea but since I've change my strings my playing is sounds really bad. Or, perhaps, with new strings I can hear how bad my playing actually sounds....

35%

I'm playing like crap at the moment. Why.
- Worried about a project at work.
- Worried about trying to buy a house.
- Worried about performing in a concert.
- Worried about a girl in London.
- Worried about money in London and the tragic exchange rate of recent.

GRRRRRRRR. Tired. Exhausted. Annoyed. Angry.

The flaws in a musician are reminders of their shortcuts. We all learning differently. Persistance. Passion.

Oh. Also. It might be possible that the way dominant strings vibrate is different to an obligato string. Meaning, the distance between fingers is slight different. That the automatic formation of the hand is slightly different....

In particular, i've found that the first 2 intervals on the dominants seem further from the scroll than they did on the obligato.

Obligato VS Dominant Strings

Been playing on a set of Obligato strings for the past few months.

I was finding that they were shifting around about with tuning so though I'd change the string to a set of dominants (i had dominants on there previous).

The change is quite dramatic. Much louder and more distinct. The lower registers boom out more and the up registers seem brighter. All the strings are more sensitive to one another and all vibrate harmonically much more.

Would I recommend either in particular no. Right now perhaps I perfer the Obligato. Perhaps that is just what I'm used to.

Change string, for today, has made me feel like I'm playing on someone else machine and I'm not exactly sure what to expect from its sound production. Quite perculiar. I hope these strings become second nature soon enough.

Sort of enjoying the different sound despite its challenging nature.

Changing strings will probably set me back a few days in some respects.

Mozart Piano Concerto No 10, K365

Love it!

An Ensemble Performance

I've been ask to take part in a 'friends' gathering and perform and a small concert hall.
- Hunting around for something easy to play.
- Considering a piano trio.

The interesting thing is. This will be the first performance I've done in more than 5 years and I am seriously nervous.

Perhaps I should just take it easy, prepare and do my best.

It's strange. Just hte idea makes me feel ill. Perhaps performing is not for me. Perhaps playing the violin is not for me?

If not to perform, then what is the point?!

Julio S. Sagreras Guitar Lessons

Having a look at some guitar lessons. It is interesting that it is difficult to understand what each string on the guitar is. I can't actually see a note and know where it occurs on the guitar.

I don't even know where the open strings are on the treble clef?!

I think when learning were the notes are it is all based on where the open strings are and then 'shifting' up or down frets etc... perhaps?

http://kewlshare.com/dl/9f946852c8da/Sagreras_Guitar_Lessons_1-6.zip.html

ALong with my violin study perhaps I can work through 15mins of guitar before each practice session. or perhaps at the end to unwind?

Secretly, i prefer the sound of the guitar?!?!?!

"Sagreras Las Primeras Lecciones is on a par with other great guitar methods like Carcassi, Giuliani, Sor, and Tarrega. In 100 years, people will still be using this wonderful little book. It's rare that something this good is this affordable."

Interestingly, just like with the violin; the initial focus is on the right hand and the way it excited the string, completely devoid of intonation.

Some further notes on studies for the guitar.
http://en.wikipedia.org/wiki/Classical_guitar_technique

Carcassi, Matteo: Studies Op 60
http://www.free-scores.com/download-sheet-music.php?pdf=729
http://imslp.org/wiki/Etudes,_Op.60_%28Carcassi,_Matteo%29

Fernando Sor Method...
http://www.muslib.se/ebibliotek/boije/pdf/Boije%201140.pdf

Subdivision of Maturity!

Beginners. A focus on each note.
Level1. A focus on every beat.
level2. A focus on every second beat.
....
Level8. A focus on every bar or every phrase. or many phrases. A mental focus of goal posts and rhythmic analysis.



One thing i've noticed: if I can't play a passage as a 'lvl1' (focus on each note) then i definately can't play a passage with a more complex focus.

Returning from a 1 hour break

so I've just ducked out for 2 hours to inspect a house. all great.

now i'm back and looking at the same study i feel as though i've completely lost ability.

usually i start with a collection of warm up exercises.
- fischer.
- sevcik.
- schradieck.
- wohlfahrt.
- kayser.
- ...

The strange thing is. If I get confident with anything in that collection and then return directly to it, without all the preceeding warmup, it's as though I've lost some ability.

WHY IS IT DIFFICULT TO RETURN TO A PARTICULAR STUDY?
WHY IS A WARM UP SO DISTINCTLY IMPORTANT?

It's as though if i warm up the particular skill for a given study i achieve nothing. I've i do a few scales it doesn't help. It's as though I need to do the entier work through of a collection of things.

Alternatively, perhaps it is a timing thing. Perhaps i simply need to be playing of 30 minutes, something simple and analytical, maybe that will do the job. Perhaps warming up requires more patience??!

Perhaps warming up requires.
- more time than expected.
- more breaks along the way to ensure no stress.
- a variety of exercises.

... this all sounds like a very impractical source of entertainment :(

It's as though all violin practice is a warm up which is simply lost in the wind within an hour.

Perhaps all violin playing *is* simply a warmup. Perhaps the warm up never ends?

How to perform or playin a concert without a warm up? Why is this all so precious?! I'm sure people play well without having had a warm up...?

IPhone Recording

I haven't been keep a diary of recent because the fischer dialog in 'basics' is interesting enough.

Really enjoying his bowing ideas. Major advancement I can see. Up to exercise 11 and I can see the ongoing approach is affective. An exercise a day...

When the music start to sound good or interesting I start to imagine others listening to it and it takes my attention away from the music.

It's as though when it gets good i worry and make it worse so i don't have to bother with it sounding good. It's as though I get lose in the music and then panic.

I've got my iphone recording performances within my practice.
- Is it good to listen to a bad recording of mine.
- Does it sounds good.
- It's strange to analyse my own violin playing. Does it sounds ok or horrific.
- Perhaps I should be listening recording from better artists rather than my own?
- I learn more from looking at other people drawings. I learn a lot from looking at my own drawings though.
- If someone else had done this recording what would I think.
- Perhaps who cares if someone else has a better recording. Perhaps I should go for what I want out of a recording. Imaginative. Personal. Enticing.

IPhone recordings for general practice get the point. The play back give the quality that is required to analyse the sound quality of the player / instrument, character and intonation.

Will do at least one recording for each session and then listen to them on the way into/out of work...

Basics

Absolutely marvelling at Fischer's Basics. Just going through each page one by one in the order they are given and finding it all incredibly informative.

At orchestra I started discussing some of the physical bowing exercises and found it was lots of fun. They seriously work.

Great physical stuff.

Watching the fingers

In addition to the 'read-close-play-pause' exercise it is interesting to watch the fingers instead of 'close eyes'.

It is interesting to read and imagine the music. Then watch the body struggle to find the notes. It is interesting that the tension in the fingers is so visibly notiable. Also, it is stricking how far the hand needs to move in order to handle evening shifting a single position??! In my minds eye I always thought the distance was much less>!?!!?

Is it possible that simply watching the position of the fingers helps with the intonation?! Theoretically that seems impossible but practically it helps a lot?!?

Either way, playing whilst *not* looking at the music makes a world of difference for engaging the mind.

Visually watching the fingers form the double stop obviously helps co-ordinate the arm, hand and bow.

Also, it's surprising to watch how little actual movement in the fingers is required. It's surprising how much action is added unnecessarily. It's strange to watch the fingers be careful.

No one can take this from me

Perhaps the additiude to sharing music with others is...

No one can ever take this magic and beauty from me. The story and wonder is mine to create and enjoy. Perhaps others can enjoy but they can take.

If I can't play [this] there is something seriously wrong with me!

