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Restarting classes after COVID-19

February 26, 2021
Wing Chun

It feels like an age since Melbourne 2020 went into lockdown, and classes had to stop due to physical distancing.

When I was training with my Wing Chun brothers and sisters in UK, every few days we would get together to enjoy each other’s company and practice.

Imagine how I feel, after a whole year – finally it’s safe enough to start the class back up!

Hi everyone,

I hope you’re all well and feeling good.

With the restrictions lifted now, I plan to resume classes from Monday March 15th at the usual 18:30-20:00, in the Glen Iris Road Uniting Church (Hartwell Room).

I was notified this morning that there will be some restrictions we must adhere to in order to resume class, and it’s as follows:

  1. Masks to be worn indoors at all times, except when drinking.
  2. Hygiene is to be observed strictly, before all partner training or close distance, we will all wash our hands PRIOR & AFTER the exercise. I will bring extra hand sanitizers which you can use at any time. Bathrooms will be equipped with spray & leave cleaners to use after your trip.
  3. Due to the nature of the classes, numbers are limited in the Hartwell Room to 17.
  4. All attendees need to check in or be checked in via the QR code which is on posters around and at entrances to the centre.

Provided nothing else changes, we should be back training very soon – I look forward to meeting you, and to current students, seeing you all again. đŸ„łđŸ’ȘđŸ»

My very best wishes, Sifu

Traditional Ip Man Wing Chun | Class Events

February 24, 2020
Wing Chun

Traditional Ip Man Wing Chun Melbourne – Wing Chun classes in Melbourne

“In order for our skill to be good, we must touch as many hands as possible – 100, or even 1000…” – a reminder from Grandmaster Michael Tse on Wing Chun.

 

In February 2020, Traditional Ip Man Wing Chun in Melbourne took students to visit Wing Chun Brisbane, another class from the Tse Qigong Centre.

It was the first class trip away together, and students were encouraged to practice, share food, and have a good time together.

Despite hearing initial nerves from the students prior to getting on the plane, Wing Chun Brisbane were such warm hosts it was all well and truly forgotten about over a delicious greek lunch once we arrived.

We can always learn more by touching other student’s hands, to feel their energy and the way they use their skill, so we can refine our own skill and improve.

 

Wing Chun Brisbane

 

Student accounts

Wing Chun

What do Wing Chun and Greek seafood have in common? They are both very enjoyable in Brisbane.

I think the thing that I learned from our trip to Brisbane, is that Wing Chun is practised by a group of collegiate like minded people, who draw great strength from sharing with each other. Yes – it is about feeling hands. But it is also about generosity of spirit and sharing experiences.

I need not have been nervous about my limited experience. I was pleased to find that everyone I met was just excited that I was learning. There was no ego, or superiority, but a generosity to teach someone who was interested in learning.

So we met at a house before dinner in the suburbs, to do some chi sao. On a half tennis court, about 10 of us practised, and watched, and ate. And for me I enjoyed meeting various Sifu from Tasmania, Sydney, Brisbane and Melbourne. I learned how they enjoyed the conversation of hands as well as verbal jousting.

The next day in a church hall, ancient but with character, we had a class before continuing the challenges. It seems a long time since I first saw the Shaolin monks perform Kung fu in DengFeng, on the side of the Soong mountain. At that that time I had no idea that I would take up Wing Chun in my sixties. What a journey. And it is not finished yet.

by Michael Lanyon

Traditional Ip Man Wing Chun Melbourne

 

Can’t wait for the next gathering

I never dreamed when Michael and I started Wing Chun that we were joining a world wide community.

It was great to go to Brisbane to meet the other sifus and their students and also our Si Gongs from Tasmania. In fact one of the wonderful things about Wing Chun is that it was devised by a Buddhist nun for the girl in the village named Wing Chun and there is such equality between men and women in the practice and organisation.

So although I was extremely nervous about how I would fare, everyone was extremely generous and helpful and I never felt awkward. Of course, we were a bit stiff and exhausted, but in a good way and you certainly learn a lot from touching hands with other people and also watching those who are super experienced. In fact, the astonishing thing watching our Sifu is how relaxed he is and how he thinks so much about each move (even in the car going to the airport!).

The trip was also so enjoyable because we shared meals with everyone and chatted: about work, about careers, travel, children, films. We also heard a lot about where and how each of us joined Wing Chun. Can’t wait for the next gathering!

by Elizabeth Lanyon

 

To learn more about Traditional Ip Man Wing Chun classes in Melbourne, please visit the Wing Chun Classes page.

