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Dianne
I am working on a bowline for the 4th piece in Book 4. I have only done partial bow lines before as I needed them, but now I truly appreciate another's work on the uploaded bowline sheets on the Resources page, especially for multiple page pieces. My 3-page piece will be ready in a couple of days. I'll email a link to Elke as requested. Thank you Elke in advance.

I am totally stuck in the fast string crossing sections of this 4th piece, and it it exactly what held me up last year in the Christmas cantata. So I cannot move forward without lots of bowline work and hope to finally fix my right hand issues! Since it didn't exist yet, I am making it now. This is a lot of work! Anyone who wants to learn note reading, this would be a great exercise for that. In my case, it is making me enter every single dynamic, articulation, slur, text, etc. and really making me look at my piece in a detailed way. It took me 1.5 hours just to get started as to how to add a pickup measure!! (found that one in the help area) and still don't know how to do one of these from scratch to get it from a full orchestration to delete down to just two instruments, so I'm using an existing piece and modifying it. It is finally moving along!

Whew! But this is starting to get to be so much fun using all the necessary keyboard shortcuts. Kind of relaxing in a way. I've obviously not practiced today!
Dianne
10 Responses
Posted: July 21, 2019
Last Comment: July 24, 2019
Replies

Elke Meier
Posted: July 24, 2019
Yes, Dianne, I would do this exactly like that. 

Dianne
Posted: July 24, 2019
Elke thank you. I have removed the expression marks and it does clean up the staves. I have kept the articulations on the bowline notes for now. I assume you remove those, too.

I have one tie that perplexes me. It is a half note tied to a 16th note. There seems no way to reduce that, so do I just keep that tie in the bowline as is?


Elke Meier
Posted: July 24, 2019
Some thoughts on your comments, Dianne:

-All my expression marks were copied into the bowline. I think it might help to have them there as well.
I do not do that. My thought was that when you learn to play the piano you actually learn to see two staves at the same time - the one for the right and for the left hand. After a short while your eyes actually take in both at the same time. So I assume that the eyes can do the same for a bowline version. And my own experience has been exactly that: I work on the bowline separately, but when I play my eyes at times just skip down again and take in both at once. 

-As you progress through Suzuki more and more shifting is offered. My bowline may reflect a different open string than someone else's choice if they choose to stay in 1st position. They can then modify the bow line source file. Am I correct?
Yes, anyone can download the Musescore file and make changes as they want to. 

-Do you generally place all possible fingers above and below the stave that are marked in the score? I just indicate the ones above for the shifts, but I guess I could place a text box below for the other fingering choice, but then the bowline would not reflect which one I chose.
In the ones I prepare I do the version with an empty bowline exactly as the new Suzuki version has it - with the few bow marks and fingering marks (both above and the alternate fingerings below the note) this shows. Then, in the version with the filled in bowline I have all fingering marks above the notes as Beth uses them in her tutorials. This is then what the bowline reflects. 
You do not need to use extra text boxes for the fingering marks. Just select the number and double click on the fingering number in the menu. You can then manually move one above and one below the note.

-I assume all slurred are changed to one note value to avoid the pulsing bow?
Exactly!!! That is what the bowline is for! The bowline depicts the rhythm of the bow, not necessarily the rhythm of the melody. Sometimes this are real eye openers when you discover: oh! I hadn't noticed how easy that part actually is! It feels so complicated in the left hand but the right hand in fact does the same thing over and over again! 

Dianne
Posted: July 24, 2019
Just a few thoughts as I finish this..
-All my expression marks were copied into the bowline. I think it might help to have them there as well.
-As you progress through Suzuki more and more shifting is offered. My bowline may reflect a different open string than someone else's choice if they choose to stay in 1st position. They can then modify the bow line source file. Am I correct?
-Do you generally place all possible fingers above and below the stave that are marked in the score? I just indicate the ones above for the shifts, but I guess I could place a text box below for the other fingering choice, but then the bowline would not reflect which one I chose.
-I assume all slurred are changed to one note value to avoid the pulsing bow?

Kate
Posted: July 23, 2019

This has really focused me on sitting down and doing my own bowlines and seeing the time spent as important. I'd watched and made notes on the practice course re:this and saw immediately the sense of what was said but only recently understood a specific value in my own practice. 

At the moment I'm spending a lot of time on intonation and trying to really 'listen' but it's something that just takes over everything else. e.g. I found when I'm prioritising the right hand I still get distracted by intonation. Which is exactly why working from a bowline would be beneficial! (Also marking the score when a finger goes back (or forward) a little further than expected will really help move forward with intonation– so I remember the next time).

