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Everything posted by technique_doc

  1. All interesting stuff. Being thoroughly rubbish with any kind of terminology, I avoid the official terms a great deal. Sometimes I mention the "real" word for a bowing technique, mostly I talk in normal language and highlight the essential difference between a basic idea and the exact thing I am searching for. One of my pet hates is when students separate notes presented in a plain slur. I notice a lot of great players who also make up their own interpretation of a slur. Obviously there are times when taste or convention/tradition might overide a written direction, but these are not that common. Also, the same goes for rhythms too - so often I hear grossly exagerated rubato within a group of notes (say 4 or 8 16th notes (semiquavers to us!)). The type of music should determine the extent to which one can mould the notes. less in baroque (accounting for deliberate 1st notes or bach-style "I like this longer") I use separate as the basic term for all individualy bowed notes. In Baroque we might refine this into a more staccato feel or in classical into a more "light" feel. Many a glance has been passed at a pupil making up their own bowing or expression away from the written! Saltando...don't use. use. Portato...don't use. use. Legato can be a word to use in lessons except I don't use it in a literal sense (as Yuen points out), when you ask a Pianist to produce legato they know instantly what to do (to join) and this often works as an instant antidote to overly-separated detache. Martele, oh pupils know what this means! T_D
  2. I'd imagine Mr. Fischer might be game for such a project, if the right opportunity presented itself. Should we ask him......although I work in a rival institution, I know the person to ask, to ask (if you understand me!) T_D
  3. I have discovered with this student that if we do the lessons without music for small sections, he actually knows it already. Putting the bits together is coming on. I rather like some of Lundberg's ideas.....we have attempted to make a story and it's going well.
  4. At the risk of being controversial, these type of books gather dust on my shelf. One can spend time reading up (not at the expense of hands-on lessons and/or practice) but IMHO, the exact cure to any ailment can only be provided by a suitable experienced teacher/mentor/colleague/peer. My students struggle with specific bits of specific pieces, but the quickest cure is rarely (if ever) the same. Not referring to any particular teacher......a collection of exercises developed from experience can have uses, but they are limited. Sorry. Also, if you teach at one level of talent (i.e. gifted students whether beginner or potential soloist) one's view may be distorted. I'd say you might get a better selection of ideas by asking here. PS - anyone heard of Yury Zagorodnyuk. Just heard him play a solo in Tchaik Swan, oh, my....I think heaven must have relocated to the mariinsky theatre!
  5. Well done to you! You have to imagine the scene....... 10 o'clock at night, a quiet house (other than sleeping children and dog), sitting upstairs watching the wind and rain tear across the hills of England and Wales. 11 hour day, 9 hours teaching, and then..... 4 minutes of pure bliss.......... Beautiful. T_D
  6. Hey, I like the last page first idea....logical! Also, with the enlarging...I have been doing this for many years. Also, if a passage is really complicated, I sometimes write up on a score (Sibelius) and present it looking completely different....can work miracles. PS If anyone uses Sibelius, I have all kinds of stuff. PM me if interested. At the back of my book (still going strong after two years!) I am going to include all my (Sibelius) exercises and my definative Scale fingerings.
  7. I have a student (of two-three years) who needs to memorise a concerto movement. I am trying to advise him on techniques I use, BUT, I'm not sure I really remember. These days, I know this piece because I've played it with many pupils and to be honest, I think I just hear the notes in my head and let my fingers respond with an almost unconscious reply. Does anyone specifically remember just the fingering or just the notes, or is it always a mixture? I am considering giving up 2 hours a week to supervise him.......if he practices with me, I can make sure he plays slowly and builds up a permanent mental map of the piece. PS, I read that people were impressed that Galamian remembered everything and never needed music. If I can do a whole week or maybe a whole month without looking at the music am I on the road to fame!!
  8. click on the PDF files.
