To show you some more practicing techniques we carry on with this concerto. Let’s focus on the first ascent:
This one is really difficult if we want to play it well. A certain intonation quality should be present already. If not, have a look at this technique again and concentrate on practicing interval by interval to brush up your intonation.
A particularly difficult point is the step from the last sixteenth into the chord. After clarifying the notes within the chord we have to get from the first to the third position to play this chord. Again, we practice this step by step:
After repeating this four or five times we enlarge the segment:
But please remember to play this always with the original bowing and fingering. Otherwise you’ll practice things you’ll never need “in real life”.
If this sounds good we’ll have to put this in context. In an older post we had a look at fast groups of four and how to handle them. Now we need them again.
Let’s start with the first version:
That looks complicated but you’ll be ok if you start slowly. I know I’m repeating myself but: Stick to your bowing and the effect will be great.
When we are increasing speed we should make sure to play the sixteenth notes in the original tempo we chose.
Assume we chose a tempo of 60. By practicing with the rhythm patterns our beat changes from 3/4 to 3/8 or 12/8 respectively. We have to adjust our metronome to 120 eighths to remain in tempo.
After we finished this successfully a couple of times we take the next pattern:
That’s a little more difficult since the rhythm changes.
The next one is easier:
If we are still fresh we take the last version:
This one is particularly tricky because of the syncopation.
Don’t try to assemble the whole passage before you finished those four versions. It’s worth the effort. If you stick to the rhythm patterns I guarantee you an entirely new and refreshing feeling when you put the whole passage together.
After the patterns.
