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    Dianne Adkins
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    Vyshakh! My friend! Nice job with this Andantino! I loved the way you alternated the use of 4th finger, depending on the notes that followed. Excellent! I just wish you were working on an acoustic violin so you could develop tone production!

    Anyway, I do have a suggestion regarding the teaching aspects of this piece. You’ll notice there are quarter note accents every third measure. So this is the first time in the Suzuki literature that the accent is introduced and since there are some things that help you play accents better, I will outline them here.

    All the quarter notes that have an accent in this piece are on the UP bow. The key is to stop the bow on the note just before the accented note so you can play a crisp accented stroke. To practice this, let’s take the accented note out of the music and make up a practice unit. Since it happens on A and on D in this piece, let’s start on open A. The exercise will go DOWN bow, then UP bow. Repeat. Stop each bow stroke. Take all the time you need. Start the bow with fast bow speed and a little extra weight into the string. The moment you hear the stroke, slow down and sustain for a quarter beat as it occurs in the piece.

    Play half notes, DOWN bow and UP bow, repeatedly on A, then try it on D. When you have a nice accent, try adding the fingers. Maybe do a one octave scale with accents on each half note. Practice open string with the same rhythm as it occurs in Andantino.

    DOWN bow –Eighth eighth quarter (stop this quarter note);
    UP bow — Eighth eighth quarter (stop this quarter note);
    DOWN bow –Eighth eighth quarter (stop this quarter note);
    Accented note.

    So the key to accented note is to stop the bow on the note before, start the accented note with bow speed and weight, release the weight and slow bow speed the moment you hear the note, sustain.

    I hope this helps you play a nice, crisp accent in Andantino~! Good job!

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Reply To: Andantino Suzuki Violin Method I
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