Practice Record: May 12, 2018 (Saturday)

When the scales are practiced as single notes (not double stops) they should first be learned with a definite fingering pattern, starting from the tonic. Next, different fingerings should be applied. Finally, the scale should be started on notes other than the tonic. This is another way of saying that each scale may be practiced with many different signatures.
— Excerpt From: "Principles of Violin Playing and Teaching" by Ivan Galamian

Warm-ups

  • Coordination Exercises
  • C-A-G-E-D Major Scales
  • Étude Simples VI (L. Brouwer) - Purchase
  • Op. 48 No. 5 (M. Giuliani) - Purchase

Arpeggios

  • Giuliani Revisited (C. Berg) arpeggios 77-80 - Purchase
  • Played all the rhythms and alternate rhythms for each arpeggio

Scales

A Major 3 Octave Scale

  • Pattern change (1, 2, 3, 4, 2, 3, 4, 5, 3, 4, 5, 6, etc)

F# Melodic Minor 3 Octaves

  • Pattern change (1, 2, 3, 4, 2, 3, 4, 5, 3, 4, 5, 6, etc)

Virtuoso Slur Exercises

Slurs and Finger Independence Exercises

  • Ex. 1-6

Études

Nuevo Metado, Section 3, Study 8 (D. Aguado) - Purchase

  • Focus on B section
  • Made up rhythmic variations

New/Reworking Repertoire

Turegano (F. Moreno-Torroba)

  • Worked on continuity

Vals Venezolano No. 1 (A. Lauro)

  • Slow practice continuity with rhythm variations

Capricho Árabe (F. Tárrega) - Purchase

  • Reworking fingering

Repertoire Maintenance Rotation

Vals Venezolano No. 2 (A. Lauro)

  • Switched where shift happens to measure 5 in VII Position
  • Continuing the change in fingering with slow practice and rhythmic variation

Bercuese/Canción de Cuna (L. Brouwer) - Purchase

  • Rhythmic variation in specific passages

Op. 29 No. 13 (F. Sor) - Purchase

  • Rhythmic variation throughout