"Everything you do, that sings, that hits the gut, it's going to be because of the intonation" Tedi Papavrami
It can be considered a constant in Tedi Papavrami's classes, the high intensity with which they are developed, and the great level of detail that is worked on.
"At the end of the class, the teacher tells the student a kind of summary, which gives an account of the work done: “these are really basic things that you'll have to work on patiently during the
next few years to get everything back to expressing yourself, because the musical ideas, all that, by instinct, you have it.""
Previously, they work mainly on intonation, which will be in charge of expression. This is also why the master insists on not vibrating, since vibrato, at least in this type of repertoire, is a
mask, “like sweeping under the rug”: ""you have to really look for your expression, that's why you shouldn't vibrate unnecessarily, it's that. Everything you do, that sings, that goes in the belly, it's going to be because of the intonation.""
The great challenge for the student, therefore, is to secure those fundamental issues (bowings, phrasing, and intonation, mainly) in order to be able to express their ideas."
- How to seek accuracy, which is a matter of patience and time
- The sound and the phrases must breed
- Intonation is important
- The expression must be done with the intonation
- The detaché bow has to live on between the notes; it has to breathe.
- Vibrato becomes a mask
- The rhythm doesn’t have to be distorted
- The importance of being present with the arm, the elbow, all that makes a circle.