Traditional Ip Man Wing Chun is a member and part of the Tse Qigong Centre.

Tse Qigong Centre China Tour 2019

October 16, 2019
Wing Chun

China Tour 2019

Our dear Grandmaster Ip Chun is 95 years old this year.

As we strive to be good students/grand-students/great-grand-students, we should not only contact our Sifu regularly, but also visit them whenever we can. From this side of the world, four Australian Wing Chun instructors went on this special trip – Thomas Rogers, Costa Stratikopoulos, Clive Stanton, and I.

Grandmaster Michael Tse took over 40 representatives of the Centre to Foshan, Guangzhou, and Hong Kong, so we can all be together – practice – and improve our skills whilst having a great time in the ancestral home of Ip Man Wing Chun.

Despite unrest in Hong Kong, the Centre routed to China to visit GM Ip Chun. It was in Foshan where we received a valuable seminar and had the chance to touch many different hands. There was also a chance to touch hands from other schools around the Foshan area.

Over 12 days we ate, laughed, touched hands, ate more, and…well, the photos says it all!

Wing Chun MelbourneFor information about Wing Chun Classes in Melbourne, please visit: https://heplayscello.com/wing-chun-classes/

Traditional Ip Man Wing Chun Classes in Melbourne Glen Iris 2019

Traditional Ip Man Wing Chun

December 29, 2018
News & Announcements, Wing Chun
class, wing chun

(UPDATED 23rd JANUARY 2022)

>NEW WEBSITE HERE<

 

(UPDATED 24TH OCTOBER 2021)

Please visit the Facebook page linked below for announcements on when class will resume.

Wing Chun Classes in Melbourne 2021 will be held at Glen Iris Road Uniting Church at 200 Glen Iris Road, Glen Iris 3146 (Car parking available in church car park or street side, the venue is a 13 minute walk from Glen Iris train station on Glen Waverley line)

  • Classes will be held in the MAIN CHURCH HALL beginning from 7:30pm for between an hour to hour and half.
  • Classes will have an emphasis on Wing Chun skills, and will be conducted in a safe and supportive environment; students can expect to train together with each other to help one another improve quickly.
  • Classes are open to ages 15 and above, although arrangements can be made if students are younger – it’s vital you visit my Facebook page and send me a message beforehand.
  • All level of fitness welcome.

Dress code is relaxed; a t-shirt, loose pants and runners would be perfect.

The class atmosphere, regardless of now or in the future, will always promote safety and health first as well as learning the art and skills of traditional Ip Man Wing Chun.

I hold a valid Working With Children Check.

Follow class announcements at https://www.facebook.com/HoSifuWingChun/

Visit https://wingchunmelbourne.com.au/ for more details.

Please feel free to send me any questions either in comments below or from the Facebook Page, I’ll get back to you as soon as I can.

Wing Chun Class 2019

December 4, 2018
News & Announcements, Wing Chun
class, wing chun

CLASS WILL BE HELD IN THE HARTWELL ROOM, GLEN IRIS ROAD UNITING CHURCH (entrance via church car park)

An authorized instructor with the international Tse Qigong Centre, Ho Sifu’s class will teach traditional Ip Man Wing Chun Kung Fu as taught to him by his Sifu, Master Darryl Moy, through Grandmaster Michael Tse, and Grandmaster Ip Chun (Ip Man’s eldest son).

The Tse Qigong Centre was founded by Grandmaster Michael Tse in 1990 to teach traditional Chinese skills.

Classes will have an emphasis on Wing Chun skills, conducted in a safe and supportive environment; one of the basic Wing Chun principles is not to use force against force – blind strength can be overcome with skill, and tension can be taken advantage of.

Students can expect to train together with each other, helping one another to improve quickly.

Classes are open to ages 15 and above, although arrangements can be made if students are younger.

Ho Sifu holds a valid Working With Children Check – 0954381A (HE).

 

Class details:

The class will run between for one and a half hours.

Dress code is relaxed; a t-shirt, loose pants and runners would be perfect.

The class atmosphere, regardless of now or in the future, will always promote safety and health first as well as learning the art and skills of traditional Ip Man Wing Chun.

 

More information regarding classes including venue will be posted in the New Year 2019 – stay tuned to https://www.facebook.com/HoSifuWingChun/

Please feel free to send me any questions either in comments below or from the Facebook Page, I’ll get back to you as soon as I can.