With all the practice and work that goes into playing the violin I find myself often with the concern....

"If I can't play [this] there is something seriously wrong with me!"

The statement itself is becoming a concern. It's seems to be some form of pre-doubt?! Definately something worth shedding.

Which leaves the question. Why is it that even after practicing something a lot it is still relatively impossible to accurately replicate previously mastered passage? Why is it that the skill is fleeting? Why is the skill difficult to categorically retain? Why is my body beyond my control?

There is sometihng very backward about all this question. The key seems to be in the 'relaxing' and 'trying less'....

20%

PLAY MUSIC FOR ENJOYMENT YOU IDIOT!

Additions

Today I'm adding Fischers Basics and Schradieck Book 2 to my practice :)

5%

Read less play more. A good session but in a bit of a rush to get through my exercises

• fischer
• sevick p1 & p2
• schradieck 1 & 2
• Wohlfahrt
• Kayser

The Suzuki Method

All the suzuki books.

Start with a mute

I've found that starting a practice session with a mute help to adjust the ear. Especially to repeatitive large bowing exercises. It's as though both the violin and the ear need to 'warm' to the sound of the instrument.

in regards to 'pause playing'. it's surprisingly difficult to take control of the sound when learning the violin from such a young age.

Pause, Read, Close Eyes, Play, Pause, Read, ...

This cycle of practicing music involving; stop, read, close eyes, play and then again... enables the mind to comprehend what is intended, chose what to capture and decisively engage the body.

Reading whilst playing seems to by pass the mind. Reading whilst playing seems to bypass the enjoyment.

I've found this sort of practice also helps a lot with sight reading at orchestra rehearsals!

Play from memory

Play from memory and OWN the music.

Reading the music from the sheet doesn't give the brain enough time to imagine and create.

A great exercise is to stop, read ahead and play, then stop, read and play ahead. The iterations can be as short or as long as preferred. Don't read whilst playing.

To play from memory engages the mind and enables it to own and generate the sound. To read off the page is to bypass the brain and simply replicate the written notes without any enjoyment. This especially applies to intonation and schradieck studies. Simple analystical stuff.

Own more, play less.

Play without hate.

Play with love rather than hate. Conjure joy rather than frustration. Listening to my music is listening to my soul.

Play to bring joy.

5%

I think i've been playing the violin with hatred. I hated the violin as a child. I've been playing the violin as a form of passive aggression.

Playing with a mute helps to play without hate.

I play violin angrily because my mum forced me to play and because my father was a bastard.

Playing for Other

My time away with Clare was amazing. I hope we can make it work.

Playing for others has made me learn to enjoy 'my sound', because at the end of the day 'they' aren't ever going to really appreciate it as much as I do.

Practicing with others

It's a realy pain and rapid desire to play differently when others are around. it's as though i'm not allowed to enjoy myself with others. it's weird. sex is the same...

Clare is here. We had a great day together. I'm happy that she is here but right now she is annoying me. Weird!

Doing sevcik. 10%

Sevcik op1 pt1 no 5 was surprisingly brief in comparision to the previous?! 20%. Still very much distracted by what people are listening to and 'at what level' I am playing. WTF is the point?!?!?!?!?!?!?

Something interesting! it helps to simply stop the bow mid sentence and hold it to stop the sound and feel the body. To let the reverb run through the instrument and room a little. to listen rather than play. to relax and let the new sound begin. A constant stream can be a distraction.

Also. Clare mentioned "you're still playing the same study from 5 months ago." Not sure what that is supposed to mean. grrr.

Doing well. 25%

Music is relaxing?!

A bit nervous tonight. My 'friend' from London is about to arrive in Sydney?!?!?!

Music seems to be relaxing me and distracting me. Nice.

15%

The wohlfahrt requires an interest light nut action?! off to the airport in 10min 30%

Just realised. Looking ahead and the 'line' of the music is more about picking up the changes / unexpected movements in the line rather than picking up the line itself. The unique thing about the sky line is the unexpected angles. The unique thing about a drawing is the unexpected lines.

Perhaps following the line is easier if the focus is on the 'changes' rather than the 'overall trend'.

Energy

If I don't have enough energy to bother stretching, then I obviously don't have the energy to bother playing.

My yoga stretches are that simple or easy but they aren't all that difficult either. If i'm not up for that then i'm most likely not up for music making...

So. Today. Could I be bothered or would i prefer to sit still with my fat belly and just be entertained with abc iview...

undecided. Perhaps i'm avoiding all this because I'm bored with the music.

If I could do anything in the world right now, what would it be?
- sex.
- walk along a sunny beach.
- watch some sort of dance performance.
- not listen to music.
- maybe draw / paint.
- socialise.
- sleep.
- do nothing.

It's as though i actually want to sit and do nothing. bizarre. WHY WOULD I WANT TO DO NOTHING WHEN I CAN DO LOTS OF INTERESTING THINGS...?

What is boredom?

I'm tired. It's a shame that I work during the day.

Actually, I think i'm just being lazy. I'm not pushing myself. I'm being a fat slob. I sohuld get my act together and commit myself to my 'interests'. I should put in some energy and do my music. 1 hour a day, instead of television, is not too much to ask.

Yoga: 5%

Warmup and Tuning: Smiling whilst practicing not only physiologically shifts the mood it also helps with the muscles to steady the mandible across the chin rest. 5%

Sevcik Op2, Pt1, No. 4: It's amazing how i forget to enjoy playing the violin. I even forge to enjoy playing ping pong, when I compete with work friends. I can stop and enjoy the way the ball moves. I can stop and enjoy the way the instrument makes sound. I can enjoy this but I forget too?! 5%

Sevcik Op1, Pt1, No. 4: When the metronome is set at a tempo. For the initial sound don't worry about playing in time with the metronome. Sometimes, let the metronome go ahead. I'm tired of letting the metronome rush me. 20%.

Schradieck No. 4: Absolutely still stuck on getting this study up to speed. Still interested by the right arm technique. Trying with slower rhythms with more relaxation.

Wohlfahrt No. 27: Is all about upward leaping bows I think. 35%.

Kayser No. 4: If I get tired of a study I find it helps to go through the preceding study to give myself. Rather than to skip ahead.... 25%

A really enjoyable session. Loved the sound.

Beer

It's comes to me as a bit of a surprise that drinking beer actually inhibits my violin playing?!

Beer, in moderation, generally loses me up and improves similar sorts of motor skills.

Walking home from work today feeling extra dull about missing out on buying 32 Jarvie St Petersham today. This property hunting is getting really really really boring.

25%

A bit tired of running through these studies. in a mood. should rest. not really enyoing the sound of the violin right now.

45%

Perhaps I should just be playing something less difficult. Perhaps I should just carry on with my studies. I guess they sounds good, just not much soul. What do you play when you wanna play but it all sounds a bit crap?

50%

Don't be a slave to your instrument. Tell it what to do.

55%

Natural Breathe

Perhaps the natural breathe is so subconsious / sub phsyical and so perfect and advanced that it should not be either studied or excessively observed. Perhaps it is something that should be maintained at a natural level without any sort of concern or wareness. this is in contradiction to many of the meditation / yogic techniques mentioned previously. Perhaps the bodies natural breathe is beyond my brains capacity and should be respected rather than understood.

Why do I hold my breathe when I see a spider jump in front of me?!?!?! Why is my breathe affected by my violin playing?!?!?! There must be a natural requirement for this....

10%

Perhaps it's good to leave a study when it's 50% worked and return to it tomorrow, rather than try to finish a study in one sitting. 2 halfs across 2 sessions is better than 1 whole.


