Part 2 of Vivaldi A minor 1st movement for #playalongwithchloe!
A lot of the things I wrote in the first post apply to this page as well so review those for similar passages.
Measures 28-31 are a good exercise in bow distribution. You should use more bow on the 8th notes so that the 16th lines alternate being played above the middle and below the middle. This will help you make a more musical phrase out of this repetitive passage and will assist in the crescendo as well. When you play the two 8th notes at the end of this passage in measure 32 make sure that the second 8th is always slightly less than the first. This applies to any two 8th notes that end a phrase in this piece.
A big problem for students in this piece is rushing the 8th notes, especially when there are 8th notes in an up-up bowing such as measures 42-43. Subdivide those notes in your head when you play them which means that you hear two 16ths in your head for every 8th note that you play. Another thing that will help avoid rushing in these measures is to make sure the down bow 8th note As are played with a lot of bow. You need to get a good part of the way into the upper half of the bow to not feel like the up bow 8ths are squished.
The last passage in this video has an issue with 8th notes as well but this concerns string crossings more than rhythm. You will see three consecutive 8th notes in measures 47-54 that cross over three or sometimes four strings. To avoid hitting other strings while playing these you need to make sure that your right elbow is level with your wrist, that your bow is in the middle (this is the easiest location for string crossings), and that you practice these notes very slowly stopping your bow on the string you have just played before you move your bow to the next string. When you move to the next string your bow should not move or make any sound at all - hold your bow steady, keep the hair flat on the string, and raise or lower your arm to bring your bow to the new string.
Part 3 coming soon!
Vivaldi Concerto in A minor RV 356 Op. 3 No. 6 - I. Allegro
2 hours ago
It’s my 17th birthday today!
I’m celebrating it by going out to lunch with my mom and getting myself some new recording headphones!
6 hours ago
This is my current desk setup right now and where I’m spending most of my time finishing up this Disney album! Finishing backtracks this week, then next week I’ll be recording right here too, and I’ll be adding in some portable acoustic treatments for sound isolation. A lot of you have asked what software I use, mic, etc and when I see those questions I do my best to answer, but I think it’d be helpful to just do a whole video about all that some time so you have all the details in one place! I’m planning on filming a lot more Vlog style content for my YouTube channel (and of course regular music videos) once I’m finished with this album, and I’ll definitely do a studio tour so you can see all the different stuff I use to make music! What other types of tour/tutorial/vlog videos would you guys like to see? Let me know down below!
I'm starting a new series called #playalongwithchloe where I make videos of student concertos and show pieces and give you tips on practicing!
I'll start with Vivaldi A minor since it won the Insta-story vote When playing this piece remember that it is a baroque piece, and even if you're not playing in baroque style it should still feel uplifted and full of energy. Think sparkle and zing! It's easy to get bogged down in the repeated notes so make sure they dance! (Your teacher may have you play them longer than I do in this video because of the dashes marked over them in the Suzuki version - that's okay!) Try to think of "ebb and flow" (like waves in the ocean) when playing music but especially baroque. There always needs to be a buildup of tension and then release. This is most obvious in measures 3-7 where tension builds up during the repeated notes and then releases on the 16ths.
The most common problem I see in students with this piece is sliding during shifts like in measures 2, 14, 17, 20, and 28. This can be avoided by making sure to always stop your bow on the string before moving your hand for the shift. This should be practiced in a very slow tempo but with a very quickly moving left hand!
For the fast 16th passage at the end of this video it's easiest to play this just slightly above the middle. If you're right in the middle your arm will get confused because the middle is where you switch between using your upper and lower arm. Keep it light, a bit in the upper half, and use quick strokes on the notes with accents. Make sure that your right elbow is level with the A string and let your hand move your bow from D to E strings.
Part 2 coming soon! If you have any questions about the first page leave them in the comments!
Vivaldi Concerto in A minor RV356 Op. 3 No. 6 - I. Allegro