 

 

 

 

 

Y-Squared Yelian Yasmin Wilton Hall Kaupo Kikkas

5 Tips for Student Cellists

December 4, 2018
Cello
article, Cello Tips

The below is an article I wrote for CutCommonMag.com and the article appears at https://www.cutcommonmag.com/5-tips-that-help-me-tolerate-my-own-playing/

 


 

My name is Yelian He, and I’m the winner of the 2014 Australian Cello Award (now part of the Young Performers Awards), and the 2009 Royal Over-Seas League String Competition. I’ve given my life in pursuit of my skills, and that has taken me around the world since I was a boy.

Some of the highlights in my journey have been performing at some of the world’s most well-known halls and festivals, meeting the Queen Elizabeth II (twice), and performing at Buckingham Palace – and every time, I was lucky enough to win an award.

Happily, my story thus far has given me plenty of things to write about, and today I’d like to share with you five tips that helped me tolerate my own playing for this long.

 

1. Take time, give opportunity.

Short notes also have value – give them enough. One aspect of playing I often come across as a teacher is that people pay more attention to the louder, longer, and on-beat notes; while neglecting the more subtle, shorter, and off-beats. The notes are there for a reason, and it often serves to develop longer lines in the ear of the listener. Quieter doesn’t mean less important!

 

2. Repetition is often to be avoided, unless the composer is striving for the emphatic, irony, or sarcasm.

There are often examples of sequences and repetitive sections within the text, but it doesn’t automatically give you the right to treat them all the same way. Music is a story, imagination, a journey – and more often than not, the ear likes to hear dynamic, colour, or energy developments.

The exception to this is if the composer intended for the repetition to stand out. There are certain repeated notes and passages in Beethoven and Shostakovich that spring to mind, where I attempt to exaggerate the repetition to highlight sarcasm.

 

3. The music may not be complete with just one instrument. Study and listen to all others.

Just like in movies and TV shows where each actor has their own dialogue to say, the story in music doesn’t advance until all of the performers are dynamically reacting to one another. This involves knowing what each performer plays, how their part affects yours, and ultimately how you fit into the music.

Not everything is a conversation, though, so be careful with what you assign your phrase – it could be an interruption, an argument, a dialogue – use your imagination and experience.

 

4. Learn to RELAX! Greater difference in sound and intention could be achieved if every part of you is warmed up and relaxed.

Another aspect I see a lot in students of all levels is physical tension when playing. Until otherwise proven wrong, I believe it’s fundamental to be relieved of any physical tension when playing the cello. Obviously, I don’t mean one should be so relaxed as to start sliding off the chair, but my Sifu (Kung Fu master/teacher in Chinese) refers to it as ‘relaxed strength’. It’s the idea that you should never use more strength than necessary to achieve what you need to – like standing up, walking, swimming, etc.

But why is relaxing important, you ask? Because when relaxed, you’re ready to do anything. If you had physical tension, the first thing you have to do, in order to do something else, is relax.

 

5. Passages can be horizontal or vertical. Make sure people can hear it.

Phrasing in music is very important. They’re like sentences in a book, or brush-strokes in a painting. Not all phrases are created equal, however. Just like how some sentences seem more important than others, some phrases needs the ear’s attention on every syllable:

( | | | | )

While others need to get to the end of the phrase to make sense:

(—-)

Experiment with both during practice, and see if the passage lends more clarity to your story.

 

Now for those of you who have stuck around this far, thanks! I’d like to reward you with two more tips, which – while not strictly practice tips – have shaped my progress and abilities over the years. I consider these the cornerstones of my learning process.

 

6. Go hear concerts all the time.

It may become expensive and time consuming, but in order to become a better musician, you also need to hear music. When we’re practising, the sound of our own playing is all we hear. If that becomes the only source of music we hear, then we’re simply serial practisers – with no regard for how the world and its people are moving about.

If you want to be an artist with stories to tell, then you’ll need to immerse yourself in what you do. And this is not a shameless plug for my upcoming concerts, but a lead-up into my next tip:

 

7. Create a community of like-minded people.

When I was younger I was taught that practising is a solitary exercise, but what I wasn’t told was that improvement is a group exercise.

It wasn’t until more recent years, when I tried my hand at Wing Chun Kung Fu, that I realised how quickly I can improve at it utilising what I’ve learned about the cello. In Wing Chun, you predominantly practice with someone else, and you switch partners often, which led me to the realisation that I was (in many ways) directly responsible for someone else’s improvement.