Surprisingly tired of playing the same old study. I guess I should go 'backwards' through previous studies rather than skip over the current one... grrr.

30%

At the moment it's helping to practice with the metronome approx 60% of the time.

40%

It's great to go on an exhaustive music rant at the end of an hour or 2 technical work. love it!

55%

Swimming - Breathing

Went swimming this afternoon and noticed something very interesting. It is quite natural to take a very short breath in and a very slow breath out. I had always presumed the in breath would be equal to the out breath, perhaps this is not so?!

Also. A forced breathe whilst swimming helps. Perhaps a forced breathe whilst playing isn't all that bad either. Perhaps there is some sort of balance that can be reached.

With the left arm warming up exercises (taking the hand from; around the scroll, up the fingerboard, over the bridge, down the tail piece, over to the right shoulder, down byside the waist, back up the to the scroll, ...) it's nice to turn it into a bit of a lose dance in time with my natural breathe.

15%

SVK no 4: needs a bit of tempo. slow is dull. BORING. BORING. BORING. BORING. BORING. BORING. BORING.

I very much dislike moving on from a study i'm not completely confident with because i'm bored of playing it :(

Sometimes its nice to just cut lose and practice by watching what the body natural does. sometimes I just want to shift for no reason. soemtimes i want to play loud and out of tune sometimes. sometimes i want to play soft and a strange rhythm. sometimes I want to play double stops. It's nice to let the body play out of tune and recognise that that is the reality and enjoy it rather than go for something unreal. it's nice to play without any tension or pressure in the body. it's nice to actually listen to the sound rather than create the sound. it's nice to be free in the music despite a metronome or intonation. it's nice to play with skill whilst being free. it's nice to dance whilst i play. it's nice to relax the body. It's nice to let the instrument create the music. It's nice to enjoy the feel of the instrument. it's nice to explore the limits of the sound without exploring the limits of the body. it's nice to let the technique work itself whilst enjoying the music and the body.

A few days off.

I've been practicing this week because i've been working late and socialising. one evening i met an ex girlfriend and we had sex (bad news, good fun). another evening i met a friend from work (girl) and we sorted of flirted whilst we enjoyed a lecture at the chavelle theatre paddington (bad news, good fun).

Now i'm picking up my instrument and these 'sort of' bad deeds are making me feel cautious about playing. It's been a while and i've been bad...

4%...

“It's easy to play any musical instrument: all you have to do is touch the right key at the right time and the instrument will play itself.” J.S. Bach

Sevcik Op 2. Part 1. No 3: perhaps it's better to do these exercises focusing on breathing and centring the body rather than the metronome. At least some of this sevcik stuff should be done without a metronome.

I'm finding it helps to not start or stop at the beginning of sevcik exercises but rather to pick up from where i left off. To stop when my bodies 'tension' increases mid bar and then leave a few 'post it Flags' to mark the spot / bowing / string.

Also, breaking down my practice interms of 'increase' tension. I stop when my tension level goes up.... 6%

SVK Op 1, Part1, No 4: not sure what the point of single and then 'pair of bars' is all about. A bit confusing, i guess that's the point :)

8%

Schradieck no 4: absolutely interesting half position fingers. not interested in stretching for notes.

10%

WHF no 25: all about keeping the fingers held down and relaxed. the fingers close to the string and not moving about. The bow as close to the next string as possible with minimal bow movement. How close to the D string can I play the A string only...?! etc.

20%

Kayser op 20 no 4: is causing me some grief. Tring to find a balance between shifting and stretching.

30%

Upper half of the bow?!

Sevick op2. part1. no. 1: the upper half of the bow seems in less control and creates more tension. Trying to play loud in the upper half of the bow creates tension.

10%

Sevcik op1. part no 4: woohoo. reached the end of it after a few week. grr.

15%


Schradieck BK 1: no 3, no4: very difficult. not sure how i'm going to be able to fit all those notes into a single bow :(

25%

Wohflhart op45 no25: let the bow stick to the string. start the strong notes with the bow 'on' the string.

35% mid right back.

Guitar Etude in A Major

||||||
||||||
||||||
||||||
||||1|
|||2||
||3|||
--xxxx

||||||
||||||
||||||
||||||
||||1|
||32||
--xxxx

||||||
||||||
||||||
||||||
||1|2|
|||3||
--xxxx

|||||1
|||2||
||||4|
--xxxx

|||1|2
||||||
-xxxxx

||||||
||123|
-xxxx|

Let the chips fall where they may...

Sevcik op2 pt1 no1: Let the fingers go down on the string at the most natural position. Don't try and get them in tune. Then... notice how far out of tune the notee is and use the arm to relocate the whole and and finger. If the finger ain't landing correctly there's a lot of tension involved in slide it (against the overall hand) into position.

10%...

Keeping a track of %tension helps. To stop when the overal tension is increasing rapidly or over 50% is a good way to keep a handle on it. Tense practicing enables no progress.

Sevcik op1 pt1 no3: watching the line of the music is much easier the looking at each individual note. Watching the line is easier to remember, too look ahead and organise in the mind. Watching the line of the music is like looking at a landscape or a city sky line. Easy recognisable and retrievable.

20%

Schradieck No 3: No idea how to get past Unable to speed up that study at all?!

35%

Wolhfhart op45 no 25: Surprisingly tiring and complex on the right arm. A lot of work to speed up to the right tempo.

Rather than playing for 10 / 15 minutes. To improve my ability to be self aware and then simply stop when my tension level goes up seems to be much more effective. At the moment I generally play on for about 10 / 15 minutes anyway.

30%

KAyser Op 20. No 4: no interested in stretching fingers. This study is all about half positions, shifting and interesting fingers for me. I wonder if shift the whole hand is faster than stretching an individual finger (in this case)?!

30% (mid right back - trapezoids etc...)

I generally sit on a tall stool when I practice.

Breathe bowing with a moan.

Whilst playing the violin it's hard to breath regularly. One way to help notice the breathe is to moan on the out. moaning with the breath whilst bowing in time with the breathe is extremely relaxing.

It is extremely difficult to play intime with my own breathe. It is difficult to find a natural regular breath that requires to no 'metering'.

If i were asleep now how would i be breathing??

Whilst I play violin I feel as though I'm breathing when I must rather than when I would normally.

From the scroll to the end pin.

A left hand exercise, before picking up the bow. To move the hand in playing position, with all 4 fingers touching with equal pressure, from the scroll, the peg box, neck, finger board, over the bridge, fine tuners, down the tail piece to the end pin... and then back again, in time with a natural breathe.

Toy with it like a child.

The breathe bowing exercise is a great way to warm up. It's surprisingly hard to bow in time with a natural breathing tempo. Is there a tempo to a natural breathe. When we sleep do we breathe in time?!

Today i'm not bothering with a 'stop watch on my iphone' to limit each exercise. Just keeping an eye on the clock and enjoying it.

Keeping tabs on my general level of tension seems to be extremely helpful as I play. keep a diary helps.

15%

Watching the line of the melody, even when it's not necessary (because the music is too slow) is still relaxing and opening. There is no need to watch each note and get tense about having each one correct. The line is important because intonation is 'relative'.

10% (doing 10 minute exercises today. shoulders a bit tense - possibly too much stretching / yoga)

A bit confused about moving on from a study that is causing problems but not really teaching much < that doesn't make any sense. practicing the violin is 'solving problems'.

30%.

It's funny how following the line is difficult to remember. It's funny how breathing comfortably is difficult to remember. It's as though I actually want to play like the best violinist of all time, all the time?!

25%.