  9. T_D, what do you think of some alternate (alternating) thinking? Focus away from the bow hold and the hand. Focus on the sound you want to produce and let the bow do the producing. Listen and feel. Feel the string through the bow as though the bow were your hand, and listen for as well as aim for the sound. Then at some point maybe go back to your hold and awareness of your hand if you must. Exactly! this is just the kind of thinking one needs to do. In reality I let my mind and ears tell me what I want to do or need to adjust and the bow comes up with the correct mixture of technique. In lessons, I move around between musical/artistic direction and technical/physical instruction. I have no one route to get the result I am looking for. Often I may say, "be gentle, don't press" or "try this piano/sotto voce and use more bow". What is important is the outcome. It serves us all very well to let the skills we have resolve the problem before considering the raw techinque. In golf, the easy thing to say is "deliberately hit the ball down the right, but be sure to get the club square" the raw technique might be "stand a little closed, bring the club through on the inside and aggressively turn your wrists through impact" which would you rather try first!!! With regard to bowing, it is nearly impossible to hold the bow too relaxed, If the hold is secure and the fingers alive to adjust, it is rare I ask for more grip and more pressure. T_D
  10. I've seen this list before..... Bach a minor, E major Haydn G Major and C Major Kabalevesky Mozart #2, #3, #4, #5 Conus Bruch G Minor Mendelssohn Khatchaturian Barber Wieniawski d minor and F# minor Lalo Dvorak Vieuxtemps #2, #4, #5 Saint-Saens #1 and #3 Paganini #1 Interesting, (as a teacher) if it is real. IMHO Bach E major well after Haydn G and Mozart #2. Kids rush into this piece and tend to play it very poorly. The intonation and stamina are greater than most people think. Lalo (to me) seems easier than Wieniawski d and Saint-Saens #3 can be tried earlier. Of course this list makes little sense if you only play 1st and 2nd mvmts. Kabalevsky is a lot of fun.....but many have tried to jump straight to Bruch and failed......what is it with this? I knew of a player who tried to go from Kabalevsky to S-S #3..... T_D
  11. Thanks Erica.....You sure have an interesting list here of players and pieces. Francescatti for Brahms...I've never heard this but I have a very good double recording with Fournier. Kennedy for Elgar......well, could be. Kennedy also plays Sibelius very well on an early recording with Simon Rattle. I have played for both (though not at the same time!) and one day I heard the complete thing driving home late at night from a concert....fabulous. I bought the disk a few days later. I think Mullova did a Mendelssohn not so long ago that I enjoyed greatly. Vadim....well....enough said, very popular with UK orchestras. quote: Milstein is great on anything. Bless him......such a great player, I grew up on his Brahms. A D-G recording with a Violin on a chair on the front cover. I still enjoy the Red Seal Heifetz Tchaikovsky and found it on CD. Mozart is hard to get just right (no surprise!) and Beethoven, well Hilary's comment expands well the issue..... Nice story, I went to see Gil Shaham play the Sibelius. After the concert we went backstage. He signed for one after the other, they all said they were students (of the Violin) and he gave encouragement and was very friendly. It came to the end of the line. He looked at me and asked...are you a student too? to which I, not this time, I'm the teacher!!! We talked for a few minutes and I thanked him for the inspiration his recordings have provided to me and my pupils....nice guy. T_D
  12. Since this topic hasn't attracted much interest, maybe anyone would like to comment on how much they like these pieces or which they have tried. I most enjoy Tchaikovsky to play but rate Brahms as the better piece of music. I don't do Beethoven, I play 4 or 5 sonatas regularly (like 10 ? times a year) but the concerto is not really in my repertoire. I love the Sibelius, but it's not like the others, such an unusual structure and unique. Best surely some posts on this? T_D
  13. Mendelssohn, easiest (thought not exactly a gift!) Tchaikovsky, my favourite, straightforward in a kind of 17 page 1st movement way Beethoven, most likened to watching "Lord of the rings" long, round in circles difficult to grasp! Stamina required and imagination...not for tech geeks like me! Brahms, the KING of all concerti, to be revered always, and best 2nd mvt. Truly the best vln concerto (IMHO) and possibly the number 1 desert island disk. and Sibelius, approachable (nasty last 2 pages 1st mvt) killer last mvt. Order to learn, EASY, (come on, test me more!!!) M - T - S - B - B. Fix the two B's round either way, horses for courses. T_D
  14. What am I thinking...I've got a great idea...Herbert Howells, a kind of homage to a famous son of my alma mater. I didn't see that one! T_D
  15. Josef Hassid (1923 - 1950), something of a legend. Interestingly, the (concert) Pianist who first guided me through Elgar sonata always talked of him, maybe something to do with his interpretation I guess. He lived and recorded in London? No doubt a fine Elgar player. T_D
  16. I reckon Faure or Ravel likely. I have music for Janacek, but am resisting! Bartok and Shosty too late if I'm going for similar date? Szymanowski...yes, played some before....might purchase anyway.
