Please start by downloading the new version of volume D01
that I updated today.
If you are new to the course, please read this
message to familiarize yourself with the conditions for participating in the lessons. You should also read the first message in lesson 1
, where you will find advice on how to make the most of your study time and on the methods of practising that I recommend.
First we will study some technical exercises from volume D01.
Page 54: G major scale and C major scale, numbers 2 and 3. Be sure to damp the notes properly in the descending passages. To damp the notes in the descending passages: lean the fingers of the left hand against the vibrating strings. Work on controlling the volume by playing crescendo and decrescendo.
Finally, we'll look at six simple tunes, pages 16 to 21
Anonyme : Scarborough fair
Anonyme : Ah vous dirai-je maman
Anonyme : Sur le pont d'Avignon
Anonyme : La bonne aventure
Patty & Mildred J. Hill : Good-morning to all
Anonyme : Lo, nous marchons sur un étroit chemin
Anonyme : La cucaracha
In order to mark the beat yourself, you need to count the smallest rhythmic values out loud as you play, as indicated on the score: "1 e 2 e 3 e" ("1 and 2 and 3 and" in English)
Using a metronome is useful, but it is only a temporary crutch to lean on. You will benefit far more by counting the beats out loud as you play than by using a metronome. Internalizing the rhythm allows us in time to achieve both freedom and discipline when playing, that is, to be a musician.
If counting the smallest values out loud seems difficult, or very difficult, to you, it only means that you have to persevere, or persevere a lot more. Keep at it with determination until it becomes easy and natural for you. When, after having practised it long enough, this exercise of counting out loud while you play becomes easy, then you don't need to bother with it any more.
When you start working on a new piece, start by working very slowly, concentrating on precision. The essential thing is that you should play the music perfectly, that your rhythm should be precise, your sound well controlled, and your playing musical and expressive.
Speed will come with your new skills acquired in time through work. You should not worry about speed when tackling a new piece. At the beginning, such a preoccupation would only hinder you in your progress. It is only once you have mastered the piece within the comfort of a slow tempo, that you can start to think about playing progressively faster until finally you reach the right tempo.
You can memorize different tempi (tempos) by mentally associating each one with a tune you have learnt by heart. Learn a suitable tune for each tempo. Begin with Good-morning to all (the same tune as Happy Birthday) for the tempo of 120 (beats per minute).
I ask you first to work on all these exercises and tunes for a week and then to upload your recordings of:
Exercise 3 on page 54
Good-morning to all
Anonyme : La cucaracha
I look forward to hearing you play these exercises and tunes.
I thank Geoff (GeoffB) who has helped in the translation of my lessons into English.