Continuing to polish your detache strokes as well as being familiar with the key of B flat Major in the first position. Detache is a very basic but important stroke. Beautiful detache makes your performance to sound very sophisticated.
Fantasie-Caprice by De Beriot, concert etude in the first, third and fifth positions is the last piece (no.218) in Introducing the Positions for Violin, Vol.1. Many students have difficulty with the rhythm at the beginning. Count carefully. m.7 is in the 3rd positions. (not the 4th position) Stay in the position until you see the […]
Wohlfahrt 60 Studies op. 45 no.3 moderato is a practice of detache stroke in G Major. Welocme to the students who just started to use “etudes, ” since Wohlfahrt 60 Studies can be your very first etude book. By just looking at some etudes in the book, they seems difficult and longer than the pieces […]
In Introducing the Positions for Violin Vol.1, you learn the 3rd position, 5th position as well as shifting from the first to 3rd, 3rd to 5th, also the combinations. The shifting in musical context is introduced at no. 85, but I’m going to talk about the section in F Major no.91, 97, 98 and 99 […]
“Teacher! I have to play this at the audition, but at 183, the bottom note is different from other sections, and it is very difficult to play !!” “It is the last section of Stravinsky’s Rite of Spring. If you have any doubt, it is best to check with the full score. Let’s take a […]
Shinozaki Violin Method Vol.1 no. 67, 68 C Major Scale, 69, 70 “Moon over the Ruined Castle” by Rentaro Taki
Up to this point, everyone has learned the notes on the A, D, and G strings, as well as playing two strings (A and D strings) in one piece. Now, you are ready to use three strings (A, D, and G strings) in one song. You will learn dotted notes in this section, too. No. […]
Wohlfahart 60 Studies, op.45 no.6 moderato is in F Major, even though you can see many accidentals. Same as no. 4 and no.7, this gives you another opportunity to get used to accidentals. In addition, I recommend to practice both without staccato (legato) and with staccato in order to maximize the effect of this etude. […]