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This forces your bow arm to learn efficient string crossings, AND it forces your left hand to be more articulate and on time.

Bar 2 would be up bow….and it’s okay to hook them. This is an awfully advanced trick so you might not be able to use it, but in essence, you would do Bar 1 all in a down bow slur. When I cannot play a passage detache’ up to tempo, even after practicing like crazy, I SLUR it. Here is a trick I use ALL THE TIME on my hardest pieces.(D-A-A-E-A-E-E-D-D-) Get this as fast as you can, maintaining greasy elbow, although your bows will get shorter….and that’s ok. Try playing the opening passage of Minuet 2 using only open strings, but maintaining the rhythm and bowings of Minuet 2.Play open string exercises in a mirror….SLOW, BIG BOWS….watch your elbow! Shoulder gets bossy and butts into Elbow’s job. Remember: shoulder crosses strings, elbow makes the up-bow/down-bows. This is because those string crossings make us lock up because our elbow motion gets mixed in with the shoulder motion which is needed to cross the strings. I bet if you pay attention (looking in a mirror) you will notice that your elbow is not nice and greasy like in the Twinkle Variations. MAKE SURE you are using SUPER GREASY ELBOW (this is a term you’ll learn in the Red Desert Violin Suzuki Book 1 online violin lessons.BE SURE to come back to Minuet 2, so that you can really conquer the string crossings, though, because you will need those skills for Gavotte! Sometimes moving ahead to Minuet 3 sort of allows the skills to marinate, and avoid burn-out.I think it is the hardest song in the whole book, including Gavotte, and it’s all because of those darned string crossings! Practice tips for Minuet 2 First of all, you wouldn’t be human if you didn’t hit a wall on Minuet 2.