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Beth Blackerby
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This really isn't Step 3, it's a quick insert for step 1.

There's something I wanted you to add to your Left Hand reference score that will help with efficiency.
Also, here are some audio files of the piece you can start listening to to start imprinting it in your ear. Also look for beautiful performances if it on Youtube, including cello performances. It's the Gavotte from the Cello Suite no.6



Beth Blackerby
13 Responses
Posted: February 12, 2018
Last Comment: February 15, 2018
Replies

Dianne
Posted: February 15, 2018
Hi Susan, that would be a separate bow because it is a phrase marking.

Susan Hollister
Posted: February 15, 2018


Here is what my sheet music looks like for the Gavotte. Analyzing the piece and adding the markings were very helpful in preparation to  practice, especially the markings indicating when to hold fingers down. (In some cases it helps me to hold my first finger down rather than my second or third.) I am using a W to indicate a wide reach. It is also helpful to hear the piece. I love the complexity of it!

 

One question : Why are there  two slur markings in measure 14 rather than one?


Jaime - Orlando , Fl
Posted: February 14, 2018
It is interesting.... as we are analyzing the song, listening to the performance of it,  looking for half step, defining the Dmajor scale, looking for high and low notes.... I still have NOT attempted to play it ... NOT at all! hehe

Its become like a dissertation of this song... before the actual performance! :0)

Jane Belmare
Posted: February 14, 2018
Thanks for the clarification Beth. That makes sense.  

Thanks Jaime. This did help me to look at it another way.

Beth Blackerby
Posted: February 14, 2018
Jane: Yep, good catch. That ascending b, c, d doesn't necessarily require keeping the fingers down, because you're not going right back down. In that tempo though they will sort of stay down as you put one finger after the other. But once you get to the D the 1st finger will be lifting to prepare for the string crossing.

Jaime - Orlando , Fl
Posted: February 14, 2018
Hi Jane! Beth really have us tearing this melody down to the very specifics! hehe
I think what those measures circled at measure 13 by Alan is that, since they are in perfect ascending sequence, to go ahead and hold b, then C then, d... as to keep a more precise intonation by keeping each prior position in place, guiding the following one?

Definitely lets see what Beth comments....

Jane Belmare
Posted: February 14, 2018
Hi Beth, I've been working along on the QT.  I got most of these and even invented one which turned out not to be appropriate.  I am not getting the one in bar 13 where the b,c and d are circled on Alan's sheet.  Can you clarify why that is an instance of leaving the low finger in place.  Sorry I'm probably being dense.

thanks
Jane

Beth Blackerby
Posted: February 13, 2018
Alan, that's what I have! Jaime, you're so close. We'll use Alan's as the answer key. 

Jaime - Orlando , Fl
Posted: February 13, 2018
ooops! forgot to post!

Jaime - Orlando , Fl
Posted: February 13, 2018
Beth! Thank you thank you  thank you!!! Posting the actual melody helps so much! I was wondering myself how can we attack step 2, without being sure how the CORRECT intonation should sound!

I'm posting my instances where I think the one finger should be kept down, but there are two instances where the finger stays down for the next four notes(last 3 notes measure three and first two notes of measure 4) (last 3 notes measure 23 and first two notes measure 24). Do these count as two instances , or actually four instances? IF each count as one instance (because they are continuous) then I'm missing instance #11.

Can you also show us the results for "low" , "high" notes? Inquiring minds want to know! hehe

Alan Barnicoat
Posted: February 13, 2018
Maybe found 12 instances.
Note between measures 13-14( fingers 1,2,1) and between  measures 17-18(fingers2,3,4,3,2)



Alan Barnicoat
Posted: February 13, 2018
This insert for step1 reminds me of a habit I have of keeping a finger down briefly as leverage to help reach for the next pitch particularly if it is a bit of s stretch.   (like rock climbing). In measure 7 I keep 1st finger on B as I reach for E with 4th finger - and still keep 1st on B as a point of reference for finding C# again.  I'm wondering if holding a finger down as leverage for stretching to the next pitch is a bad habit and should be done only for avoiding flying fingers or will it eventually lead to more facile finger placement/intonation  - or am I splitting hairs?

Beth Blackerby
Posted: February 13, 2018
Elke - you will have a few passages where you're 1st finger needs to be down for a long time. Do you know where those spots are? :)