The past few days I've been focusing most on the first page of VL Etude #2, mostly optimizing details of specific measures to minimize tension and maximize accuracy in the LH. Yuri's guidance to focus on dynamics and my constant reminder to "follow through" on my stroke is helping the sound quality a lot. I've also spent time on the scale run, where breaking it up has helped tremendously with accuracy.
I've also been working on the first section of Una Limosna, trying to focus on consistent dynamics and phrasing.
Today I downloaded a PDF of Segovia scales to try some new scales. I prefer Aaron Shearer's squeeze shifts and 2/3 shifts to Segovia's longer 1/3 shifts. But I wonder if I should practice them to get better at them anyway. So far I don't think I've encountered many 2/3 shifts in repertoire, but longer shifts are more common...
Yesterday I "busked" at work for the first time, as part of my plan to reduce performance anxiety through exposure. It went well, in that I had nerves and no audience. The best way to start off, I guess. I played Lagrima, Un Dia de Noviembre, and Bach's Cello Suite #1. They went OK, but some minor mistakes due to nerves, and also to a chair that wasn't the proper height, causing my fingerboard to be at a different angle than usual.
Oh yeah, and I started a couple of days ago on a paper draft on how to use junction trees to compute optimal fingerings. It's a kooky project, but very interesting to me, in that it combines my two areas of deepest interest!
I've also been working on the first section of Una Limosna, trying to focus on consistent dynamics and phrasing.
Today I downloaded a PDF of Segovia scales to try some new scales. I prefer Aaron Shearer's squeeze shifts and 2/3 shifts to Segovia's longer 1/3 shifts. But I wonder if I should practice them to get better at them anyway. So far I don't think I've encountered many 2/3 shifts in repertoire, but longer shifts are more common...
Yesterday I "busked" at work for the first time, as part of my plan to reduce performance anxiety through exposure. It went well, in that I had nerves and no audience. The best way to start off, I guess. I played Lagrima, Un Dia de Noviembre, and Bach's Cello Suite #1. They went OK, but some minor mistakes due to nerves, and also to a chair that wasn't the proper height, causing my fingerboard to be at a different angle than usual.
Oh yeah, and I started a couple of days ago on a paper draft on how to use junction trees to compute optimal fingerings. It's a kooky project, but very interesting to me, in that it combines my two areas of deepest interest!
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