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.
Tuesday, 30 June 2009
Monday, 29 June 2009
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.
- 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.
- 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.
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.
Saturday, 27 June 2009
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?!
- 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?!
Wednesday, 24 June 2009
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?
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?
The Musician and the Metronome
The Musician and the Metronome
This little book aims to supply such knowledge. The techniques are really very simple. If one approaches the subject with an open mind, improvements that are positive, pleasurable, and often astonishing, are sure to follow.
Another very effective way to achieve results is to begin at a tempo of 60, with 3 or 4 notes to the beat, and work gradually slower to a tempo of 40. Then move the metronome to a tempo of 80 and work back to 60. Then jump to 92 and work back to 80. Continue this procedure until the desired tempo can be played with a feeling of relaxation The feeling of reducing one's tempo is conducive to relaxation whereas the feeling of increasing one's tempo is sometimes conducive to "tightening up."
(Unpublished paper of Floyd E. Low, Hibbing, Minn.)
In my entire career of 33 years with the Etude I have enthusiastically endorsed the use of the metronome. You see, in addition to being a musician I had training as a psychologist and I know the value of creating what might be called brain tracts or nerve tracts through kinesthetic action by means of accurate multiple repetitions. I know that Czerny, Liszt and almost every really great teacher of the past, has endorsed this process. With my own pupils in performances and in memorizing I used a plan that Czerny used, Liszt used and Leschetizky used. They required 8 or 16 correct repetitions of an exercise before proceeding to the next metronomic speed and were expected to go on until a speed in advance of the performance speed was achieved. Then and only then, after they had learned to draw a perfect circle, they were permitted to make certain changes which brought about expression. At this point I had them get Christiani's Principles of Expression and work out their own conception of expression according to their original ideas, always giving them counsel.
James Francis Cooke, Private Correspondence, 1940
Narrow Sound
It strange. The more I practice bowing and finger technique (Ševčík) and scales whilst watching the bow i find that the sound gets narrow.
Alternatively if I practice studies and enjoy myself the sound gets lose and lost.
If I use a metronome i get physically restrained, stressed and limited.
If I don't use a metronome i don't progress perhaps...
How do I move towards more freedom without a narrow sound?!
At the moment it seems as though watching the bridge, if a little uncomfortable, is working wonders on my awareness of myself, the sound and my ailments.
Agressively focusing on the bridge not only causes neck strain. It also causes eye strain. Focusing on something so closes creates problems for the muscles in the eyes. TAKE IT EASY.
Every Violinist's Guide
Alternatively if I practice studies and enjoy myself the sound gets lose and lost.
If I use a metronome i get physically restrained, stressed and limited.
If I don't use a metronome i don't progress perhaps...
How do I move towards more freedom without a narrow sound?!
At the moment it seems as though watching the bridge, if a little uncomfortable, is working wonders on my awareness of myself, the sound and my ailments.
Agressively focusing on the bridge not only causes neck strain. It also causes eye strain. Focusing on something so closes creates problems for the muscles in the eyes. TAKE IT EASY.
Every Violinist's Guide
Sunday, 21 June 2009
Watching the Bridge
So. Does it help to watch the bow. To watch the bridge. To watch the Left hand fingers?
It's interesting to see how the bow trails across the string.
It's slightly controlling and obsessive to focus on the bow. It seems to detract from the obsorbtion of the music. I think it's just another technique to get beyond bowing difficulties.
Watching the left hand fingering also helps reform the hand when it's out of stretching unnecessarily.
Focusing on the string, in the same way I focus on my hands when I do yoga, takes the physical act and extends it to motion of the string. Watching the string vibrate is like watching the fingers move. They are part of the body.
It's interesting to see how the bow trails across the string.
It's slightly controlling and obsessive to focus on the bow. It seems to detract from the obsorbtion of the music. I think it's just another technique to get beyond bowing difficulties.
Watching the left hand fingering also helps reform the hand when it's out of stretching unnecessarily.
Focusing on the string, in the same way I focus on my hands when I do yoga, takes the physical act and extends it to motion of the string. Watching the string vibrate is like watching the fingers move. They are part of the body.
Tuesday, 16 June 2009
Analysing Key Signatures
Key signature patterns
- Related minor key is a minor 3rd below major key tonic.
- The ‘next’ major key is a major 3rd below its ‘previous’ minor key in the cycle of flats.
- The ‘next’ major key is an augmented 4th below its ‘previous’ major key in the cycle of flats.
- Sharps: The last sharp is the ‘leading note’.
- Flats; The 2nd last flat is the tonic (except F, which is 1 flat).
- The cycle of sharps is a cycle of 5ths!!!
The order of sharps and flats?!
- Sharps: F#, C#, G#, D#, A#, E#, B#
- Flats: Bb, Eb, Ab, Db, Gb, Cb, Fb
An interesting reference: My Music Theory
It seems as though working through the full cycle is the only way to actually comprehend the relationship between these sound formations.
- List all major keys?
