Today

Day 20 of your cycle· plan suggests this

**27-11 → 30-11: replace the NKO block with the Rotterdam lyrical excerpts + Mozart 5 with cadenza.** NKO's KV 428 2nd-violin part (their chamber round, played with their players: an inner voice that listens and fits) plus the lyrical excerpts. **Every Sound day starts with an 8-minute Sibelius memory touch.** Singing tone, colour, intonation, and gentle on the body: a good day after a hard one, or when the back's a bit sore. NKO's set first (priority through 26-11), then Rotterdam's.

• Morning back check
• Physio set (2×10)
• Warm up — open strings, slow full bows, long tones; relaxed, back-aware i 6m
• Set-up check (new Korfker chinrest + shoulder rest) — head weight released into the chinrest (no clamping), shoulders down, jaw and neck free, violin height so the left arm hangs without lifting. A slow scale in front of a mirror or the camera. Change one thing at a time and note it in your log. Until 09-11: play in 10–15-minute stretches, then a break 3m
• Sibelius mvt I, one section from memory — play it without the score, then check it against the score and mark what drifted. Rotate sections through the week so the whole movement (cadenza included) keeps coming round. Slow is fine: this is memory, not tempo. 8m
• Scales & arpeggios — 3 octaves; then slow double-stops (thirds, sixths, octaves) for intonation i 8m
• Left-hand drill — Schradieck or Ševčík op.1, even and relaxed i 4m
• Ease in — slow whole bows, shifts into upper positions, tuning against a high-position drone i 4m
• Mozart — Quartet in E-flat, KV 428, mvt I, 2nd violin (whole movement, with the repeat): inner-voice intonation against the 1st violin, the repeated-note accompaniment even and soft, clean hand-offs. Play along with a recording at least once a week so you hear where you sit 12m
• Schoenberg — Verklärte Nacht (2nd vln, ~m. 290 → 320): the poco a poco accel. arpeggios, the Più mosso triplets, the sextuplet passage from 309 even; tone at ff without forcing. Rubato where marked 12m
• Bach — Cantata 51, the Choral (beginning → D): clean sixteenth figuration against the chorale line, Baroque articulation, light and in time 8m
• Quick break 3m
• MacMillan — Seven Last Words, IV (Largo 𝅗𝅥=c.60, ~m. 25 → 67): the high flautando line, sustained pp, the grace-note figures placed, tone that carries without pressure 12m
• Quick break 3m
• Bizet — Symphony in C, mvt II (3 → 5): the high espressivo line, tone in the upper register, the long cresc. molto to ff sempre 4m
• Tchaikovsky — Serenade, Waltz (→ ~m. 100): dolce e molto grazioso, a lilt without mannerism; the stringendo at A; the B runs even. ♩.=69 4m
• Beethoven 9, mvt III (99 → 114, the 12/8): legato sixteenths even, the 9-note runs placed, the melody singing on top 4m
• Quick break 3m
• Mahler 9, mvt IV (1st vln, mm 1–12): G-string opening, großer Ton, then p subito and morendo. Rubato, no click 3m
• Bruckner 9, mvt II Trio (F → ~260): light, even spiccato in one, pp control, the hervortretend line clear. Performance ♩.=132; slow practice clicks the quarter ♩=96
• Log today's session
• Note how the lyrical set went — tuning, tone colour, phrasing
• Back check after playing

or just log it →