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tchaikovsgay

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  1. https://www.violinist.com/blog/laurie/201411/16338/ https://www.violinist.com/discussion/archive/26255/ I've found it. That's very interesting. Never expected pedagogues to hate each other. I wonder if composers also develop enemies too. I thought music is supposed to be fun.
  2. I never was taught Suzuki so I don't really know. I was taught with Shinozaki method and scales. (Which is not thorough enough)
  3. Thanks. Yes I've taught part-time when I was doing my bachelor's, but never full time. Also I really thought the Gossec from Book 1 was supposed to be played spiccato until I heard the recording; that's why I thought I have to get the revised editions to know what Suzuki truly meant. However, upon mastering the piece I agree we can ask students to try different bow strokes on the same piece.
  4. I've got my digital copy on Amazon. Never expected this post to become an academic debate. However it's interesting the probably most popular violin method is actually criticized by a considerable amount of people (not the first time I heard someone saying the Suzuki method is flawed). My only problem was the old monochrome blue editions I have contain almost no explanation of the pieces. This makes a teacher difficult to judge what does the specific notation and symbols Suzuki used in the pieces imply. With recording some clues are revealed, but it's better to have the actual direction itself. Now I'm reading and playing through the revised editions, I found out apparently Suzuki uses the term "staccato bow stroke" for détaché on staccato notes. From the books I've read staccato is a polysemic term; it can mean an articulation (staccato notes) or a bow stroke (a sequence of martelé in the same bow direction). I wonder if this will make the student more confused. However, violin terminology is always complicated and ambiguous on a lot of levels, same as musical symbols, especially the staccato dot and tenuto mark. I think it is important for me to analyze these methods to understand what different editors and arrangers mean with their ways of using musical symbols. P.S. after all these years I still haven't heard a concrete definition of the portato bow stroke (not portato articulation).
  5. I've always known one violin method is never enough to nurture an all-around violinist. Basics exercises, scales and studies (études) must be introduced. I'm just getting a digital copy for analysis of what most current beginners are learning from. I'm also going to analyze Early Start on the Violin by Egon Sassmannshaus.
  6. Hi. I'm trying to find the Revised International Editions (not the old green edition, old blue edition, or Asian edition) for the Suzuki method. I use a digital music reader. I plan to teach the violin full-time so I think I should keep myself updated and to analyze the ten books thoroughly. Thank you.
  7. Update: If I remove Gabriel Fauré Violin Sonata No.1, Op.13 Allegro Molto Then I'll have to find a replacement piece from the syllabus in major key, a slow tempo and from the classical or romantic era, having a duration of about 12:22. It can't be a concerto or solo piece either. Otherwise, the whole programme will be in minor key, andonly having the Bach Andante being slow. Am I over-analyzing or has programme choices always been this tedious?
  8. I see. I'll have to change some of the repertoire.
  9. Thanks for pointing that out. I'll have to make some adjustments then...
  10. The ABRSM guidelines strictly stated violinists must have accompaniment for pieces that are meant to have one. As much as I'd love to learn the second and third movements, they are not included in the current LRSM syllabus.
  11. Hi. Hahn has been playing some of the hardest violin pieces ever (Ernst, Ysaye, Pagagnini and Bach) in that event. I wonder if it was in one go and does anyone have a full programme list? P.S. She also played something with a guitarist, which contains her improvisation. Thank you.
  12. Hi. I'm planning to take LRSM for violin. As I've graduated and have no teacher anymore, I have to plan my own programme. Quoted from https://gb.abrsm.org/en/our-exams/diplomas/music-performance/, 'You should plan your Recital so that it lasts approximately 40 minutes (it may be up to 10% longer or 10% shorter). This total duration includes any breaks between items, as well as one longer pause (of up to 5 minutes) for woodwind, brass and singing candidates. Please note that the examiners reserve the right to stop the Recital if you exceed the prescribed duration' 'In your choice of repertoire, you should aim to present a balanced programme that includes a contrast of repertoire from at least two distinct musical eras. Variety of mood and tempo should also be a guiding factor in the construction of the programme.' Here's my inital prgoramme: Johann Sebastian Bach Violin Sonata No.2, BWV 1003 Andante [6:32] Allegro [5:49] -A minor, Late Baroque, German Gabriel Fauré Violin Sonata No.1, Op.13 Allegro Molto [9:05] -A major, Late Romantic, French Aram Khachaturian Violin Concerto, Op.46 Allegro con Fermezza [14:56] -D minor, 20th–Century, Armenian What do you guys think? It is within the duration, but does it satisfy all the above requirements on varied eras, mood and tempo? Do they take genres and countries into consideration too?
  13. Yes. The m.s. only applies before the start of the rasugueado, according to all videos found online.
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