Playing the violin is fun. Playing the emotional violin can be a bit unnerving and the sound can catch you off guard. I sometimes get lost and a bit afraid of the power / tenderness of the sound and that becomes another wall to climb over.
Perhaps a solution to that is to be very pragmatic about playing the violin. Perhaps mathematical and physical. Perhaps not to get caught up in the 'frilly' emotional context of the music. Perhaps to smile and delve into the music like a curious scientist. To smile cheekily like Perlman. To be above the music. To toy with it like a child.

35%.

A tension metre

I think it's a good idea to log the general feeling of tension in my body at the end of each practice. If my tension is above 50% then i should reduce the length of exercises (e.g 15min to 10min) until i feel no a reasonable amount of tension.

Perhaps the first 15minutes of warm practice is the only bit that actually makes a differences anyway...

Gotta make sure i set that metronome at the right tempo. too slow bores the mind and tires the body. too fast tires the body and bores the mind.

Difficult bowing exercises are really helped by stopping the bow before changing strings. The the silence in between the notes hold whilst letting the bow find the note.

Watching the line of the melody rather than the notes help with both reading ahead and relaxing the eyes / mind / body. Getting the line is more important than getting the notes.

Tension metre: 65%

Play music rather than play perfect.

Spoke to an old violin teacher as I began my practicing today. It's great.

With my bowing exercises I gotta start noticing the natural volumne if the different sections of the bow. The nut is actually surprisingly loud?!?!

I've finally worked out what the bowing in the sevcik studies in on about. Op2 Part1. When the metre changes a new (and in general simple) bowing applies. The list of combination bowings at the start only apply until a new notation appears with the words 'simile'... Yes, i'm slight stupid. Previously i've been applying all combinations to the every bar despite having different notes / rhythms.

It's really important to play through the Schradieck without stopping at mistakes but rather to set a slower tempo next time. The exercise isn't to get every note exact, the purpose is to let the exercise couch the body / mind into freedom.

15 minutes of WHF no. 24 is a bit tiring. As I didn't play yesterday I think I should make sessions go for 10 minutes rather than 15.

Playing the violin really does apply a huge amount of tension on the middle back and the trapezium muscles. especially on the right side. Definately overused my back tonight. Should've made sure i was balanced equally as I went along.

Breathe Bowing

breathe bowing
doing a physical techical exercise in time with my natural breathe is interesting.

it is extraordinarily difficult breathing in a pattern whilst playing. i guess when I sleep i breath in a rhythmic pattern, so why is it difficult. if ican do it sleeping i can do it awake right?

i've found, after each 15min session it's important to put the instrument down and do something else (e.g. write something like this) rather than take a few minutes to change the music and perhaps pause. to change the use of the brain for a minute or so. enough time to feel as though the instrument feels slightly foreign again, to learn something new about it's physicality.

rather than stretch the fingers into position, let the fingers fall out of tune and let the wrist / arm slide the finger into position. it loses up the muscles and begins to reduce the distance between fingerings through relaxation.

it's important to engage the analytical mind whilst play / practicing the violin...

the iphone is great as a metronome, stop watch / time keeper and tuner!? it's free and portable!?!

perhaps the schradieck should be practice as a whole rather than looping through each bar. I find hat setting a suitable tempo for the entire exercise / page and working through the whole thing helps. Then increase tempo until happy with the 'lesson'.

Shifting:
- don't fear the shift. drag it out and analyse the mental / physical tension and then drag out anything else that is of concern. slow it al down.
- don't stretch, shift fractions of a tone.
- shift when it's not necessary just to let the hand losen up.

i think it does help to play thing through at a given tempo.

it is surprising how bad i am at breathing whilst I practice. That 'dry back of the throat' feeling comes from not breathing and swallowing saliva properly. bizarre, i can do that whilst i'm sleep?!

the purpose isn't to perfect the study. the challenge isn't to resolve the difficult section. the purpose is the improve. chose a study, or a section of a study, that is going to teach the most whilst offer a few road blocks of frustration or boredom as possible. Play it from start to finish at a suitable tempo and notice how the body handles the journey.

Spank that cute little bottom

The point of WHF Op45. No. 2 is to teach the violinist how to lightly spank a cute little bottom with a soft circular wrist action.

How the heck (once again the mystery of sevcik op1, no1) to play Kayser no.4 without some form of left hand tension. Starting to play around with shifting and finger that might help although feels like extra work. Will see.

E.g. for a stretch between 2nd and 4th, simply shift up a semiton and use a 1st finger instead of the 2nd and keep the 4th finger as before. and then shift back. perhaps shifting is easier and faster than stretching a finger.

Stop Watch

It helps to set a stop watch for a given exercise so you don't have to worry about 'getting to a point of completion'. Just go for a certain amount of time.

It helps to trivialise the given exercise and focus on the body and the sound.

Yoga Warmup

My general yoga warm up and warm down is an imaginary performance of it's own. If I can't live my foot or bend my back correctly how the heck can i expect to play Kayser?!

- Surya Namaskar A
- Surya Namaskar B
- Dandasana
- Urdhva Dhanurasana
- Baddha Konasana

If i can do that. I can play the violin.

My paganini will sound however good my sevcik does

Rushing through sevcik doesn't get me anywhere. I gotta enjoy it all.

My bach will have as much passion and personality as my sevcik.

To imagine performing sevcik to an audience is to image performing paganini to an audience.

I gotta go to more concerts and imagine performing sevcik exercises more. It's inspiring.

Tonight I went to see a bunch of old uni mates perform. They are all basically enjoying the amateur world like me now. It's great. definately going to join their next social concert. hopefully start my own once I buy a house. exciting.

looking forward to some interesting chamber music :)

If something hurts, something's wrong.

Reading through Healthy String Playing.

A lot of people say, if you play through the pain you improve. I'm finding that doesn't help much.

Also, getting to a point where i'm not going to work through the sevcik 'stretching' exercises. If I can't reach it comfortably I'm simply going to have to shift my entire hand. I'm done with trying to stretch my fingers into shape. It's nature and structural easy nothing at all.

Fears:
- dropping the violin.
- dropping the bow.
- not being able to hold the instrument properly.

I've found that i get lost in studies physically. sometimes i get locked in a physical exercise my body can't command. I've found having a timer helps. Something that stops every 15 minutes and reminds me to move onto a new exercise.

This morning...
- 5min: yoga sun salutions.
- 15min: sevcik op 2.
- 15min: sevcik op 1.
- 15min: schradieck.
- 15min: wohlfahrt.
- 15min: kayser.
- 5min: yoga sun salutions.

Might do the same this afternoon. Should be able to get through my plan with this approach.

I think tennis is bad for a violinist. I think Ping Pong is great for a violinist.

How the heck do I remember to smile whilst I'm practicing?!

Crush and Edward Said

Went to this concert last night.
http://www.chronologyarts.net/concerts/concert/crush
- Paul Evernden
- Alex Pozniak
- Alex Hills
- Michael Finnissy
- George Benjamin
- Claudia Molitor
- Cyrus Meurant

Saw a fascinating 'yogic' phsyical performance in which the piano player jumped up on top of the piano and did a Virasana. Quesionable. Fascinating.

Reading a book of articles written by Edward Said. 'Music at the Limit'.

He makes an interesting comment about how music was once a place to experience new ideas. Now classical music seems to be a historic 'reproduction' exercise. A perfectionistic approach. An exercise in which comparison can occur.

Last night, I heard a few world premiers and found it a much more relaxed and meaningful experience.

Last night's concert was a musical experience far beyond the touristy music festivals that enable the 'consumption of the classics'.

Smiling Whilst Practicing

This is an important topic to explored further.
- Mental shift.
- Neck muscle shift.

