Lesson Journal

Keep the bow contact point consistent — it drifts toward the fingerboard in the upper half. The shift to third position needs to be prepared earlier in the phrase.

Slow Kreutzer with metronome at 60, then 72. Drone practice for intonation on the A string shifts.

The opening phrase of the Accolay is much more settled than last week. The Martelé is improving but the crossings still rush.

I didn't realise how much the contact point was drifting until M. pointed it out. Watching the bow in the mirror helped.

1. Bow control at the tip — consistent contact point 2. Kreutzer string crossings at slow tempo 3. Accolay shift to third position with drone 4. Long tones for tone production

Bring the Kreutzer at 72 with even crossings. Have the Accolay opening phrase prepared to play through.

How do I keep the contact point consistent when the string crossings get faster? Is the drone practice the right approach for the shift, or should I try a different method?

Sevcik Op. 2 for bowing patterns. The Perlman Kreutzer recording.

Accolay — Violin Concerto No. 1; Kreutzer — Étude No. 7

I was pressing in the crossings. She had me play near the string and the tone cleared up immediately. In Mozart, I'm rushing the cadential long notes — let them live.

How do I keep the melodic line when the spiccato gets fast?

Pre-hear the shift. My fifth-position intonation is guesswork — she had me sing the note first.

When does a piece stop being 'studying' and become 'mine'?

Spiccato was too high off the string. Stay close. Also — the Mozart accompaniment figures were over-bowed; lighten the whole right arm.

How do I practice restraint without losing energy?

The pizzicato was an afterthought. She had me practice it alone, then add the bow.

Should I always practice the hands separately first?

One-string scale — release pressure before and during shifts; listen to the arrival note; adjust the hand as its position on the string changes. Two-octave chromatic scale — fingering pattern 12 — 1234; two notes per bow; practise slowly for relative intonation. Bruch — find the insecure passages; establish dependable anchor points; work the connections between them; test from memory; return to anything that remains uncertain.

Patience is part of the technique The central idea from this lesson was patience. Technical work cannot be rushed. Shifting, intonation and memorization all require enough time to listen, notice what is happening and make an intentional correction. The goal is not simply to repeat the passage. It is to understand what needs to change. One-string scales and shifting The one-string scale is an exercise in releasing unnecessary pressure during a shift. As the hand changes position along the string, the movement should remain free rather than carrying tension from one position into the next. The hand must be allowed to adjust to the changing geography of the instrument. The focus is on: • Releasing pressure before and during the shift • Listening carefully to the arrival note • Adjusting the hand as its position on the string changes • Avoiding tension while moving toward the bridge • Remaining patient enough to hear and correct the result Two-octave chromatic scale Practise the two-octave chromatic scale using the fingering pattern recorded as: 12 — 1234 Use two notes per bow. The purpose is to develop relative intonation: listening to how each note relates to the note before it instead of treating every pitch as an isolated target. Practise slowly enough to hear each relationship clearly. Accuracy comes before speed. Finding the unknown places in the Bruch The instruction for the Bruch was direct: Find what I do not know, and solve it. Instead of repeatedly playing from the beginning, I need to locate the uncertain passages and identify reliable anchor points throughout the music. The process is: 1. Find the passage that is not secure 2. Identify where the uncertainty begins 3. Establish dependable anchor points 4. Work on the connection between those points 5. Test the passage without looking at the score 6. Return to anything that remains uncertain 7. Memorize the passage deliberately Memorization should come from understanding the structure and knowing the anchor points—not merely hoping repetition will make the passage familiar. One goal for every practice session Every practice session should begin with one clear goal. Write it down before starting. The goal should be specific enough to achieve and assess. “Practise Bruch” is too broad. A useful goal identifies the exact passage, technical problem or musical question that needs attention. At the end of the session, I should be able to answer: • What was today’s goal? • What changed? • What still needs work? • What should come next? One clear goal creates direction. Completing it creates momentum.

• Write down one specific goal before every practice session • Practise the one-string scale while releasing pressure during shifts • Practise the two-octave chromatic scale slowly • Use the recorded 12 — 1234 fingering pattern • Play two chromatic notes per bow • Listen for relative intonation • Identify the insecure sections of the Bruch • Establish and memorize reliable anchor points • Listen to Arthur Grumiaux • Research Grumiaux’s connection to the Brussels conservatory tradition • Confirm the exact SHAR chinrest model

Patience is not separate from progress. It is what makes precise progress possible. Find what I do not know. Stay with it long enough to understand it. Solve one thing at a time. Attacca. — These notes document my own learning as an adult violin student. They are not professional music instruction.

Arthur Grumiaux — this week’s artist study. Listen for clarity, elegance, phrasing and tone. Learn more about his musical education and his connection to the conservatory tradition in Brussels. Kirill Troussov — artist discussed during the lesson. Note: Troussov is the masculine surname form; Troussova is the corresponding feminine form. Equipment: Chinrest from SHAR — exact model to be confirmed.

Bruch

1. Rhythm exercises with a metronome 2. Solfège and ear-training exercises 3. Sight-reading 4. Bowing and sound-control exercises 5. Focused repertoire practice The purpose is not to rush through every category. It is to work carefully, listen closely and remain patient when a new concept takes time to settle.

Practice needs a destination One of my main takeaways from this lesson was the importance of giving daily practice a clear destination. Consistency has already helped improve my pitch, intonation and sight-reading. But repetition becomes more meaningful when it is connected to a specific musical goal: repertoire to prepare, musicians to work with and a performance date toward which the work is moving. My current repertoire goal is to prepare the Mozart Rondo for performance. A second goal is to begin organizing a small chamber group and work toward a recital or presentation in June. Building musicianship through ensemble playing Playing with other musicians develops skills that are difficult to build through individual practice alone. A chamber group requires listening, rhythmic responsibility, balance, communication and the ability to understand how one part fits within the whole. The next step is to find two or three compatible musicians who are interested in meeting consistently and working toward shared repertoire. Once the group is established, occasional coaching can help us refine the ensemble and maintain clear goals. Clarity before volume A strong violin sound is not simply a loud sound. The more important goal is a sound that remains clear, controlled and intentional. That requires attention to the bow, contact point, rhythm and quality of sound throughout the phrase. Practising slowly with a metronome helps separate technical control from speed. Counting the beats while playing also makes it easier to notice where the rhythm begins to drift.

• Continue the daily rhythm, solfège, sight-reading and bowing routine • Practise with a metronome and count each beat clearly • Prioritize a controlled sound rather than additional volume • Continue preparing the Mozart Rondo • Identify two or three compatible chamber musicians • Establish a consistent ensemble-practice schedule • Begin planning toward a June recital or presentation

A routine creates consistency. A destination creates direction. The next stage of my practice is not simply to add more hours. It is to connect the daily technical work to specific repertoire, ensemble playing and a performance goal. One exercise into another. One rehearsal into the next. Attacca. — These notes document my own learning as an adult violin student. They are not professional music instruction.

Mozart — Rondo