Just a quick response to Terry’s question about practicing with martelés in the previous post.
My apologies to those of you who get this on RSS or other subscription and got this yesterday with the very Kermit-like still frame before hitting “play”. Hard to believe that the flailing-armed poster frame YouTube generated is an improvement. Sigh.
Wow, great! Thank you much. I've been in Texas on business with limited free time, so I didn't look here until now.
Those reasons are mostly different than I would have guessed. Except for the bit about having time to prepare for the note, that I suspected.
I thought that you might say that it encourages freedom with, and control over a variety of bow speeds, rather than sawing away at whatever dull speed we mindlessly do. Seems to me varied bow speeds let us emulate singing. But then, the speed issue did get mentioned in a another way, that is, in getting to the point on the bow that we need to get to.
I didn't know that was called "Old Crunchy". Good name for it, because I can never remember its number.
Uh oh, another pesky question – for shifts, does one shift right in the middle of the silence, with some silence on each side? Or going into the note, as if the shift were part of the note? Or coming off the note? Or it depends? Or use one's imagination and judgment? Extra slow shift? Normal speed shift, after mentally preparing for it?
Why is it that whenever I get an answer to my question, I can't leave well enough alone? Each answer spawns a dozen more questions.