Smiling Whilst Practicing

This is an important topic to explored further.
- Mental shift.
- Neck muscle shift.

Joachim's Rule Left Hand Positioning

In regards to the position of the left arm & hand...

The simple rule is this:
Place the tip of the forefinger perpendicularly upon the proper place on the string, and draw the base of the finger as near it as possible.

Interestingly I'm find the following.
- The above is hard to remember when reach with the other fingers.
- My 2nd and 4th finger a more bound to the position of my thumb than my 1st and 3rd finger. Perhaps this issue will be resolve if I can work on maintain the above rule.

Tuning

Today I got my instrument out and it was completely out of tune. Weird!

Still working on Sevcik 1.1.1 no idea. Working with the fingers hanging over with the 4th down helps but still a lot of tension. bizarre.
- fingers hanging over.
- 1st finger stretched back rather than elbow in...
- 2nd figner stretched backk rather than elbow in...

Perhaps the best position for the thumb should be defined by where it needs to be to support the 4th finger... with the first finger resting on its tip?!

Nerves: there's way too much going on to worrying about what others are thinking!

The first finger has a super extension backwards that the others don't need to be involved with?!?!?!??!? The first finger can go back a semitone without tension within the other fingers. It's shifts the pad of the finger to nearly it's 'side' but it works quick and smooth.

hehehe... once i get to the end of *every* etude i'm just going to start again anyway. Might as well just take my time.

Thumb High, First Finger Off

Vengerov and Perlman have illustrated that having the thumb high and the first finger sharply turned in or 'up' keeps the 4th finger in good proximity to the string. From here the elbow rolls the hand onto the correct string.

Heifetz..



Legendary Violinists...
http://www.thirteen.org/publicarts/violin/

Day Off Sick

Was ill with a flu all last week and still fight it so taken the day off work to recover. Didn't rest on the weekend.
- Didn't practice yesterday.
- Today feeling unco-ordinated.
- Initially working through the hold / bowing and elbows.

Good left hand technique requires well trimmed finger nails!?

Is playing sevcik, schradiek, ... with a metronome great or devastating?

An etude is finished when there is nothing more to be learnt from it.

WHF 0p 45 N0 17 is surprisingly difficult to keep light and interesting. The bow arm seems dull and the left hand seems strains. Not sure what is so difficult about these appreggios?!?! Working through it with a metronome doesn't seem to help. Playing around with differnet bowing patterns isn't overly useful. Perhaps this etude is simply boring?!.... There is something about the up-bow movement of the etude that is perculiar but not sure what. tbc...

I barely feel like playing the violin today. I barely feel like doing anything today.

Edward Said seems to be slightly pompous and too theoretical for my earthy natural body approach to sound. Politics is entertainment for the simple mind.

Feeling very distracted...

Feeling a bit distracted today as i do my warm up with out a bow touching all the strings in every position etc...

The argument is... Drawing is more enjoyable because there is no 'Performance'. In the P.E.L Triangle that is significant.

WELL. Interestingly. Perhaps there is more of a 'performance / achievement' with drawing than there is with music because....

THERE IS NO DOCUMENTATION WITH MUSIC. THE SOUND IS FLEETING. ONCE IS SPENT IT IS LOST FOR EVER. PERHAPS IT IS EASIER TO BE CRITICAL WITH A DRAWING THAN IT IS WITH SOUND WHICH IS GONE.

It's quite strange that I've gotta keep reminding myself to stop trying to play at full capacity. To stop 'trying'. WHAT AM I TRYING SO HARD FOR?

The mystery of sevcik op1 pt1 no. 1.

i can't get the third finger down without lifting the 2nd finger or creating tention.

found a solution by temporarily letting the first finger off and see ing the hand falls into place. then tucking the 1st back in watsn't difficult.

wfh op 45 no 9: realised the left elbow can be too far to the right and so difficult to reach on the e string with the 4th fingewr.

wfh op 45 no 8: don't worry about a technique that is not relevant to the etude. don't worry about all techniques. worry about the techniques that are required to create the desired sound. no more. a etude is not to serve any other purpose than itself. an etude is not preparation for another etude.

wfh op 45 no 6: practining fingering without bothimg with finger 1 frees everything up!

I'm starting to realise 2 things.
- Reading about playing the violin, like reading about drawing, is a waste of time. Like Michealangelo says "Quick, draw! Don't waste time!"
- Just like yoga is a exploration of the body with set goal or achievement, so too should violin study be. A exploration of the body with the purpose of expression. The music is created by the body, nothing else. The music is for the body, nothing else, no one else.


kayser op 20. no 2: as the bow moves across the 4 strings the left elbow rotates in perpendicular fashion (not literally). it seems as though it easier to move the elbow in accordance with the bow rather than the movement of the music. it's possible that the music goes 'downwards' whilst the fingers go onto a higher string?!?!?

It's great to find a new window into a world in which i can finger each note without using any tension. It's great to be using my left elbow and freeing up my shoulders.

On another topic. I like the sound of the bow bouncing on the string.

Enjoyed learning about Mikhail Lobko's ideas about 'picking up the violin' for the first time. Really helps the start of each practice session to play around on all strings with both hands empty (no bow).

Starting to see more about what Joachim was on about.

Definately gotta get back to enjoying my body rather than 'trying' or 'achieving'. It's not easy. It's take a concerted effort.

Today involve a run through of Sevcik, Schradieck, Wohlfahrt and Kayser. No scales (working on simpler stuff).

Kayser is a lot harder than Wohlfahrt!?

Surprisingly. This Sevcik 1,1,1 is easier in the G string because the elbow isn't in the way. Trying these exercises on different strings gives an insight in the role of the elbow!

TO play Sevcik op1 no1 without any tension in the left hand is an extra ordinary thing!

Left Hand Finger

Previously i thought it was a revelation to exploit Joachim's approach of retaining the fingers as vertical with a strict hold of the hand. ... (to keen the base of the index finger as close to the index finger tip as possible. makes sense but can cause tension).

All that seems in slight contradiction to the requirement that the hand retain no tension at all?!

Most importantly. How to have the 4th finger land vertically on the string withing using the thumb to pull in the erect palm?!

Perhaps I need to go back into play through basic exercises. HOW DO I PUT MY FINGERS DOWN VERTICALLY WITHOUT TENSION?!

Should the hand touch the right side of the neck / finger board?!

Perhaps I am going to have to come to terms with the fact that the 1st phalanx is unable to rotate laterally from its metacarpal.

!!! Although. if the 1phalanx and meetacarpal remain 'inline' (whilst the more distal phalangeal bones are bent over the finger board) then the 1st phalangeal bones can move about laterally!

Issue: retaining the inline metacarpal / 1st palangeal relationship requires a lot of muscular tension.....?!

Although. Even if I do achieve this... the tips of the fingers are not theorietically going to benefit. Even though there is some movement the finger tips remain close to original metacarpal joint.

To move beyond the metacarpals... STOP trying to move the phalangeal joins laterally... They can only ever move towards the anterior and posterior. and this movement is easy.

Lateral deviation of the 1st phalangeal is futile.

It's so frustrating. Feel like I need to go and study anatomy to be able to facilitate this exploration. GRR. I Don't have the time to go and do anatomy... DAMN.

There must be away of being aware of my bodies limitations without having to learn about them from a text book. My approach seems backward. I can be more self aware. I can be more aware of myself.

Concept and Study for the Violinist by Mikhail Lobko

Starting to have a few questions about the flexibility of Joachim's approach when dealing with the left hand, fingering, hand formation, ....

