Viewing 10 posts - 1 through 10 (of 18 total)
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  • #9400 Reply

    Joshua Lopez

    A video to see if my youtube account works and to get some feedback here. I’ve got a long way to go but I’m making progress daily.

    #9404 Reply

    Mona T

    Crossing strings is such a challenging thing, great job!

    #9418 Reply


    I agree with Mona – good job!

    #9419 Reply

    Joanna Johnson

    I just posted on this video via the Social Network part of this site, but I will copy what I said here: 🙂 Your intonation is very good for the most part! On the few arpeggios where you have more difficult keeping good intonation, I would recommend practicing them as double stops. The other suggestion I have is to keep your bow shoulder down and relaxed. You are working a bit too hard with your shoulder. Just lift and lower your arm, not your shoulder. That should help it feel a little more relaxed. You’re doing very well! Keep it up!

    Let me know if you have any questions about my suggestions!

    #9457 Reply


    Hi Joshua, this is really a beautiful etude, thanks for sharing! As a beginner I cannot advice much 🙂 But I can say I love etudes and hope to play this etude too some day! Keep enjoying!!

    #9458 Reply

    Celia Levy

    Nice job, keeping working at it but it was really nice.

    #9460 Reply

    Cindy Wallen

    Nice. I heard you relax, instantly your intonation improved! Awesome job.

    #9466 Reply

    William Bickerstaff

    Nice string crossings!

    #9485 Reply

    NIce job! You might try slowing it down and playing with a metronome to even out the rhythm. However, the rhythm was already fairly consistent! 🙂

    #9494 Reply

    Dianne Adkins

    Awesome! As a follow up to the suggestions offered by Joanna Johnson, specifically alternate ways to practice the arpeggios, I think playing them as chords is a great suggestion for fine tuning intonation. Re-create this piece by playing the bottom two notes of the arpeggio as a chord, on a long bow, for tone, followed by the upper two notes as a chord, for tone. Don’t go all through the piece, just a couple lines. You play this piece very well with very little intonation problems. But often in such a piece where the left hand is really challenged, I tell my students to eliminate the left hand all together. So one way to practices is slow, broken up chords — a new and beautiful piece! A second way for relaxing the string crossing is take the fingers away, and just do the exact bowing, open strings. Listen for tone. Attend to a proper bow arm motion with the elbow swinging freely and leading as the bow travels from G to E, and following the hand (staying under) as the up bow travels from E to G. Try it in reverse. Travel from G to E starting up bow, then down bow from E to G. Observe your movements in a mirror. Keep the shoulder relaxed. Sometimes playing the reverse makes as written seem easy. So much more can be explored with such a talented player and a challenging piece. But my final suggestion is to find the music beyond the technique of this piece. Hear the bottom notes stepping up, pull them a bit, cheat time, caress this ascending melodic movement with warm vibrato and sometimes a little more length than mere metronomic playing will allow. Conversely, consider the top of the chords, notes on the E string as ‘arriving’, completing, answering the melody apparent in the rising bottom notes. Again, make music of it. Vibrato, stretch time a little, make love to certain notes within the chord that change tonalities, give these emphatically to the listener, because he/ she might miss their beauty. So you have more than notes, bowings, fingerings, etc to achieve here. You already do that part. Now make the music as I have suggested here, one loving phrase at a time, building your own understanding of the composer’s intention, and improving your performance with each roll of the bow. Thank you for sharing this video. I always find it such a pleasure to see young men striving for brilliance. It’s a beautiful thing!

Viewing 10 posts - 1 through 10 (of 18 total)
Reply To: De Beriot Etude no. 1
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