A bedeviled practice session, focusing on one of the most haunting, mercurial, and fun parts to study - the cadenza from Giuseppe Tartini’s “Devil’s Trill” Sonata.
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I entered the mode by faintly knowing how I wanted to sculpt the harmonic progressions and gestures, and throughout the minutes, ended up with something that was far less geometric and symmetrical than I expected - the end result was a more fluid, legato approach. Probably will change tomorrow. Such is practice...
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Coordinating vertical finger movements with horizontal movements of the hand and arm is a long-standing challenge, and this particular section puts it to the test. Mindful awareness of different amounts of counter-pressure exerted by the thumb against the neck board and its lateral adjustability directly affects the agility of the fingers, which are engaging in fleeting interactions with the elastic strings. The bow’s contact point in the playing area is constantly varying as well to ensure a solid core in the sound, regardless of which strings being played on and regardless of which double stop hand frame being operated in. Lot to think about... Work in progress.
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