In this lesson,
we're going to cover exercises
25, 27 and 28.
Now, at this point, a new subdivision of
the pulse is introduced.
There are six 16th notes, per quarter
So the, the rhythm is a little bit faster.
So I like to put the metronome on slower
40, 50 and 60 on the metronome should
really give you everything you need,
to, to develop these, these next groups of
which at this, at this pole subdivision go
all the way to number 35.
So let's start with number 25 and
put the metronome on at 40 to the quarter
[NOISE] So these are 16th note sextuplets,
to the quarter note.
It may sound a bit slow on the metronome,
and it may feel, feel a bit slow and,
initially [SOUND] for those of you
starting out [SOUND] with these.
It might not be, it may feel, it may take
a while to get the subdivision to fit
into this slot, into this longer pulse.
That's a good thing, actually.
It's a really great, a really good,
the internalize, er, the internalization
of your pulse.
I, I really don't, recommend, for example,
[SOUND] putting this on at 120 and doing
You see, I, I hear, I heard a lot of
students in conservatories putting their
metronome onto the highest subdivision
I find that that's, it's got this kind of
thing where this,
this metronome is kind of talking away in
Whereas, as opposed to where if it's at a
that same tempo but with a, a longer
Like that, for example,
at 40 rather than 120.
Same tempo but it gives you more of a
it gives you a greater sense of pulse.
And, and it forces you to actually,
to even out those 16th notes within that
So always try to put when practicing
etudes in the longest pulse possible.
That's longest division of pulse, not,
that's not in relation to tempo.
As you can see that 40 [SOUND]
is the same as putting it at 120.
But, I recommend 40 in that instance.
So, here we go.
Let's let's play number 25, sequential
And again, notice that, notice that my
thumb is really following through.
That my thumb is following through and I'm
not stopping the stroke.
I'm not stopping the completion of the
Once the, the energy is put into that
the potential energy into the string, the
kinetic energy, if you will, should be,
should be given the chance to, to,
Even if the first finger is in the way,
let it just run right into the first
finger, rather than trying to miss it or
send it in a different direction or stop
That introduces tension into the right
hand that's it unnecessary,
makes it more difficult to play.
Then let's go to number 27, and I'm gonna
do this one with
with a sweep stroke, what I like to call a
sweep stroke, or
the legato stroke, a stroke that has no
And let's do this one at 60 just to
demonstrate that, or 50,
excuse me, 50 to demonstrate a slightly
This is number 27.
Now, what I did as I played, I played a, a
fingering, there's two ways to play that.
There's, there's the printed finger on
there P-I-P-I-M-I, P-M-I-M-A-M.
I'm gonna demonstrate that one as well
because the printed fingerings is a really
good workout for the M-A-M exchange.
What you just saw me do was, that time,
perform with 27 was P-I-P-I-M-I, the first
And then repeat the same fingering for the
second, third and fourth measures.
And that has the sensation of actually
actually slightly move the, the right hand
forward, which is a necessary thing to
develop, the actually, the feeling of the,
the right hand kinda leaving one string
position and going to another.
It's very healthy.
The, the original printed fingering is
good for stabilizing the hand, and
getting the hand to feel a sensation of
being in one spot and
having all four of the fingers reach
everything that they have to reach.
So now I will play that same thing, that
same exercise, with the printed finger.
So here we go, here's number 28.
And I'm, I'm probably going to have to do
this one with just the,
the, the free sweep stroke, the legato
Again with these, if, with,
with these with the sextuplet
subdivision on the quarter note,
if you're playing them at 60 with that
fullness of tone without losing your
tone because of the added speed.
I think at 60 and, and it's, and it's
clean like that.
I mean that's, it's, it's not the easiest
thing in the world to do.
It's and I think you, you should,
you should feel proud if you get to that
point where you're playing at that tempo.
Then of course you can push yourself to
higher ceilings like 72 and 80 with that.
But, the important thing to remember is
there's a few things to remember when
you're doing these.
Don't lose your sound.
Don't, don't, don't lose control of the
tone in an effort to just to play faster.
Don't lose the sensation and feeling of
relaxation in your shoulders,
your neck, your back, your hands.
If you're playing faster speeds but your
right hand is all tensed up or you're, or
you're, or you're craning your neck and
It's, it's, yes, you might be getting the
it's a little bit diminishing returns.
Really strive to take everything with you,
all the things that we're talking
about in these lessons with you, as you go
up the metronome in speed.
Speed should feel, higher speeds should
feel very, very relaxed.