Rode Caprice #15 Kim Kaloyanides Kennedy, violin скачать в хорошем качестве

Rode Caprice #15 Kim Kaloyanides Kennedy, violin

Rode Caprice #15 Kim Kaloyanides Kennedy, violin Recorded at home January 2021 Since teaching via zoom, I have had to get creative with how to share sound goals. I have been doing a lot of recording examples for scales, arpeggios, pieces and now etudes. Rode Caprice #15: Wow! Was that difficult! I tried and failed to play at the tempo indicated, which is 96 per bar! It felt sooo hectic at that tempo with all the jumps around the fiddle. Even at the tempo I ended up with, one still has to find quite the disciplined bow arm to stay very composed and clean. What tended to slow me down the most were the articulations (accents mainly) and the string crossing jumps. I wonder if the metronome Rode used was a different tempo than the one I have at home?!!? Here, I am quoting from the beginning of my Singer Edited edition: "In consequence the violinist must pay the greatest attention to every possible mark and sign, in order to imbue his [her!!!] playing with that artistic finish which Rode's studies invariably impart, if studied with earnest and careful devotion." And, "The studies are presented in their original form, supplied with careful and practical fingering and bowing in accordance with modern demands and requirements, and contain no possible indications which might increase their original difficulties." I kinda disagree...if the bowings and fingerings were Singer's or another editor's, not Rode's, there are a few changes I would prefer to make that would be better, at least for me. I could not find anything written about the metronome marks. Does anyone know if they are from the editor or from Rode himself? I did adhere to everything else on the page, best I could...some may prefer more accent sound and more contrast in dynamics. These were things I sacrificed a bit to keep things moving along and avoiding harshness. The easiest notes to squawk were the high note 8ths before and after g string notes. Super easy to sound tight and out of tune! The most difficult passages were the top line of pg. 31 with the B double flat at the end, and of course the double stops with G flats!! Most important when learning this - even at a slower tempo while you learn the notes, is to feel this in one, not in 3. It needs to dance! I am looking forward to hearing my student, Nikolas, work this up!!