I try to practice more effectively. Try to go past beyond physical thinking. Fingerings and such have to be in order, but as soon as possible I try to let the body take control. Still it does take time practicing, and I try to focus in the right way to be more efficient and not use old habits. Here you see a video of a selection of practice blogs working on the second part of Khipukamayuk:
In Khipukamayuk, the second part – going up – typical Anabasis – but does it mean more than the fact that the intensity is augmenting? It does say crescendo so that would just mean the same. It starts with an articulation, a little drop in dynamics and intensity, and then a gradual increase.
What if I play the passage totally straight, with the double stops and tapping and fast upgoing lines? I try to think of it as a conversation, or as a monologue. Then it feels more alive and is more varied.
Feel the harmonic developments in my body. I concentrate on hearing a core in the tone, sensing the contact between bow and body. I try to feel a softness in the arms. Even softer – does that make a difference? I keep interrupting myself so not to go back to old habits.
I need to get the rhythm swinging, feel it in my body. It is not technically demanding, but still it is demanding. The line above the triplets – pull them a bit. When the intervals are big it is more difficult to keep the feeling of the lines between them. Can I separate it in smaller parts to make the line make sense to me?