Lesson 10/3/06
Impulse: A further understanding of impulse and its application reveals how it is integral in overall technique. A continuation of last week's discussion--left hand technique, such as vibrato, movement, and shifting are all impacted by impulse control. The more natural the winding and recoil, the easier it is to initiate a strong vibrato and move up and down the instrument in a more continuous manner.
Scale and A string: The 3 octave scale is now isolated on the A string in a pattern of C(2)-D(3)-E(1)-F(2) and then descending. Also the simpler D-E-D (3-1-3) pattern. The emphasis is in the new finger (the 1, ascending and the 3 descending); there is still work to be done to create a more even even quality in the shift. This shift is a technical shift, as opposed to expressive, in regards to the quality of the shift--the technical one is meant to hide the shift more, present a clean transition; the expressive shift can be drawn out, pulled if you will. A new note concerning posture (at least for A string) is widening the stance of the left arm to create a longer and more straight angled line in the arm and wrist. The feeling of this new stance is rather strained at the moment--my shoulder isn't used to the more stretched feeling. However, it helps prevent the left hand from bunching up and pronating.
In the R.V. Williams, impulse is used to create a strong vibrato at the offset of each note and lessen the effort needed to maintain the vibrato. Using the flat of the bow allows for the notes to be sustained. In II, a more expressive vibrato and shift, though alternated, are used to create different effects in the piece.
Eccles: The only change in the piece is in the last movement, where the bow is now limited to a section in the middle area closer to the bridge. This creates a heavier sound quality and helps with the rapidity of the notes--a very good thing as the tempo of the movement is going to be increased.
That's all for now.
Comments
Posted by: Dan
Posted on: October 4, 2006 09:15 PM
Impulse: A further understanding of impulse and its application reveals how it is integral in overall technique. A continuation of last week's discussion--left hand technique, such as vibrato, movement, and shifting are all impacted by impulse control. The more natural the winding and recoil, the easier it is to initiate a strong vibrato and move up and down the instrument in a more continuous manner.
IMPULSE REINFORCES RHYTHM
Scale and A string: The 3 octave scale is now isolated on the A string in a pattern of C(2)-D(3)-E(1)-F(2) and then descending. Also the simpler D-E-D (3-1-3) pattern. The emphasis is in the new finger (the 1, ascending and the 3 descending); there is still work to be done to create a more even even quality in the shift. This shift is a technical shift, as opposed to expressive, in regards to the quality of the shift--the technical one is meant to hide the shift more, present a clean transition; the expressive shift can be drawn out, pulled if you will. A new note concerning posture (at least for A string) is widening the stance of the left arm to create a longer and more straight angled line in the arm and wrist. The feeling of this new stance is rather strained at the moment--my shoulder isn't used to the more stretched feeling. However, it helps prevent the left hand from bunching up and pronating.
IF IT FEELS STRAINED FOR THE SHOULDER, DON'T CONTINUE WITH IT - WE'LL ADDRESS IT IN A LATER LESSON. MEANWHILE LET'S BE CLEAR: WE'RE FOCUSING ON/ISOLATING "ONE SHIFT" ON THE A-STRING IN THE 3-OCTAVE C MAJOR SCALE, BUT THE OVERALL GOAL IS TO PLAY THE WHOLE 3-OCTAVE SCALE, NOT JUST PRACTICE THE SHIFTS. AT LEAST I HOPE THAT'S THE GOAL...KEEP WORKING WITH AN EYE FOR THE WHOLE.
In the R.V. Williams, impulse is used to create a strong vibrato at the offset of each note and lessen the effort needed to maintain the vibrato. Using the flat of the bow allows for the notes to be sustained. In II, a more expressive vibrato and shift, though alternated, are used to create different effects in the piece.
I'M NOT SURE WHAT YOU MAN BY "THE FLAT OF THE BOW, BUT YOUR ABILITY TO SUSTAIN BY THE END WAS EXCELLENT!
Eccles: The only change in the piece is in the last movement, where the bow is now limited to a section in the middle area closer to the bridge. This creates a heavier sound quality and helps with the rapidity of the notes--a very good thing as the tempo of the movement is going to be increased.
MAY BE A LITTLE HEAVIER, THOUGH THE NOTES SHOULD EVENTUALLY STILL BE LIGHT...ABOVE ALL, MORE COMPACT, CRISP, AND WITH A "CORE" TO THE SOUND.