![]() If you have it marked, you can keep your metronome running the whole time, and it really helps with phrasing and not rushing. One thing that I have found to be helpful, is to mark where the metronome hits on the 1st and 4th pages when it goes into the 3/8 then into the 2/4. Other than the fact that the chromatic 3rds at #12 are a real pain to play, you just have to start slow with a metronome and build your way up. She has told me to hairpin my dynamics on the third page, and it seems to make sense. She recommended that you do this every time when you see this rythmic figure.Īt Rehearsal #4, put the weight on the eighth beat. Hairpin your dynamics as you lead to and from the Cb in the next measure. Emphasize the Ab, and pull away towards the Gb. ![]() Seven measures after rehearsal marking 2, the flute comes in on an Ab. 8, put the weight of the beat on the high G, and pull away as you go into the F that is tied into beat 2. Phrase through the middle and lead toward the down beats. ![]() The 5th measure is structured exactly like the opening measure of the JS Bach Partita in A minor. ![]() Here are her tips on keeping the piece "moving" and lining up well with a future accomanist. If you get anything helpful from your teacher, maybe you can send some tips my way too. Here are some tips that my teacher Prof./Dr./Ms. I am working on it at the moment, and I understand exactly what you mean.
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