I won’t go into much detail here, as I’m sure not everybody shares the same passion; but my realisation brought me to understand that, by helping others, I was helping myself. You don’t have to be best friends with one another (although in some cases, it just happens), but you do have to be receptive and willing to help others get better.

Bach Cello Suite III

December 4, 2018
Cello
academic, bach

Submitted to the Royal Northern College of Music, M.Mus academic committee 2011

Research question: How can performers of Bach’s C Major Cello Suite benefit from utilizing slurring and articulations suggested in the Anna Magdalena Bach source?

 

August Wenzinger, editor of Bach’s Cello Suites Barenreiter edition stated that “The modern cellist is almost exclusively trained in the legato playing for the presentation of romantic and post-romantic music
For the seventeenth and eighteenth century string player however, non-legato playing
was the primary style.”[1] As the autograph of Bach’s Six Cello Suites did not survive, performers and scholars relied on four separately copied manuscripts to work from. The first of the copied manuscripts by Anna Magdalena Bach, the closest to J.S. Bach and arguably the most reliable source with respect to the original autograph, had been my inspiration in my research. The main discrepancy between this manuscript and many recent editions of the Suites lie in the numerous “suggested” articulation markings, added ornamentation and slurring. While I have seen and tried the suggestions printed in several editions including Fournier (1972), Wenzinger (1950), and Leisinger (2000), I was very confused by the number of suggestions including extra slurs, omitted notes and even different rhythms found while comparing them to the original AMB copy. Laura Kramer in her dissertation suggested that while it could be easier that performing Bach’s Cello Suites on a modern instrument to adjust the markings to better suit the modern performer’s training, it would follow that an eighteenth century approach to bowing is more appropriate in these works as it assumes that notes should be differentiated according to their musical importance since the Suites are not purely ‘melodic’ but rather integrate harmony and contrapuntal voices.[2] My research began not out of an endeavor to clarify the ‘authentic’ performance methods of Bach’ Cello Suites, but rather focus on a set of suggestions which attempt to justify the method found behind the markings found on AMB’s copy and consequently present my findings as an option to other performers as a basis for alternative interpretation.

The eighteenth century musician was accustomed to present a continuous musical line with detached bowing. The slurs had the object of distinguishing and picking out of from the uniform flow a group of notes as a figure.[3] Upon studying the four manuscripts, each copy yielded differing details such as slurs, articulations and omitted or changed notes. It is also to be noted that each copy may contain ‘possibilities’ of inaccuracies within themselves when copied from the original autograph.[4] Despite these inconsistencies, I have noted several similar characteristics which are shared throughout. There are several important characteristics of the use of slurs which occur throughout the Suites;

  • Slurs in the sources were primarily used to articulate small groups of notes of not more than four. Kramer asserts that the number of short slurs in the Suites suggest that the type of articulation Bach envisioned for these movements required a relatively small amount of bow and was one in which individual notes were varied through changes in length or dynamics.[5]
  • Asymmetrical slur patterns (3+1 or 1+3 etc) are more common in the eighteenth century copies than symmetrical (2+2 or 4+4), which necessitate a separate bow stroke at the beginning or end of the group.[6] The performer should note the separate note is subject to a lighter bow stroke and should not be unnecessarily heavy. There is a prime example in the Prelude of the C Major Suite bars 45-60 where several modern century editions suggest symmetrical slurs rather than what Bach intended.
  • Symmetrical slur patterns are usually reserved for an alternation between adjacent strings, prominently displayed in the Gigue of the C major Suite bars 21-31 and bars 81-91.

The number of short slurs in AMB’s copy suggested that they weren’t an indication for legato playing but rather a contrast and an interruption for the series of detached notes. This also appears to me a logical explanation for the number of asymmetrical slurs in the Suites, taking into account the necessity for a gentler articulation on the separated note. Continuous legato and unarticulated playing was condemned by eighteenth century musicians as poor execution. Therefore, substituting the shorter slurs for longer slurs causes the modern cellist to forfeit the ability to separate notes in the musical line, which instead becomes a smooth continuum in which all notes are of equal importance and length.[7] The exception lies only in the Preludes, where short slurs seem to be associated with sequential passages, long slurs may indicate a freedom of rhythm much like a cadential passage.  In bar 49 of the Prelude of the Eb major Suite contains a slur over three bars encompassing thirty eight semi-quavers in total which indicated to me an intention to break the arpeggiated quaver pattern in favor of the musician’s own educated interpretation. Likewise in the overture section of the C minor Prelude, the probability of playing the slurred semi-quaver passages as a perfectly executed scale passage is highly unlikely.

