17—Gavotte .. a question

said: May 7, 2006
 20 posts

Hey there, I’m currently working on the last piece in book 1 and I’m having difficulty with the slurred ornamentation in bar 20 (b,d,c#,d,e,d,c,b). Since I’m working without a teacher I’m basically just figuring out everything myself. Some questions:

  1. I’ve reasoned that you probably need to slide the 2nd finger from the C# down to the C instead of repositioning it .. is that right?

  2. When I play the part without any/much bow pressure it sounds airy and not as defined as it should, however when I apply firm bow pressure the part speaks much more clearly (probably since it doesn’t lift off as much from the string when the string is stopped). Is it necessary to apply bow pressure during runs and ornamentations like that?

Other than that I’m doing pretty good and I’m having a lot of fun. I make sure I don’t move on to the next piece until I’ve got it down with vibrato, good intonation and proper articulations/dynamics/bowing and slurs.

Thanks!

Gabriel Villasurda said: May 7, 2006
Gabriel VillasurdaViolin, Viola
81 posts

About Gossec Gavotte:

>1) I’ve reasoned that you probably need to slide the 2nd finger from the C# down to the C instead of repositioning it .. is that right?

Bar 20: Learn the notes without the slurs, even play each pitch multiple times if needed. In the 8 sixteenth notes, keep with B in place (anchor)until the A. At the time of the second D, pick up the C# finger and move it back against the B (anchor) finger in advance of the seventh note. Don’t try to drag it. Pick it up and place it against the first finger. Program in this lifting-up operation into the entire passage.

This operation can be traced back to Lightly Row, bars 1 and 2. E C# C#—, D B B—. I teach even very little children to remove the C# when the D comes on. In this case you get the C# out of the way.. Seen also in Allegro bar 2: F# G# A F# E E. Remove the G# as soon as the A is in place. I also have a name for this “pop-up” as in toasters. Teach it early, then Gossec is easier.

>2) Is it necessary to apply bow pressure during runs and ornamentations like that?

Practice the slurred groups of 4 sixteenth notes with four stopped down bows and four ups. These are “hooked”. This cures several problems. (a)The stops between allow you to get your fingers ready before the bow plays. (b)The “in the string” feeling of keeping your bow strong on the string prevents the “slip” tone you are experiencing. (c)The one-inch strokes for the 4 downs and ups prevents you from using too much bow on this passage. You want clarity in the slurs which will come from slow, well focused bow use, not a fluffy, cloudy sound.

Give it a try.

Gabe Villasurda
http://www.sttringskills.com

Gabriel Villasurda
Ann Arbor MI
www.stringskills.com

said: May 7, 2006
 20 posts

Wow that’s a fantastic reply. Thanks! I’ve much improved already! Particularly the lifting of the 2nd finger when I got to the D the 2nd time around.. made all the difference. Starting to sound very good here now!

Thanks a bunch again!

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