May Time Suzuki Class Book One Cello School Free Audiobook Online Lessons

hi guys so welcome to may time um there's i've just put a recording up of it in in slow time so um you shouldn't need to hear it again just pop along and um uh listen to it it's really recommended that you listen to it slowly and i hope you've done your warm-up i hope you've done your scale i hope you've done the arpeggio in c major i'm not going to go through that now so the first thing to notice is that the first note is not bow um and then a down bow on the same note but the accent should be it's the first initiative with bar so the accent should be on that so the first c

that way round not heavy that would be silly so nice and light um when you come to four two that's a dotted note so that's going to you're going to hold that for a count of three now how do you count well people count in different ways um one two three four five six one and and two and and there's another way you can do it um let's uh try one two three four five six one two three four five six one two three four five six one two three

etc i really recommend that you um do that um i've got i've done some lectures on uh how to play a piece well and one of them is to look at the music and as it plays count another is to mime really good way um really understand um the tempo it's going to what tempo does for us is it it assists the memory and it and therefore assists the um uh the the um the performance because it's uh so ingrained with with multi factors not just the sound and this is why we remember songs really well rather than um just a set of words if there's a tune to it we'll remember it so details when you've got things like rhythm really really help remember it's it's a an interesting sort of human brain process um another slurs the slurs

mean the same bow movement but there are different types of slurs so this slur

you can really hear the different notes

but this slur is a much smoother slur isn't it and that's on purpose that's no accident so you really want to um what there is is you're giving a bit more gravity to

i put up an articulation tool the other day which is really helpful so fall into the note or play the note there's a difference just let gravity and your hand guide or bring some energy from your hand it's a massive difference and that's what differentiates that that um slurred triplet so you need to work on that um what else is tricky let's have a look uh i think that may have been the hardest part of the the whole ah right uh bar nine so

we've got a volume increase so try not to be too loud

because then you have nowhere to go and so so you really need to work on this bit

nice and loud i'm exaggerating you don't want to um you know be quite that obvious but then you've got this loud note rest okay um treat the quavers like a staccato what suzuki does is um by putting using these quavers it really gets you good at understanding how a staccato note works because you for example um uh 13.

you wouldn't say you wouldn't um lift your bow off the string to make that quaver well that that's exactly the same as a staccato a staccato is just a shortened note you must think of the staccato don't ever come off the string that's a different method for much later on um you you want to stay attached to the string don't lose yourself keep those fingers close as well keep them on board okay dim and rit at the end um slow down and decrease in volume

keep these

you probably wouldn't be that long i was um looking checking myself in the mirror um so loud the diminurite um you find that generally when you come to the end of a piece anyway and as a musician you'll probably find that you're going to be doing that and quite naturally it sort of happens okay um yeah i think that's it um yeah any questions you can message the podcast um on on any...