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Dorothy DeLay's diagram of practice methodology
Practice plan (according to DeLay's methodology)
Exercises: basics, slow bowing whilst tuning, posture and position optimisation to help shift finger position and bowing
Scales(importance of rotating material) 
Studies(re-learning old studies, learn like a piece, choose to suit present repertoire): Dont etudes, Paganini caprices

✔ Listen to recordings
✔ Read about players, technique, music, teaching
✔ Goto concerts

* A major concerto: Sibelius
* A major sonata: Prokofiev
* Unaccompanied Bach: Sonata 3
* Virtuoso show piece: Chausson Poeme
* Play through old repetoire in rotation, difference between having only one piece you can play at any one time, and having a repertoire: Devil's trill(baroque), Mozart K301(classic), Havanaise(romantic), Tzigane(minority), Ravel(impressionism), Poulenc(neoclassicism)
* New additions: Suite Italienne(neoclassicism), In the Style of Albeniz(avant-garde), Waltz Scherzo(romantic)

Flesch method extraction
* Good technical studies: Kreutzer, Fiorillo, Rode, Dont Op.36, Schradieck, Wieniawski l'Ecole moderne, Sauret, Paganini caprices
* when passing to another string at the pointe, still formarm and retain horizontal line on wrist to forearm, move only upper arm
* backward movement of thumb III -> I
* detache between upper & middle, more towards middle
Alina Ibragimova masterclass notes at RCM 10/10/2012

1. Contrast - dynamics differentiation
 - gradual build-up/save-up on crescendo
 - unpredictability on what is forthcoming
 - forte - arm pressure and speed balance, raise elbow, feel the power from spine
2. Continuity - flow
 - bowing technique, no gaps between bowing change
 - smooth transition, place a bit more character/humour
 - variation in repetitive melody
3. Clarity
 - fingertip pressure
 - concentration on each note, vibrato
4. Emotion - gesture expression

Leçon notes from 김미경先生 26/10/2012
 - left elbow movement according to fingering position
 - thumb/index finger readiness prior to position shift
 - rhythmic pre-vision

Maxim Vengerov masterclass notes at RAM 19/11/2012
 - visualize in actions or emotions
 - define own playing character
 - strande: define breathing cycle
 - analysis of composer's intentions, and feeling in his point of view, e.g. suffering

Kavakos masterclass notes at Guildhall 11/12/2012
 - trill to signal intensity
 - avoid vibrato at the peak note, signals relief from the climb
 - ask "What sound do I want to make in each place?"
 - flexibility to move: rotation of body & violin head
Leçon notes from Khac-Uyen Nguyen

Bow holding technique
 - crane model - use perpendicular force on string, parallel with upper part of right arm
 - bowing balance: slightly raise pressure at the tip, while soften by lifting at the frog

 - bow angle perpendicular to strings for maximum sound potential
 - keeping the bow on the same spot of the string within a single bowing
 - allocation of sufficient proportion for each note, longer notes can sustain with less than proportional length, while shorter notes requires more.

Fine tuning
 - be critical of own sound
 - seek for the overtone, 3rd note echoing in the air as a biproduct of a chord
 - consistent vibrato
 - differentiation of vibration frequency - slower vibrato on lower tunes, while faster and restricted movement at high E
 - left arm positioning readiness to ease fingering

 - sing the melodie, and define breathing points
 - dynamic marks signal different perspectives, or change in mood of surroundings

Bad habits
 - posture refinement: hold shoulder down, feel the strength centered on stomach
 - press on the fingerboard with middle part of the fingertips

Performance tips
 - start singing the first strand before giving a cue
 - avoid start playing from the stillness, invoke continuous action from the cue action
 - putting all relevant fingers down before the first note