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Dianne
In joining my colleague in the Play With Ray Practice Challenge, I discovered that it took a lot higher playing level than where I was to solo this piece, and in discovering what the issues were, I ended up back in Book 4. It was so worth it!
Dianne
5 Responses
Posted: May 14, 2019
Last Comment: May 16, 2019
Replies

Dianne
Posted: May 16, 2019
A lot of that 3-4 hour range was when I was doing lots of slow practice. I'm working on the last half of the 2nd page of the 2nd piece in book 4. There needs to be fast string crossings with slurs and détaché. The tutorial tempo of 120 is my goal, but I am back in the double digits, and working my way up slowly. I use the smallest amount of bow and try for the most efficient movements. I've been thinking about slow practice lately, and while it is true that you cannot only practice slowly and expect to play at high tempos, I find that incremental slow practice has great value. By clicking up one by one, it really helps me discover which things are not solid, and the variations at each tempo are surprising. It will take 17 iterations from where it felt 'easy' to reach the final tempo. I wonder how far I will get? I also worked on other things while I work on this.

Maria, I wish you luck on your progress on your piece.

Anne I will be making another video soon. I only put up works in progress and therefore it probably looks like I am stuck all the time! But the feedback I get to get me going again is great.

Anne aMaudPowellFan
Posted: May 14, 2019
Wow, Dianne, what an analysis. It sounds like you are in a good place with systematic practice. I’d love to hear you play.

Maria
Posted: May 14, 2019


I might consider playing it on a lower octave... I have to work on the fingering and shifting in order to play it especially the second part the finger placement must be almost perfect fit to transition to 2nd position in order to play G-E-A-G-HIGH A -C-Eb-D etc... 

Maria
Posted: May 14, 2019
Set back


I've totally forgotten the intricate fingering, shifting and most of all expression on Bach-Gounod Ave Maria.

I was into 3rd day of sight reading last April 22, this piece is super challenging in every aspect especially how to produce a flowing sustained sweetest sound...Proper breathing is crucial here as well.

Dianne
Posted: May 14, 2019
How is your practice going?
The Play With Ray Challenge in Book 5 caused me to revisit Book 4 with the goals of playing with complete relaxation, good intonation, clean string crossings, expression and vibrato. The first time I went through, I was just trying to play the notes. This time around, I realized it was the strength of the 3rd & 4th fingers for fast finger placements and finger lifts that was needed. As a result, I can only get to 75% of the accompaniment CD before it starts to feel like it is getting away from me. I find it takes deliberate practice with Schradieck and/or scales. I am working on GM, Gm, G harmonic and G melodic, 1-2-3 octave until I am completely familiar with them, and can slur them. It's really about bow technique and fast fingers, and everything else is a great and also deliberate byproduct (intonation, hand frame, familiarity with scales). The next level of playing where you no longer read the notes individually, but recognize groups and runs, and the passage is really contained in muscle memory, is a very disciplined area. And what feels 'fast' this week, feels 'slow' next week. For the challenge, I have practiced between 2-4 hours/day, and the hope is that this will show in my progress and sound. This challenge has revealed that I am behind where I want to be on my 7th anniversary of playing tomorrow. And the reason is: no solo repertoire for the 1st almost 3 years (missing etudes, exercises, scales, repertoire books or student concertos) and playing almost entirely concert repertoire. So for the last four years, I have been doing these things, and hence I am in book 4! Anne's kind question has helped me to arrive at the reason!

How has it been going for you?