- List all minor keys?
- List all major keys with sharps?
- List all minor key with flats?
- ...
- List all major keys around the cycle in either direction?
Knowing a key signature and it's 'name' in isolation is meaningless. The significance is how it relates to all other key signatures. How is it related to other key signatures. How do you get from one location on the cycle to the other. How dissonant and keys on opposite sides of the cycle?
There is no purpose in using 'pattern' mentioned above to recollect a key signature in isolation.
A key signature should be recognised by it's surrounding land scape.
C, G, D, A, E, B,
It's interesting how a visual construct is formed whilst memorising these relationship.
DOMINANT MAJOR CYCLE
C
G
D
A
E
B
F# / G♭ --- shift from sharps to flats.
D♭
A♭
E♭
B♭
F
C
- Related minor key is a minor 3rd below major key tonic.
- The ‘next’ major key is a major 3rd below its ‘previous’ minor key in the cycle of flats.
- The ‘next’ major key is an augmented 4th below its ‘previous’ major key in the cycle of flats.
- Sharps: The last sharp is the ‘leading note’.
- Flats; The 2nd last flat is the tonic (except F, which is 1 flat).
- The cycle of sharps is a cycle of 5ths!!!
The order of sharps and flats?!
- Sharps: F#, C#, G#, D#, A#, E#, B#
- Flats: Bb, Eb, Ab, Db, Gb, Cb, Fb
An interesting reference: My Music Theory
It seems as though working through the full cycle is the only way to actually comprehend the relationship between these sound formations.
- List all major keys?
- List all minor keys?
- List all major keys with sharps?
- List all minor key with flats?
- ...
- List all major keys around the cycle in either direction?
Knowing a key signature and it's 'name' in isolation is meaningless. The significance is how it relates to all other key signatures. How is it related to other key signatures. How do you get from one location on the cycle to the other. How dissonant and keys on opposite sides of the cycle?
There is no purpose in using 'pattern' mentioned above to recollect a key signature in isolation.
A key signature should be recognised by it's surrounding land scape.
C, G, D, A, E, B,
It's interesting how a visual construct is formed whilst memorising these relationship.
DOMINANT MAJOR CYCLE
C
G
D
A
E
B
F# / G♭ --- shift from sharps to flats.
D♭
A♭
E♭
B♭
F
C
The Horse Hair, Metal String & Finger Connection
Purpose
* Illustrate the intrinsice connection between all the phsycial processes involved in order to maintain a confident hair / string / finger connection on the violin.
Sequence
* Lungs: Land
* Left Brain: Stone
* Right Brain:
* Violin: Mote
* Jaw: Foundations
* Neck:
* Left Shoulder: Left Turret
* Right Shoulder: Right Turret
* Right Wrist
* Right Hand
* Right Fingers
* Bow Nut
* Bow: Bridge
* Bow Hair
* *Hair String Connection* (Streamline bowing,Sound production)
* Left Arm: Tower
* Left Wrist
* Left Hand
* Left Fingers:
* *String Finger Connection* (Intonation)
* Musicality : Eagle
A castle with a mote, bridge and eagle launching off the tower.
* Illustrate the intrinsice connection between all the phsycial processes involved in order to maintain a confident hair / string / finger connection on the violin.
Sequence
* Lungs: Land
* Left Brain: Stone
* Right Brain:
* Violin: Mote
* Jaw: Foundations
* Neck:
* Left Shoulder: Left Turret
* Right Shoulder: Right Turret
* Right Wrist
* Right Hand
* Right Fingers
* Bow Nut
* Bow: Bridge
* Bow Hair
* *Hair String Connection* (Streamline bowing,Sound production)
* Left Arm: Tower
* Left Wrist
* Left Hand
* Left Fingers:
* *String Finger Connection* (Intonation)
* Musicality : Eagle
A castle with a mote, bridge and eagle launching off the tower.
The dawning of the age of scales
Practicing scales recently (lead to from basic sevcik bowing and finger studies) and lead to a unbelievable world of key, meaning and phsyicality.
I enjoying playing through the full cycle of keys. The relationship between the following is ground breaking and emotional.
(0♭) C, a;
(1♭) F, d;
(2♭) B♭, g;
(3♭) E♭, c;
(4♭) A♭, f;
(5♭) D♭, b♭; (7#) C#, a#;
(6♭) G♭, e♭; (6#) F#, d#;
(5#) B, g#; (7♭) B, a♭;
(4#) E, c#;
(3#) A, f#;
(2#) D, b;
(1#) G, e;
(0#) C, a;
Memorising the above sequence with emotion is fascinating. What does it sounds like to go from f minor to D♭ major. What does it sound like to go from B♭ to g to E♭ to c and back again (with a mix of 3rds & 6ths along the way)?!?! How does this make me feel?! What do I remember? What do I recognise?
Playing 'music' is playing scales. Playing scales is all the joy between intervales. Playing scales drags out the joy of melody. Things leap out of scales.
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