The need to articulate frequently and differently is vital in demonstrating an understanding of phrasing and the musical line. Since there are few markings throughout the Suites it was common practice for eighteenth century musicians to vary articulation in terms of harmony, internal configuration and metric structures. According to Helmut Perl, “
music should be as highly differentiated as speech, in which no two consecutive syllables are equally long or short, light or heavy, loud or soft, more or less accented, even though all the notes look the same.”[8] This suggested a hierarchic system of articulation not only limited to the traditional ‘strong-weak-weak’ or ‘strong-weak-moderately strong-weak’ pulses, but also to distinguish each note according to their relative degree of importance. I refer to Richard Efrati as he describes in Chapter III the two types of accents in the case of no composer markings, the Metric and Agogic.[9]

  • The Metric Accent is described as “Generally the accent of the expression or the stress of tone falls on the ruling or strong beat
In every bar, the first note of the first crotchet, the first note of the half-bar or third crotchet in 4/4 time: the first note of the first and fourth crotchet in 6/4 and 6/8 time
These may be called the strong beats on which the chief stress of the tone always falls if the composer has indicated no other expression.”[10] The beginning of Allemande in the C major Suite contains such an accent, the three semiquaver upbeat gives a natural crescendo to a simulated tenuto articulated downbeat. The third beat of the first bar can also be slightly accented, though not as loud as the first C. This ties in rather nicely with the slur markings in the AMB copy having the metric accents positioned on a separated bow stroke. During a play through of this characteristic I noticed a natural diminuendo occurring in the descending passage which enabled me to apply the same articulation as the upbeat in preparation for the next metric accent. I only noticed afterwards that Efrati had suggested a crescendo in the upbeat to the strong beat in fear of being unmusical.
  • The Agogic Accents are best defined as an accent that belongs to the context of the phrase. It should be noted that Agogic Accents are brought about by dwelling on a note rather than a forceful accent. There are numerous possibilities in which to be expressive with the accent ranging from rallentando to accelerando, a pause and the means of vibrato. Should the trained musician choose to make use of Agogic Accents, the articulation would exist in the context of what came before and what occurs after. While practicing the C major Suite, I noticed that abrupt harmonic changes such as bars 14, 24, 72 and 73 of the Prelude and bars 9, 47, 57 and 65 of the Courante are among many possibilities for an Agogic Accent. Another possibility would be discovering the high point and low point of the phrase, using the lowest or highest note emphasize the importance of the pivotal point in the music brings direction to the performer. In bar 11 and 15 of the Gigue, the low A and G respectively can be emphasized without sounding out of place as well as add an element of forward momentum in reaching the tenth leap upwards in bars 12 and 16.

The polyphony that exists in Bach’s Cello Suites often tends to be overlooked. According to Efrati, “Bach knew how to intertwine several lines to form a seemingly single homophonic line. It is of the utmost importance for the phrasing to differentiate between the different voices.”[11] Unlike the inventions and other keyboard works where two or more voices are usually played simultaneously, distinguishing several voices in a single musical line can be challenging and easily missed; the Allemande of the C major Suite is one example. The following illustration is bars 14 to 17, a transition from the dominant G major to the relative A minor (of the tonic) and makes use of several abrupt G# and F natural accidentals.

The high voice begins with the upbeat and ends just after the second beat of the bar, after which the middle voice begins the introduction of the F# and G#. The low voice begins on the final note of the first bar on C, playing an F major chord perhaps to establish the augmented leap soon after. The middle voice begins again after and switches abruptly to the lower voice again after the G# for two notes before all three voices take the sequence of notes once in each register. The final A minor declaration comes in the form of a chord after the high voice runs up to a D before passing the spotlight back to the middle voice by falling a minor third. This is one of the more complex combinations of voicing I have found in the third Suite. Finally, to understand the numerous possibilities available for performers when dealing with the absence of notation marks; articulations in phrasing can often help vary musical lines. The following two statements “The pupil says, my friend is sick.” and “The pupil, says my friend, is sick.” illustrate that by shifting the punctuation marks, the sense of the sentence has been reversed.[12]

Throughout my research, my attention is constantly being returned to the burden of using a modern bow to articulate an eighteenth century work. Although the theory of eighteenth century performance practice relates directly to using baroque equipment, I believe that the modern performer can apply eighteenth century principles by firstly training the ears to perceive the suites as harmony and polyphony adapted for a melodic instrument.  Despite choosing to perform Bach’s Solo Cello Suite on my modern instrument, my study inspired me to believe that with keen listening and creatively varying bow techniques between detachĂ© and short slurs combined with metric/agogic accents can form a foundation for many artistic possibilities for interpretation for the modern cellist.