Probably should read through Concept and Study for the Violinist by Mikhail Lobko

http://books.google.com/books?id=LQM056BPskkC&lpg=PP1&pg=PA14

Doh! Probably should also read VIOLIN TECHNIQUE by Mangeot, Andre

A new guitar

I like the idea of Paganini using a Guitar to work through chord progressions and composition.

Today, at lunch, I'm going to have a look at buying one :)
http://www.learnclassicalguitar.com/

New to the world of Music and the Violin

I should take this study on in the same way I have drawing. I will always be a young and new student to the complexities of music. I am not an experienced well rounded musician. I am youthful and curious.

Awareness & Yoga

Started my violin practice with some sun salutations and twist stretches. I wonder what effect that will have.

Looking into harnessing my sense of awareness rather than working towards an achievement.


- Secik Op. 2 P 1. No. 1
- Sevcik Op 1. P1. No 1: extra ordinarily difficult to sort out the hammer fingering technique Joachim refers to. I think it is especially important with double stops and vertical finger placements. And fast runs. etc. to be continued.
- Scales. Harmonic Collaboration. 22nd of July. Got carried away with scales.
- Schradieck P1. no. 1. move the L-elbow rather than stretch the fingers or bend the wrist.
- wohlfahrt
- kayser

i can't believe i've never explored the vertical finger possibilities?!

I seriously have to stop playing to my capacity.
- 30% achieve.
- 30% awareness.
- 30% enjoyment.

I think i generally do.
- 65% achieve.
- 20$ awareness.
- 5% enjoy.

Interestingly. Scales are not exactly for beginners?!

Violin Methods and Etudes

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

Trust that the gaps will be filled naturally.

It is a great skill to be able to simply complex music. Once this has been achieved a leap of faith is required to build on this.

Interestingly. I find it helps to have a bit of a read at the music stand before I play. To get the reading part of my brain helps to calm the body and the mind.

Carrying on playing whilst tired is a complete waste of time. I gotta stop doing that. It just turns into a jumble of nothing.

I should be doing 10 minutes yoga before I practice. (sun salutations...)
Then 10 minutes reading.
then 30 minutes scales.
Then 30 minutes etudes.
Then 10 minutes yoga.

Practicing the violin should be less about the technique and more about the body. Once the body starts to reject the exercise there is no progress.

Playing on when tired subtracts ability.

Permission to Fail

A good shortcut to release stress is giving myself permission to fail.

Today:
- enjoyment
- right shoulder: gets more tense near the nut.
- bowing
-


harmonic collaboration: play with the dominant note in the background. then turn it off and continue to imagine it and see if your imagination changes by turning it on and off occasionally. Alternatively; use a gauge to see the difference.

It is quite difficult finding enjoyment with etudes whilst playing with a metronome...!?!? There is a way...

Trying hard stunts awareness

When I 'try' I disable my ability to relax and listen. I've gotta be aware of my body and be aware rather than ambitious with my practice.

Never play the violin at 100%. Let half the body create and the other half respond. Put in 50% of available effort and use the rest for a keen sense of awareness.

Always play at less than an optimal level. The body can't always be optimal. Don't demand the body be optimal.

Actually. Maybe less than 50%.
1. 30% Enjoy.
2. 30% Aware / Respond.
3. 30% Achieve / Try.

These need to be prioritised because 'responding' and 'achieving' generally steal the show. I ain't going to bother with trying to 'achieve' if i'm not 'aware'. I ain't going to bother being 'aware' if I'm not 'enjoying' what I'm doing.

1. Sound / music / scales / studies / etc... have beauty.
2. I am going to notice 'that' and be fascinated by it.
3. I am going to try to work on improving that.

.. The 'doctrine of the easy' sounds interesting. Breaking down difficult tasks into 'easy' tasks.

Had a break through today with some of this stuff. Definately losening up.

Harmonic Collaboration

Whilst playing scales with a tuner I've found that none of the notes are actually in tune. With some time they do begin to improve but... How can I create an exercise that improves this.

Collaboration is about tuning the ear rather than the body. Once the ear is tuned the body can move into the correct position.

So.

How do I tune my ear? To some extent any note could feel in tune... ?!

Music sounds so much better when it is precise.

Rowan: 0466544813
40 devine st. Erskinville.

Jo: 0266553626

Today concerns:
- Stiff right shoulder.
- Bowing arm dull.
- Sound forced.
- Lacking reasonance.

There is no preparation.

Life is not about preparation. I'm not trying to work through all these etudes in order to become a better etc... I am simply living for the moment and enjoy the practice.

I AM NOT PREPARING FOR ANYTHING!

Why is my right should so damn exhausted!

I seriously need to monitor my right should as I work through demanding bowing exercises.

Bowing exercises.
- Back strong.
- Shoulder relaxed.
- Arm free.
- Wrist calm.
- Fingers weighted.
- Bow aligned.
- ... sound production.

How do I play loud and articulate without causing shoulder tension?

Motor Skill Exercises

Motor skill exercises are to be focused on individually with a keen awareness of tension in the body. This should be matched with a concern for how these exercises affect the quality of the sound produced. Other interferes or concerns are to be ignored.

Listed in practice order and importance. Each builds on the next.
1. Bowing. alignment.
3. Shifting: left arm precision.
4. Scales: collaboration.
5. Appeggios: intervals.
6. Double Stops: formations.

What tension results in this work?

Watching the ball.

Really enjoying reading the inner game. I find it is very useful.
www.theinnergame.com

An interesting observation. Watching the string vibrate is like watching the ball in tennis. It channels the body focus and awareness..

Interestingly.
- My mum is just as good at picking out the ill notes in F# major. There is no skill in having a good idea if it is well looked after.
- Motor skills can be practiced.
- Magic is in the composition and communication.

Practice from what is known and possible and built on that taking no short cuts. Enjoy & Learn rather than perform.

I have spent my life trying to perform.

A new technique. Play scales with a tuner and stop randomly to see how 'off' i am. fascinating!

Another guide: Don't practice more than one thing at a time! Do one thing and enjoy it. The biggest limitation on progress is boredom.
- bowing.
- scales.
- chromatic scales.
- appeggios.
- shifting.
- double stops.

once a 15 minute run of the above is done in a chosen key then move onto a study and work on one of the above for each session.


Why is it that the right side of my body (shoulder blade etc) is so much more tense after extended practice. My bowing arm places a huge amount of pressure on my middle back. Strange? Should my left side also struggle? Perhaps my right should is being too cautious and i should let my arm do all the work... Is my right shoulder being tense? tba

Is my right should trying to compensate for my right arm.

Performance = Potential - Interference

Interesting...

Perhaps I should spend half my time working on my interferences?! Which means, performing in front of others and analysing my approach.

Alternatively I should not both with performing at all and simply get on with discoverying music and let other listen if they want to.

Not sure. Orchestra get together to perform. Ensembles get together to perform. What does an amateur soloist work towards?!

Catch 22

- i gotta stop playing music for others. boundaries. i gotta do it for myself and let others observe and enjoy. there is no such thing as performing for others.
- it's a catch 22. Music is important but perhaps I gotta handle this journey as a child might.

Reading 'The Inner Game of Music'. Perhaps that has some answers.

Road Block

A few initial comments:
- I seem to speed up when i'm tired. It's better to take a break rather than go faster than the metronome.
- When an exercise is too difficult nothing is learnt.

SO. Today. A tragic road block has struck.

I turned back through many of the studies I have been able to play quite well over the past few months and found limited and contained by the metronome scale work i have been doing. Perhaps it is more intune and time but it feels lifeless. The instrument feels wooden and simple and even though the sound is being produced well I can't make it sing. I feel as though the past few months have been a complete waste of time. I feel as though i'll never be able to progress.

