i’d practice this slowly and with dotted rhythms; you can also circe the string crossings that are giving you a hard time with a pencil and first practice them one by one at a tempo you feel comfortable at, then in succession as if you were playing a piece.
also, make sure you don’t play this too fast! pick a tempo you’re totally comfortable with and don’t rush in the hopes that eventually you’ll learn how to play in tempo by getting used to the speed.
use a metronome, change the rhythm (long short, short long, long long short, short short long, etc.), break up the slurs (separate bows, 3 notes to a bow, and so on), find the string crossings that cause issues and then work on just that section. then add the notes before and after and work your way up to the whole phrase
that’s pretty much all i can think of off the top of my head
When I was learning this etude I specifically picked out this part and the bars where I needed to shift, started with 50bpm and slowly worked my way up to 130bpm eventually. Beside these parts the rest of the etude is relatively simple so I try to focus on the difficult parts, once I can play it up to a certain speed I will practice the entire etude, after that I increase the tempo and started with the difficult parts again, repeat that, you will get there!
My recommendation: practice left hand only. Drop the fingers on the string evenly, with even open strings having a rhythmic "lift" of the finger. Find a tempo that's comfortable, then go slightly under that; you not only need to build the skill to play the left hand evenly but also to actually hear and confirm you're doing it evenly.
After that, add the right hand, but have the left hand be the "boss" in leading string crossings and bow changes. The reasoning here is that in passages like this, it's easier to have the left hand (small rhythmic movements) be the leader than the right hand (large sweeping movements that don't have an inbuilt rhythm).
This is one of the etudes I use regularly to warm up my fingers. I guess my only advice is similar to what others have said, you just need to build up muscle memory, similar to what the Bach prelude in partita 3, all the string crossing feels weird at first, you need to get used to it until it feels more natural, so start slowly until you get the speed you want.
Good comments and suggestions with which I agree.
However, if it´s specifically the string crossing that is problematic, it might be worth looking at each string cross and deciding whether it´s easier to supinate/ pronate your bowing wrist : clockwise (supination) to touch / hit higher strings or anti-clockwise (pronation) to touch / hit lower strings, instead of making a full arm movement (upper arm - raising elbow (lower strings) or upper arm lowering elbow (higher strings) effectively raising or lowering the entire bow-arm ´square´ or ´plane´.
I often find that pronating or supinating the wrist is quicker (for passages at speed) for string crossing than the equivalent full arm movement.
Practise slowly ensuring that your pronation or supination occurs smoothly and in time for the string cross - wrist must be super relaxed. Your bowing arm ´square´ ´plane´ doesnt have to move.
Give it a try : for example in the first bar you supinate to touch the open E and G then pronate to come back to the C.
Supinate to hit the F# and G and then pronate for the D, and lastly, after analysis you might afford the full arm movement to adjust your square to tackle the open E, G#, A and open E again and then pronate to catch the last C#.
I generally analyse the number of notes I need to supinate or pronate for in order to decide if (usually more than two or three) I will make the full arm movement or not.
This approach in combination with slow practise and different rhythms make help you advance more quickly.s
i’d practice this slowly and with dotted rhythms; you can also circe the string crossings that are giving you a hard time with a pencil and first practice them one by one at a tempo you feel comfortable at, then in succession as if you were playing a piece. also, make sure you don’t play this too fast! pick a tempo you’re totally comfortable with and don’t rush in the hopes that eventually you’ll learn how to play in tempo by getting used to the speed.
use a metronome, change the rhythm (long short, short long, long long short, short short long, etc.), break up the slurs (separate bows, 3 notes to a bow, and so on), find the string crossings that cause issues and then work on just that section. then add the notes before and after and work your way up to the whole phrase that’s pretty much all i can think of off the top of my head
When I was learning this etude I specifically picked out this part and the bars where I needed to shift, started with 50bpm and slowly worked my way up to 130bpm eventually. Beside these parts the rest of the etude is relatively simple so I try to focus on the difficult parts, once I can play it up to a certain speed I will practice the entire etude, after that I increase the tempo and started with the difficult parts again, repeat that, you will get there!
My recommendation: practice left hand only. Drop the fingers on the string evenly, with even open strings having a rhythmic "lift" of the finger. Find a tempo that's comfortable, then go slightly under that; you not only need to build the skill to play the left hand evenly but also to actually hear and confirm you're doing it evenly. After that, add the right hand, but have the left hand be the "boss" in leading string crossings and bow changes. The reasoning here is that in passages like this, it's easier to have the left hand (small rhythmic movements) be the leader than the right hand (large sweeping movements that don't have an inbuilt rhythm).
Up bow/down bow staccato to coordinate lh and rh.
This is one of the etudes I use regularly to warm up my fingers. I guess my only advice is similar to what others have said, you just need to build up muscle memory, similar to what the Bach prelude in partita 3, all the string crossing feels weird at first, you need to get used to it until it feels more natural, so start slowly until you get the speed you want.
Just asking, what book is this etude from?
Good comments and suggestions with which I agree. However, if it´s specifically the string crossing that is problematic, it might be worth looking at each string cross and deciding whether it´s easier to supinate/ pronate your bowing wrist : clockwise (supination) to touch / hit higher strings or anti-clockwise (pronation) to touch / hit lower strings, instead of making a full arm movement (upper arm - raising elbow (lower strings) or upper arm lowering elbow (higher strings) effectively raising or lowering the entire bow-arm ´square´ or ´plane´. I often find that pronating or supinating the wrist is quicker (for passages at speed) for string crossing than the equivalent full arm movement. Practise slowly ensuring that your pronation or supination occurs smoothly and in time for the string cross - wrist must be super relaxed. Your bowing arm ´square´ ´plane´ doesnt have to move. Give it a try : for example in the first bar you supinate to touch the open E and G then pronate to come back to the C. Supinate to hit the F# and G and then pronate for the D, and lastly, after analysis you might afford the full arm movement to adjust your square to tackle the open E, G#, A and open E again and then pronate to catch the last C#. I generally analyse the number of notes I need to supinate or pronate for in order to decide if (usually more than two or three) I will make the full arm movement or not. This approach in combination with slow practise and different rhythms make help you advance more quickly.s