I think sometimes I'm not ready to really hear what is in the videos, – and then I get to a certain point and I think 'of course you idiot, that's exactly what Beth was saying!'



Elke Meier
Posted: July 23, 2019
To reduce the bowline: do a right mouse click somewhere on that stave and select "stave properties" or something the like (I use a German version, don't know what it says in English...). In the first block of the dialog box the fourth entry from the top is something like "Scale". This is where you change this. The bowline template has this set at 75%, but the other day I when I worked on the Bach Adagio I was tight on space and made it 65% - it still works well like that. 

I have not been consistent with the bowline file with an empty bowline. This was meant so people could download the PDF file and work on their own bowline manually. I did this because I realized what a treasure it is to even prepare a bowline. As you mentioned, one discovers the piece on a different level when one has to think about all these details. When you actually do the bowline you start thinking differently about bow rhythm, and the difference between the rhythm of the melody and what the bow arm has to do starts staring you in the face. But I wonder whether anyone has used these files. My guess is that most people just look for a filled in bowline file. And for a longer piece like this I would definitely also go for the ready made file if there was one... 

But if you still want to do the empty bowline file: Click on a pause in the bowline, right mouse click, Select, All similar elements in the same stave, F8 (to start the Inspector), take the check mark off from Visible. That way you only have the empty measures for people to write in without pauses cluttering the stave.  

Dianne
Posted: July 22, 2019
Thank you so much for notes and tips, they are exactly what I needed. I went ahead early today and started a from scratch file (lost all my work from yesterday because I used an existing file and it somehow got corrupted), and just finished my piece minus the bow line entries. I notice that on the Resources page there is one w/o bow line, so I will save this one out w/o bow line and save another with bowline added. Tomorrow I will add the bowline. My bowline, since not from your template, is not reduced in size, but I started before you sent it- I would like to use yours for the next piece. Wow this is very surprising- there were so many articulation and dynamic markings my piece (seemed like a hundred of them!) that I did not even notice before. Entering this was worth it just for that alone. I learned so much about my piece on a whole other level with that and putting it in note by note, but the entry from other files will come in handy later.

Hi Beth, I literally have been carrying a flaw in my bow arm with fast string crossings since I started with the violin, and it cropped up trying to play fast fiddle songs at 2 years in on my old ensemble group, and then again last Christmas with difficult baroque tempos. It wasn't until this 4th piece that I ran into it with Suzuki books. I literally cannot play the piece solidly  above 63bpm right now. I am completely blocked with no where to go. Exercises and practice strategies have not worked for me for some reason. Even doing the bow line on the fly did not help. I am in my 3rd month on this piece! I am excited to see if the bowline helps me to finally overcome this crooked bowing/stiff arm/using too much bow on string crossings. I will let everyone know what happens when I get to it later this week. If it does, I will never play another piece w/o creating a bowline document or using someone else's to practice. 6-10 hours of data entry versus 3 months of practice is a huge difference in effort! I just can hardly wait...

Elke Meier
Posted: July 22, 2019
Oh, I just noticed I did not answer some of the questions here in the mail I just sent off... 

The easiest way to get from an orchestral piece down to just one line is in Edit-Instruments. You can just delete the ones you don't need. At the same place you would add an instrument, that is a stave. 

And a note on pickup measures: Sometimes you have something similar in the middle of a piece, like when you need to have a key change in the middle of a measure (see for example measure 26 of the Becker Gavotte, where the key signature changes). Do a right mouse click on the measure - upps, I just notice: I have the German version... Well, it is the last thing that appears on the context menu. Should say something like "measure properties". In the dialog box that appears you can set it how many beats this specific measure actually is. You do the same for the measure after the repeat sign. And for one of them you then choose (in the same dialog box) NOT to count that measure. Otherwise your overall count will be off. 

Oh, and another little thing I think I did not mention about the note entry: up and down arrow raise/lower the note value a half step.

Elke Meier
Posted: July 22, 2019
Feel free to ask questions, Dianne, before you do another hour and half of searching for the right answer... I am by no means a Musescore expert, but I have done a fair share and might be able to help. If I don't know the answer you can still start your hour and a half of searching - I have done quite a few of those myself :). But maybe email me (2007elke@gmx.de) or whatsapp me instead of putting the questions here as I am not in the community page as much as I am in email or whatsapp. Also, I could send you the starting file I use for bowlines. I use that one, add the right amount of measures, give it the right key signature and time signature and copy the melody line I want from another piece into it. For me that has proven the easiest and quickest solution.

Beth Blackerby
Posted: July 22, 2019
Good for you, Dianne! I think if students would adopt this practice, they'd realize the time spent doing it would be more than made up for by the time gained in more efficient practice.