 

 

 

 


 

Bibliography

 

Bach, Johann Sebastian, Sechs Suiten fur Violoncello Solo. Edited by August Wenzinger. Kassel: Barenreiter, 1967.

 

Bylsma, Anner, Bach, the fencing master : Reading aloud from the first three cello suites. Amsterdam : Bylsma Fencing Mail, 1998.

 

Donington, Robert, Baroque Music: Style and Performance. NY: Norton & Company, 1982.

 

Efrati, Richard R, The Interpretation of the Sonatas and Partitas for Solo Violin and the Suites for Solo Cello, Zurich: Atlantis, 1979.

 

Kramer, Laura Elizabeth, Articulation in Johann Sebastian Bach’s Six Suites for Violoncello Solo (BWV 1007-1012): History, Analysis and Performance. Michigan: UMI, 2007.

 

Ledbetter, David, Unaccompanied Bach: Performing the Solo Works. London : Yale University Press, 2009.

 

Mozart, Leopold, A Treatise on the Fundamentals of Violin Playing. Oxford: Oxford University Press, 1985.

 

Perl, Helmut, Rhythmische Phrasierung in der Musik des 18, Jahrhunderts: ein Beitrag zur Auffuhrungspraxis. Wilhelmshaven: Heinrichshofens’ Verlag, 1984.

 

Quantz, Johann Joachim, On Playing the Flute. New York: Schirmer Books, 1985.

 


 

 

[1] Johann Sebastian Bach, Sechs Suiten fur Violoncello Solo, ed. August Wenzinger (Kassel: Barenreiter, 1950), pg 3

[2] Laura Kramer, Articulation in Johann Sebastian Bach’s Six Suites for Violoncello Solo (BWV 1007-1012): History, Analysis and Performance, (Michigan: UMI Dissertation Services, 2007), pg 210

[3] Johann Sebastian Bach, Sechs Suiten fur Violoncello Solo, ed. August Wenzinger (Kassel: Barenreiter, 1950), pg 3

[4] The inclusion of ‘possible’ inaccuracies are due to some recent studies on whether the slur markings in the AMB score contained omitted slurs due to her carelessness and whether she may have incorrectly placed the start of the slur on certain notes. However, I chose not to focus on this area.

[5] Laura Kramer, Articulation in Johann Sebastian Bach’s Six Suites for Violoncello Solo (BWV 1007-1012): History, Analysis and Performance, (Michigan: UMI Dissertation Services, 2007), pg 207

[6] Laura Kramer, Articulation, pg 208

[7] Laura Kramer, Articulation in Johann Sebastian Bach’s Six Suites for Violoncello Solo (BWV 1007-1012): History, Analysis and Performance, (Michigan: UMI Dissertation Services, 2007), pg 209

[8] Helmut Perl, Rhythmische Phrasierung in der Musik des 18. Jahrhunderts: ein Beitrag zur Auffuhrungspraxis (Wilhelmshaven: Heinrichshofens’ Verlag, 1984), pg 29

[9] Richard Efrati, The Interpretation of the Sonatas and Partitas for Solo Violin and the Suites for Solo Cello, (Zurich: Atlantis, 1979), pg 99

[10] Leopold Mozart, A Treatise on the Fundamental Principles of Violin Playing (Oxford: Oxford University Press, 1948), pg 219

[11] Richard Efrati, The Interpretation of the Sonatas and Partitas for Solo Violin and the Suites for Solo Cello, (Zurich: Atlantis, 1979), pg 135

[12] Richard Efrati, The Interpretation, pg 109

 

Recent Post

Restarting classes after COVID-19

Traditional Ip Man Wing Chun | Class Events

Tse Qigong Centre China Tour 2019

Traditional Ip Man Wing Chun Classes in Melbourne Glen Iris 2019

Traditional Ip Man Wing Chun

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