C-Major No.3

Here is a video of how I think No. 3 should be executed.
To remind you from No.1:

  1. I use a metronome
  2. I distribute the bow evenly over 8 beats for the scale and 6 for the arpeggios.
  3. Shifting is executed slowly and with even speed between the two positions (more on this later)
  4. bow changes are slow
  5. contact point of the bow and the string does not change and the sound is concentrated and even.

In this scale, let's talk about practicing to make our intonation better. In general, playing a note that is out of tune is an opportunity. When we fix the note, our general level of intonation gets better, when we continue and leave it, it gets worse. Think about our listening for intonation as a muscle that needs to be fine tuned.

Some of the techniques for checking an improving intonation are:

  1. Check against an open string where possible. In the case of C Major, No.2 has an open C at all times. In No.3, you can use the open G.
  2. Set a tuner to the tonic (C in this case) while playing the scale.
  3. sing the note in your head before playing it. If you have an idea for the pitch before playing the note, it will be easier to adjust.

This last point is essential. Scales are a great opportunity to practice our theme "Head before hands". In this specific case - imagining the pitch before we play it. With most students, when something is out of tune, suggesting to hear the pitch before playing it solves 99% of the issues. But this is a discipline that needs to be practiced over and over again until it becomes our second nature.

I welcome your comments and questions.

Ori Kam