Incredible frustrated. I want to be able to play complex music in front of friends and others and I can feel my body closing up at the thought.

So many thoughts running through my head...
- There are no short cuts. this will just take a lot of time.
- Perhaps i should do less practice. (only 1 hour per day).
- Perhaps I should do simpler practice.
- Perhaps I should I consider doing a limited amount of repertoire per week.
- Maybe I'll never really improve. Perhaps I'm just maintain a poor standard.
- I freeze up in front of anyone.
- I barely enjoy practicing.
- I'm exhausted.
- My body is sore. My back aches.
- I see a distinction between my 'metronome train' playing and my 'personal emotion' playing and any progress in one doesn't seem to translate into the other.
- My bowing arm feels stiff. My sounds is flat. My shifts are rigid. My intonation is rushed.

FUCK THIS.

I need to play for my own enjoyment. I NEED TO ENJOY PLAYING. I need to enjoy playing. I need to stop trying to play better. I need to stop practicing in order to improve, but rather, practice to enjoy the sound of the violin and my body.

THERE IS NO RUSH.

I've gotta break the habit of; playing through an exercise in order to improve. I've gotta enjoy the exercise or not do it at all.

Practicing without enjoyment is to train the body without engaging the mind. This results in a split between personal music and shared music. This kills the music and makes it impossible to share.

What level am I? What should I be practicing? What is going to make me more comfortable with my violin? How can I approach my practice to ensure confidence?

PRACTICING AT THE RIGHT TEMPO IS SO INCREDIBLY IMPORTANT. PERFORMING AT THE RIGHT TEMPO IS SO INCREDIBLY IMPORTANT. DON'T RUSH THIS. DON'T RUSH LIFE.
- Playing slow is boring and tiring.
- Playing fast is rushed and meaningless. And not impressive.

Play slower.

All practice should to be judged as performance and all performance should be judged as practice.

The strange thing is... I've been here before. This sensation of simply not being able to play the violin is tragic. WHY WHY WHY?!?!?!?

Another interesting observation; I feel like there is nothing i can practice that will help me improve and that is so incredibly frustrating.
- Scales
- Shifting
- Bowing

Without the above I get worse. With the above I get worse. WTF?!

The biggest tragedy is that even though i practice and improve. When I perform it all goes out the window! How do I perform in a practicing mindset?! FUCK

Progress

I'm find there are the following types of technical practice.
- Physical relaxation exercises.
- Rolling Scales.
- Double Stops Scales.
- Bowing exercises.

All the above can be done with a metronome.

Strange things is... If I carry on doing the same thing over and over it starts to lose it's affect. It's benefits diminish.

Currently i'm finding the sevcik op 1(1) and op2 (1) is quite dull and either too difficult or not helpful. Strange.

Of course i'll stick with it but.. I feel as though i need yet another technical exercise. One that is fundamental and relaxing.

Another great weekend

Another great weekend with family in sydney, cooking breakfast, house hunting, dinner and wine with friends, .... It's great to be home. Lots of violin, drawing and yoga.

Enjoy my IT work and being creative. I guess at some point i'm going to have to share that iwth a girlfriend.

On a completely separate note; The idea of health 'insurance' makes me ill.

Woohoo! It's C Major Sunday

Based on my calendar scale system... this morning i woke up saying to myself.. 'woohoo! it's C Major Sunday.' how strange.

Anyway.

Previously i stated that perhaps i tended to play 'very' # scales sharper. That isn't the case. The truth is I tend to play *all* scales sharp and I can't isolate where / why.

My natural ear tends to prefer the sharper version. It's as though I have to play 'low and out of tune' to be 'correct'. strange. I guess with time i'll 'unnaturall force' myself to play in tune. It's important because i want to keep the retationship of the frequency in balance.

blabla

Broken Double Stops Scale

This simple sounds amazing.

Play through a scale.

Play through the scale on 2 strings as double stops in 1st and 3rd position. Play every combination once. For example.

C & D
C & E
C & F
C & G (Holding 5th)
C & A
D & A
D & A (shift - 3rd)
D & B
D & C
E & C
F & C
F & C (shift - 1st)
F & D
F & E
G & E
A & E
A & E (shift 3rd)
A & F
A & G
B & G
C & G
C & G (shift 1st)
...

On the way up the upper string leads. On the way down the lower string leads.

Not exactly sure about 'holding the 5th' all the time. Gotta find a way around the stress of that.

This system is built for the violin.

Another random melody...
G C D E G E D C.
D G B D F E D E

Shifting Plane

Why is it difficult to shift up and then back to the same place? Why is returning to the same place not *very* easy?!

Interestingly. Just like with the 'plane / tracks' of the bowing stroke (for a given string) so too is the plane of the shift.

The shift doesn't rotate or move diagonally. It is 2 dimensional. It goes straight up or down the string. The hand moves in 2 dimensions. Up and down the string. To keep that simplicity the whole hand must move. The shift can't happen in the wrist.

Not so sure 'stretching' exercises are actually that beneficial. I think a lose shift skill is much more useful. Even for augmented 4ths... maybe.

Also, it is great to practice on different violins. It makes it much easier to notice clarity imperfections.

Random position to ease formation

The struggle of finding the correct 'stretched' hand formation seems to work if it is replicated in a different position.

Something about losening the thumb, the grip and the new elbow angle helps to open the mind and ease into the formation required.

Interestingly...
When someone walks into the house, or by my door I get aware of the music rather than curious about the sound and composition. It's as if I care about their enjoy more than mine. It's more important that they enjoy the sound than me enjoy the sound. It's as if I try to 'make them' tell me i'm playing well. WTF?

Start Break

It's important to stop after the first 5 minutes of practicing and let the musclesgo back to being disengaged.

Also. It's important to not just randomly plow through scales and appegios. Stop, get the metronome set, play the exercise and then stop and take the violin away from the should (for at least 15 seconds) and relax.

Ongoing practice causes hidden muscles tension. All practice should not go for more than a few minutes within a brief break.

... yep. the metronome definately keeps the body moving and the brain accustomed to the challenge.

It's more important to take quick breaks at the start of a practice session. There's nothing wrong with stopping at any point to take a 1 minute break. The end of life is not imminent.

Also. it might be important to warm up without a metronome.

Warmup - physical exercise.
Practice - with metronome.
Perform - any playing without a metronome.

Enjoyment & Happiness

I'm still completely boggled by the question 'do i enjoy playing the violin or do I enjoy playing the violin better?'

Another interesting observation is that I don't remember doing my A.Mus.A, one of the greatest achievements of my life. Strange...

Also. Met some old music friends that now perform professionally with the SSO and MSO. Following their ideas about playing i realised that I am incredibly lucky to have a career that allows me to do music on the side. Doing IT and Violin is great. I want to hold onto that for ever.

Tonight i did a few hours of scales and studies with a metronome. all great stuff! really enjoy my 'calendar scales' system :) Tomorrow....

Finished the day thinking about how it's difficult to enjoy the moment. It's difficult not to be a performer and want the praises of others. It difficult being curious rather than competitive. It's difficult being an individual. It's difficult enjoying life and being happy.

Perhaps the final happiness is WORK and LOVE.

My brother and I came to the following conclusion: It doesn't make a difference what you choose to do with your life; the trick is sticking to it.

Calendar Scales

I've found a new way to get throught the 'key cycle' without rushing it and treating each key with equal importance over an extended period of time (without having to keep track).

The day of the month signifies the position on the cycle.
E.g.

01 of JAN = 01 = C & a.
01 of any month = 01 = C & a.
05 ... = B & g#.
06 = F# & d#.
07 = D♭ & b♭.

