Angelita Y.

Moris May 17, 2020

MM-MUSSP Mr. Giancarlo Gonzales
String Pedagogy
(Observation)

Insights, reflections, realizations

1. Irish Glen O. Portugal (Concerto No. 2 by Charles Davidoff)

For me, I think using a metronome and drone in practicing any exercises and pieces is
very helpful and important. I also noticed like what the teacher said about his intonation. It is
very important to be more sensitive on the intonation; when practicing those passages it is better
to dissect the parts.

2. Rosebelle Cama (Paganini Moises Variations, 3rd variation)

When practicing a piece it is better to set a goal. Focus on a spot that you want to clean.
Do not just play the whole piece. Think of all the things that you want to improve. I observed
that there’s something awkward on her right hand (maybe because of her bow hold). I still
remember what my teacher said when he’s teaching me; I need to think of all the things that I
need to do like phrasing, bow techniques, dynamics, musicality etc.

3. Rosebelle Cama (Scale in C major)

I observed her left elbow angle especially when she’s going to the lower strings, I think
she needs to find the right angle. For me when practicing the shifts, you need to practice it slowly
but surely. When she’s doing the shifting from sol to la, she doesn’t need to lean the palm on the
neck of the cello. I think she needs to raise her left elbow when going to the la. I also noticed
(correct me if I’m wrong Sir) her movements sometimes is very robotic.

4. Jieg Aliermo (Piatti Caprice)

When I was studying this piece I remembered the things that my teacher taught me like
the blockings, finger placements the tabbing and the extensions of the fingers are very important
factors in playing this piece. The student should also know what the important notes in playing
this piece are. He also needs to relax his right arm and wrist when doing the string crossings/ less
wrist movements, more on finger movements.

5. Rose Belle Cama (Bach Suite no. 3 Prelude m. 45-60

This was my piece before; I was also having a hard time doing the string crossings and
how to make them sounds equal. What I did is I practice the string crossings separate bow first,
then tried different bowings. Then need to check the bow angle in preparation of the string
crossings. I suggest if it’s ok, I think she needs to find bowings that can make this passages
clean, equal (without accents) etc. she also needs to check the blocking of her fingers (especially
the second finger, same as mine).

6. Mhaze Danniel Lim (Haydn Cello Concerto No. 1)

Finger blockings, sound quality/sounding point and bow movements these are the
problems that I observed in his playing. For the finger blockings, he needs to curve his fingers
and always prepare them near the string, don’t play like a pianist. When pressing your fingers
you especially the 2nd, 3rd and 4th you need to put down the other fingers. I notice that most of the
students that I observed (including myself) the second finger is always a problem (always
raising), because we are not always aware of what we’re doing. For the sound quality, the
student should be able to control the bow pressure especially when going to the high register. He
also needs to observe the sounding point when he is going the high register the bow should be
place near the bridge. For the bow movements (dancing bow) he needs to control the flicking
movement of his hand.

7. Jieg Aliermo (6ths, 3 octaves)

Scales are very important for us instrumentalist because when practicing them you need
to apply everything that you’ve learned like bow planning, sound quality, blockings, intonation,
shifting, form of your hands and fingers etc.. That is why we need to be more vigilant, patient
and meticulous in doing the procedure.