On Tuesday, Teacher and I worked through the rest of my newest song, Perpetual Motion. This timeline for getting through a new piece is the shortest I’ve managed in a long time, and certainly the quickest in all of Book Four. That’s not to say the piece is without complexity – it includes fourth position, which I’m encountering for the first time, and a couple of big chords. But there’s some repetition that makes learning it easier than other pieces. On a most basic level, it’s also only two pages long, whereas the Vivaldi concerto movements have been three.
The piece is a whirlwind of sixteenth notes – straight through from start to finish, really, with nary a moment to breathe. When first I listened to the music upon buying Book Four over two years ago I couldn’t even follow along to read the music as the CD played – it just moved too fast. I can listen and read along now, though for the time being I can’t hope to play it as fast as it’s intended to be played. But only rarely have I been able to play the songs as fast as they have been recorded on the CDs that accompany the books, and since this one was written to wow listeners with speed my current lack of top tempo is unsurprising.
I’m simultaneously working on a Wohlfahrt etude that’s a perfect compliment to the piece – it’s in C Major versus Perpetual Motion’s D Major, but like the piece, the etude is all doubled notes designed to be played fast. I’ve been using it to warm up prior to tackling Perpetual Motion. In order to accomplish playing fast and sounding decent, I’m back to focusing on relaxing the bow hand and keeping my arm in the proper position. As I watch pros play on Youtube videos I’m amazed by the relaxation in their hands and arms. Though these Suzuki songs keep getting more complicated, the basics remain.
Thanks for reading.