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due ro the

coltrol required, should be (engaging unnecessarv muscles), and (alier dailv practice) and atter longer
artemptecl t1teets&]][rlcl. atl rq1!9r the ascending line demonstrates the periods ofabstaining from the piece
slou. tempo. This permits carelul comparison impror.ement of technical masterv of
or tcchnicel problem in querrion.
r.vith open strings and allou.s the student tcr -
rhe rvork during rhe leerning This phenomenon, ofien called
seek perfection in double-stops..Analvtical
u n net.cs.a rr c( )-c, )ntracl iuns
E I i m i nar i ng rl I 'settling down', 'sinking in', 'maturing,, ol smell segment. shuultl be can help ens.ure that practisin reiulis
!o 'gettjng the right perspective' and so on,
Jonc at u rcmpu in cumplerc conrrol
rr hit.h in fluid. r'oorJinrrcd.
:kilful plrr ing. was summed up most concisely by plastic
ts |( rs\rblc. u rth the ;rddirion of ,horr \\hile rhc greph sh,,rr n rcpre:cnr\ and reconstrutive surgeon Hunter
lnterlu(lcs nl la:lcr tgm|)e. su rhar the
learning a composition lrom beginning introduced the term 'after-
student can experience and cont.ol to end, everyclay practice would onlv form processing'. Fry defines this as 'some
Lhe ul,Propriare I)h\ ricrl movemenrs. a small segment of this process. In anv kind ofuseful processing which quietly
' l.rtg.t'.g..n,'i wholc m,,r qmenrs case, in the macro and micro learning- occurs betx.een the two practice sessions,.
or I he \\ holc rvork shou ld | ,c pracri,ed I r proces\es. onc ofrhe musr imlofiJnr The musician resumes practice of the work
_1 l..po
that ideallv allou,s all the positive
lttrrbutcs of'slou antl nurmal remprrs
rf ,'Lrje.rives is t,, ls1 gl6p rhe *tLrls61'q or part of it, and finds that it has 'magi-
,r**..,1- - , lljl.t Lo knol u hcn ro s-rol) - r poinr cally' become easier or their perlormance
maxlmum control s,ith rhe right i"ffi;il;;l;J['t,t in i..ogni,-. more:rccuritte rhan i ulo thr 1rps1 irr,
Gffiff.'fhJR.. .ru. At this stop point, the only sensible policy day-,demonstrating the signihcance of
NI.NI. Beljakov.liamed such a rempo is to end the practice session and leave a[ter-lrrotes.ino in rhe lcarning curve.
'w91!rlg.=arol. As soon as possible continuation of u,rcrk to'after-processing,. Tt i: rluitc possihle rhrr L)rr id Oi:rrakh
Thc Iter es:JTV Jr ncmic' end ex|res.ion Students and teachers have long been \\ irs J\\ trc of thi. phenomenun, x5 he
should be observecl,
-with special attenrion aw-are that some problems are solved alter
gir.,en to the right hand. the en(l ot'the |rlctice.cs.ion. fhir Lrn
l-ris students not to 't
Thc olIffercnt rem 16,,fep fliin;: p16smablv during their practice L
1,n1q11. 1 be observecl both atier shon intervals _. .esriuns - Ir,6 i',.16 lur perl'ecri,,n. >
l)rJCrrsrng uoulJ nor lrc cornl,lcte u rthout
mcntion ol rwo e\rrci:c. thrr c;rn gir e &AW" 1 t **W&N.X &yW Wsru N*Wyd-&,*_ ?L&y *{*&
excellent and permanent results in
controlling the securitv and reliabilitv of
rhr rhm rnrl rcmpo. Pert'orming rirrrrlanJo
ar thc snd ol erery l,ar, rrirh rhc ]ercl of
*-*ffitr,-,,gffiili, ironc.
The other is arguably one ol the best .-.
movemeni disintegration of movement
exercises lor developing control * deliberate;,..
.lowing duu n in \egmenl\ .hu..nT:-
rrndom. Borh excrcisc. imDr()\ mental tendency to econorrrise cn nlovement danger in exggeratinll of movement
command of both hands, strengthening ir;ding tc tjuid, energy.etioent, sa*ixr; * eventual problems with fluid,
u,hat Galamian calls 'correlation, or lr.hat coorCinated ve'tical. horizontal and energy-effi cient, coordinated
some would call 'rvill-po,"r,er,. laterai movemenl vertical, horizontal and lateral movement

'lhe process oflearning a series ofnotes is
different movement (sometjmes),
so compiicated that the likelihood of it er-er appropriate divisions of bcw wrong divisions of bow
being completely r.."rr.h.d rnci rr,l.rrtoo.l ?*errtrS* ?* correct articulatlon, l*xdlng *: 6:roblenrs with correct
is doubtful. Howevel some elements are phrasing and dynamics articulation, phrasing and dynamics
knotr n. and fiuu... : unc imfur-
tant aspect ofmastering technical
problems in a composition (see page problems with *:reathinE properly
4r). no difficulties with breathina
The descending line show.s the
Jim ini'hing ot muscuIxr co-(.onI rxcrion\

