MISS BEARD 2014

Practice Troubleshooting
Having trouble? Search through this practicing
guide for help!

Rhythm

1. Isolate the difficult rhythm

2. Set a slower tempo with a metronome or by stomping your

feet.
3. Clap the rhythm with the metronome/stomping
4. Sing the rhythm using ta
5. Write in the music where the main beats fall.
1+2

3+

6. Play the eighth note subdivisions

7. Separate the left and right hands: play the rhythm just on
open strings. Then, practice just the left hand without
the bow.

8. Put it all together still at the slower tempo

9. **Put it all back into the piece.** Start from a few
measures before the part you worked on and end a few
measure after

String Crossings

VIDEO: with parent permission, check out these fascinating videos on string crossings!
On YouTube, search: Kreisler Prealudium bowing gestures
Or
use this link:
https://www.youtube.com/watch?v=wyj1j_apVY8
Next, search: Kreisler Allegro player movements
Or
use this link:
https://www.youtube.com/watch?v=i6K_AUEiaRs

QUESTION: What did you see? What shapes are the players elbow and bow making?

1. Identify where the string crossings are happening

2. Can you eliminate them by using a fourth finger?
3. Consider these parts of your bow arm:
Elbow
Wrist
Shoulder
How will you need to move each of these parts for
smooth crossings?

4. Roll your bow across all your strings. Watch the tip of
your bow as you cross strings. What shape is it making in
the air? Draw it below.

5. Looking at your music, play only the open strings of the

passage without your left hand.
6. Add the left hand back in

Notes

1. Isolate

2. Play through very slowly. Which notes create the roadblock? Why?
3.
the notes
bow by
just putting
your
fingerstimes
down
6. Play
Put notes
backwithout
into thethe
correct
rhythm
and play
it three
on
the fingerboard
correctly
in a row. If you make a mistake, start back at zero.
4.
the
bow measures
back in and
practice
in different
rhythms.
For
7. Add
Begin
a few
before
the it
passage
and end
a few measures
example:
after.

Musicality

VIDEO: Kim Kashkashian is a world famous violist. Listen to her expressiveness and
musicality in her playing.
Search Kim Kashkashian Plays Brahms Viola Sonata No 2 on YouTube
Or
Use this link:
https://www.youtube.com/watch?v=lkeaU2zFE1A

Tone:
1. What are the three parts of tone production?
___________________, ____________________, and
____________________
2. Experiment with what happens when you change each
of the above.
3. Make sure you are allowing the strings to vibrate. Do
not squish the sound by stopping the string vibrations.
4. Practice arm circles by circling your bow through the
air and feeling your arms natural weight. When you
play on the strings, let the instrument ring!
5. BE CONFIDENT. Make mistakes loud and proud so
that you can hear where to fix them.

Dynamics:
1. List all possible dynamics:

2. Play a scale that demonstrates each dynamic level. For

example, play a D scale in mf.
3. Put dynamics into your music. Give a specific reason
why you chose that dynamic. For example: I am
playing piano here because or I am playing a

crescendo here because

4. Play for a friend or family member. Ask them, What
dynamic level did you hear? Does it match with what
you wanted to do? __________

Phrasing:
1. Sing through the melody of the piece.
2. What did you do with your voice when you sang the
melody? Did you crescendo or decrescendo at certain
points? Did you bring out some notes over others?
3. How long are the phrases? Bracket them.
4. What will you do to each phrase to make it interesting
to listeners?

Character:
1. Listen to your piece. Look at the title, tempo
markings, expression markings, and dynamics.
2. List some character words for your piece. For
example, Red River Valley is: Golden Slippers is:
Happy
Peaceful
Skipping
Flowing
Exciting
Tranquil
Dance-like
Humble
3. Think about what you will have to do with your bow to
show these characters.
4. Play for a friend or family member. Ask them what
character they think you were trying to portray. Did it
work? _________

Articulations and bow strokes:

1. List all the different articulations you know:

List all the different bow strokes you know:

2. Practice each articulation in a scale. For example, play

a G scale with accented notes.
3. Practice each bow stroke in a scale. For example, play
an F scale with detache.