  17. "Stravinsky Suite Italienne, Shnittke Suite in Olden Style" good ideas...hadn't thought about this direction. a lot. Maybe I'll get a few dates on things and piece together a chronological/national thread. I remember Walton concerto....tough piece, but other things by him may be easier. T_D
  18. (Hey Ben, can you check your messages?) Sorry folks T_D
  19. Hello, I have been asked to play Elgar sonata next year in a special concert. (there's an Elgar year in 2007). What would go well with this, bearing in mind the period and maybe linking up sonatas by other composers around the same time. What would you put with it? First half will incl Mozart sonata, last pieces (encores) will be Elgar. T_D
  20. Point taken fiolmattias, If I ever see him again, I'll find out what the deal was. I certainly wouldn't want to try this much to lose, so much opportunity for others to find fault and little to gain? T_D
  21. Yes, a common problem I'd say. One thing that I like to do in lessons is work on holding the bow lightly and trying to let a "neutral" weight create the sound (i.e. not pressing and just up/down searching for pure tone). If the hold is secure and you practice varying the pressure/speed/tightness of grip, you can learn a lot in a few minutes. One thing that many aspiring players fall down on is not being disciplined with basic tone, they get so into specific techniques for specific places in the music that they forget the whole point of why/how the Violin can be so beautiful. Everyone should try gentle up/down no vibrato and listen and improve!!! T_D
  22. Fascinating, Cihat has produced a CD of Kreutzer, what an idea. I remember him well from our days in London, he was a great player. What I admired most was his amazing geography of the Violin, he just seemed at home everywhere and anywhere on the fingerboard. Well done to him! I would imagine it's good recordings (in terms of the quality of the playing) and I can see how it might be helpful to students all over. Personaly, I don't like at least 1/2 the book (sorry, everyone) but I, like most before and after, have done nearly all of it. T_D
  23. Hey thanks Longinus, The photobucket has helped me fix my car too! Just uploaded and linked on a forum, then got a reply from an expert. Ever since I started here (at Mnet) I was looking for a way to post pictures. One thing that may be helpful is that I could probably scan small (a line or two for markings) sections of music also (unless this is not legal). I will try to find some other relevant photos as the time comes up. My quest over the next few days (I am on vacation) is to establish whether there is a way to transfer old VHS-C and Sony Hi8 videos to my computer. I think the issue will not be the S-video out but how to input to the PC (there's no Svideo in). I can do audio, cause my card has lots of inputs, never thought I'd want to do video. Anyone tried this??? T_D
  24. Well that is a good picture and a very handsome bow hold - look at your thumb, (go thumb!) The interesting thing is to see the same balance/arrangement that is so important. The surprise for most new pupils is that the fingers are way more over the bow than one might expect. I HATE to see new students arrive with their fingers on the top (or only just over) the stick. If you want to make a big sound and play robustly, one needs to get the fingers over!!! T_D
  25. here is is again, it may work!