Coulcl rl.e speculate that aiter-processing In mv student clavs, some colleagues of
not onlv l'orks to perf'ect, order and build mine played the ell-knou,n short
the multitude of dilferent notes ancl piece Schubert's Die iena Ltp.t 1no.9,
phrases in our musical and kinetic memo- compering to reach the end in the shortest
ries, but also to subconsciously implant time possible.
rhc mu.icrl \uh\lJnce,,f the comlr,sirinn Perhaps Nlischa Elman represents
with our feelings, ideas ancl sensitir.ities? one ofthe best examples ofthe sporting
\\'e ourseh,es might not be fully approach: in the first movement of the
acquainted lvith, or er.,en ar,r..are of them. \'Ienclelssohn Violin Concerto, he r,vould
but coming lrom the clepths of our soul, pla1, the long open G string
thel consrirutc mu.t lrrecious
Thc (bars r j r in one bow-
-9) - crescendcr
element of our art its indivicluality
- and decrescendo included. The beautv of
and uniclueness. this leat u-as certainlv as much in the eye
A pedagogue u'ho tries to exert control as in the ear of the beholder. exerted the smallest subtletv of their stuclent,.s perf-ect control of all the elements of
plaving leaves nothing to after-processing
ancl runs tl-re risk of destroying this most
beautiful tone production, ancl on an 3rG;i**}-3]IW
Mischa Elman demonstrated the results of the ,sporting approach,
ercellent instrument at that.

-l exquisite quality, rvhich for most students

is the rerl.ard oftheir endeavours. 'lhis
Dr S. Nlittelmane.r, u,ho pracrised
medicine in the rgth cenrur,v, took x.hat play the u.hole of Kreutzer's Studv no. z
type ofteacher does nor help the student could be described as a science-based in one bor,. This calls lor extremely
in their artistic development, but is, in sporting approach to the problem ol quick and nimble fingering in the lelt
all probabilitv- compensating for his own Together u,ith Frantisek hand and an extremely slou'and
artistic lailure producing norhing but
- i..Ondfie(.!littelmann published the controlled bou,'. Campoli'.s efforts nere
a clone of himself. extibmelr. controyersial u,ork \teu llethod
.justiliabll. lauded - 'Campoii'.s left hancl
.for Atqui.rition oJ l.'io/in Tithnique Ba.;cr/ u,as terrilic,'said fbd IJrr,ett in Tle Strad
p*&?:1t* Appa*&f* n nato nt i co- p /ty sia / ogi ca/ [)- i ncip / e_r.
in Nfar. r98.5. 'When he plaved it you
last merhod is one that coulcl be callecl According to this, exercises in verv high had to get do."vn close to him to hear it as
a sporring- approach. It inr.-olves varving positions 'cleserve special attention, as it rvas played at such extraordinarv speed.,
degrees of pedagogical value, comperirive they'strengthen the small muscles in L,ven humbler effr-ts, such as dividing
spirit ancl o combined rvith just the hanrl'. \Iittelmann described this the studv between ttr.o or three bor.s.
the right amount of masochism. :rrcnglhcning l)r'(,ce\\ a\ hcing impnrrrnt lr,ould bring great benefirs to both hands.
./t for violin plaving. 'I'he resultant potenrial to plav
the piece
'.|ortint' I,anner is l(, spced up l)as\Jg(\ One performance arguably beats all u-ith flair, greater exposure rL)
*i.r tha, nnir,,l rl, m.tron,,tr.l.. A tr-tora others in irs sheer virtuositv as u.eil as lor the semicluar.ers, makes the perfirrming
n;in;i iadari;;;;", d L t,, ti-. its real predagogical value. British violinist
r ptecc rn quick rcml,u .irh
";.;** ex1>erience even more enjovable fbr
.: r \rol) rlch. Alberto Campoli r,vas reportecllr. able to the student ancl listener.
Thgt"-ltcrlt!y-9g[e.]itappqsiL,c-hes I
ru llflgilf rlA. To usc ell gl rhcm_simulran.-
F* : *#{&&#& s &r rJr*:se*&y *W*s.
{{#-{*i?${e{?s!r} sf Sjlrg-q-i9:.gppssibl.. Hol'ever, if
the student avoids adhering too rigidlv
to the same practice routine and
regularly changes their approach, this
r.ill bring mental refreshment and mav
even provoke some ne\r, ideas. x

ItrURTI-itrItr Rtr,{DING

>> Robert Gerle

'Ihe Art of Praetising the Violin
srArNER & ntr.r-, r-oNooN, r98 j
>> llaoul'trbbiana and {'eter- C. Awadia
Medical lrroblerns of the
trnstrucrentalist Musici an
tjt NtT,/. LO\tO\.2OOu )
* lfuri lankelcuirlt