May 31 was the deadline I gave myself for learning the piece on a rudimentary level.  This means I can play it mostly from memory, knowing full well there are still sections to woodshed and make smoother.  I was hoping I would have more under my command by now, but there are no parts of the piece I haven’t tried yet.   So, we’ll count this as a win. The recital is in August, so my plan was to get it really smooth in

The recital is in August, so my plan was to get it woodshed the bowings in June and start working with the piano part in July.   I think I can pull it off, and maybe even remove some of the simplified fingerings for the marked ones.   For instance, the final line is played on the G string, starting at the F# above 7th position.  Basically, that means thumb position with thumb on F.  But to do this, I really have to be SURE of my intonation, and that means creating some exercises to make this “can’t miss” performance-ready.  But  I like the softer tone that I get on III.  Since I know how it should sound,  playing it in tune is feasible.  But again, remember “can’t miss”.  Make it as easy as possible for the first performance so I can focus on playing with feeling.

I can still finish the last 6 measures on III, so I still get the dulcet finish the piece requires.

Last eight measures of the section

Which fingerings to try?


I’m have to end strong because audiences remember strong endings more than strong middles, so it needs to be done with some elegance.   The final two measures feature a strummed F major chord, so as I come out of Fourth position, I need to reshape my hand to chord-ready while I play the final bowed note F.

I’m fortunate to have a teacher who can play the piano part of this piece and to have a piano in our lesson room.  We actually played the first two lines together, although she did accomodate my speed.   When it’s done, it’s going to be a superb showpiece for 8 years of lessons!