.. There is a total of 12 key signatures (there is a total of 12 key on a piano within a given octave). Once the date of the month goes beyond 12 it starts again. E.g. 13 = 1, 14 = 2, ... 30 = 30 - 12 - 12 = 30 - 24 = 6 = F# & d#.

So. Now, For any given day for the rest of my life i can calculate what scale I'll be practicing. Bizarre....

Interestingly, these sorts of systematic patterns and regularity helps with keeping physical practice interesting.

The Metronome Train

I've finally found the joy and comfort of the metronome.

An interest dynamic of playing the violin is the affect of 'automation'. The advancement of having different elements of the body going into fluent relax repetition involving less thought and freedom of movement.

When a train start to move it clinks and clanks as it pulls out the station. Lots of different elements toot and steam and with a 'fuss' it slowly gets going. Eventually the train reaches its natural speed in which everything runs smoothly and perhaps mindlessly. A state of peace amoungst the machine is achieved during which beautiful scenery can be enjoyed along the journey.

The state of calm can be achieved with the metronome. The metronome should be used for all study. Including scales, phsyical motion exercises, etudes, etc...

Beforing striking the bow a brief 'internal hum' of the composition should lead to a desired and enjoyable tempo. Not too fast, not too slow. Set the metronome and then let the train tracks of the composition lead the music and the body.

An exercise should have a agreed personal tempo that doesn't change.

Perhaps; the metronome eases the mind and activates the body.

Bowing

Bowing really does seem to preoccupy a huge amount of my time. A clear note out of tune is better than a dull note in tune.

Finally coming to realise how important the 'little finger' is when playing closer to the nut. (less so on the G string).

A full bow usually means 'loud'. Don't be shy of letting the sound come out rather than be shy and avoid any 'vibration faults'.

The vibration point: half way between the finger and the bow.

The only true confirmation of clarity of sound is the maximisation and regulation of the vibration point for each string. For double stops this spans across all strings involved. Watching seems to be just as affective as listening?!

The time it takes to achieve maximum and stable vibration looks different for each string. It takes a different amount of time and pressure depending on how far the finger is from the bow and the thickness of the string. E.g Open E sounds great no matter what. Open G takes longer to achieve clarity. Open G looks very different to Open E.

NEVER SAVER THE BOW. Let it play out natural. If you run out plan ahead for next time. Let the bow run it's natural course. Let it run out.

The force paradox

The violin is like..
- a horse: you can lead it to water but you can't force it to drink.
- a wife: you can buy her a nice house but you can't force her to love you.

Clarity of sound comes from a earnest and honest approach to the body and the instrument.

The Initial Struggle

It is absolutely fascinating how the first 30 minutes of practice is so noticably difficult.
- Warm up is perhaps necessary but 'this' is beyond a warm up.
- Getting the muscles in order has something to do with it.
- Perhaps it is because the virgin ear is much more discerning.

Find some interesting advancements:
- bow hold. solid pinky - perhaps more out stretch and firm than previous expected.
- extended 4th finger.
- watch the string to narrow point of dull vibration.
- don't saver or send the bow. It needs to run it's natural course. avoid that tension. Don't try to drag out the tension. If it's not already in the bow just let it go. If it ain't planned again don't try and generate it with muscular tension.

End each practice session with the 'intial struggle'. End each practice session with a relax awareness of what needs to be done. End each practice session relaxed. End each practice session where it can be picked up from where it was left without warming up.

Perhaps never leave that place. Perhaps I should be able to stop at any moment and return to it rather than climb to heights that will need to be recharted.

Today I worked through;
- Intial bowing on open strings (10min)
- S. Otakar bowing exercises (30min)
- S. Fingering exercises. (30min)

I've decided that a metronome should only be used with music that need to fit together as a composition. A metronome should not be used in conjuction with 'relaxation / fundamental muscular' exercises.

To certify and etude:
1. work through intial bowing exercises.
2. work through fingering exercises.
3. work through scales.
4. ...
5. work through composition with metronome.

There is no point in jumping to the metronome without a comfortable and relax hold of the instrument and it's sound. A hold that can maintain clarity of sound across all required bow strokes. A hold that can be returned to the next without further study.

Clarity of sound can not be achieved with practice that causes tension in the body. Practice that causes tension in the body results in an unnatural formation that will ultimately need to be relearnt time and time again.

Modesty

Playing the violin requires an immense modesty.

I've lived a life in which being modest has never been appreciated or nurtured.

The initial context of this is... How do I enjoy each phase of my violin practice.
- Bowing warm up.
- Fingering warm up.
- Scales.
- Studies.
- Exploration.
- ...

I HATE IT WHEN OTHER PEOPLE LISTEN TO ME. I HATE IT WHEN THERE ARE OTHERS LISTENING TO MY VIOLIN WHEN I AM PLAYING BAD. I feel like i want to prove that I am better. I get tense. I get angry.

Perfectionist. Performance. Exhibitionist.

Why am I playing my sharp scales sharp?!

Interesting... I'm find that playing the scale of B is a real challange. By the time I reach the E on the a string I am nearly a semitone out of tune?!
- The first finger on each string doesn't seem to be low enough!?
- The 2nd, 3rd and 4th seem to be in alignment but all too sharp?!
- The correct intonation sounds wrong?!

This might be because I have been practicing this mistake. Perhaps the ear can learn to love something that is out of tune...

To resolve this I've found that focusing on the related scales (g# and E) in the cycle helps. Tragically, these scales with a similar key signature also suffer from an outrageous move towards a 'higher' note. Why am I playing my sharp scales sharp?! I wonder if I play my flat scales flat?! (to be continue...)

Why is the intonation for this basic major scale currently beyond me?!

My Routine

At the moment my practice routine seems strange / obsessive / fascinating.

I generally do at least 2 hour, 5 nights a week.
1. Physical hold: 5 minutes with long calm bow strokes letting the body move into the instrument. Only playing open strings. Relaxing and noticing the bodies tensions. R-arm & R-hand focus.
2. Bowing Exercies. 20min of Sevcik Opus 2 Part 1. Working on loosening up the right arm and ensure the whole bow is available. R-arm & R-hand focus.
3. Scales. 30 minutes to 1 hour playing through the cycle of major and related minor scales (C, a, G, e, ...). Focusing on L-hand. Obsorbing a clear understanding of key and intonation. Occasionally devling into 3rd, 6th, double stops. This is overwhelming ambitious so i stop when I feel tension.
4. Fingering Exercises: 20 min of Sevcik Opus 1 Part 1. Working on relaxing the L-hand and understanding different fingering constructs.
5. Wolfhart Studies. Pick up a new study and run through some of it's challenging elements for 15 minutes.
6. Kayser Studies. Pick up a new study and run through some of it's challenging elements for 15 minutes.

The above actually fascinates me. The scales and bowing exercises are most interesting. It's is simply overwhelming to watch and feel the body create such a sound with only a wooden box. Amazing.

One issue is the phsyical tension that is involved. In the mornings I do yoga for 1 hour. Without doing that my arms would start cracking for sure.

I am now 28. Perhaps in 28 years my body will be too old to enjoy playing the violin every day like this?!? Perhaps I won't be able to advance and improve as I would like. I had fantisies of taking my time and progressing over the next 50 years. Am I not at my physical peak at the moment....

[excuse the over dramatisation]

15 bouts; perhaps all violin practice should be done in 15 slots. Without any regard for seeking any particular aim or goal. the idea of 'getting to the end of something' or 'playing through all the major scales' is a bit of pressure and creates tension perhaps. perhaps this will enable me to progress faster with less practice.

Do I enjoy playing the violin OR Do I enjoy getting better at playing the violin?