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.