I'm starting an experiment this week.  I've been trying to get that old fire-in-the-belly feeling I got for practicing when I first moved to CCM.  I tried recently an idea of "practice away from the instrument."  According to "The Inner Game of Music," this is just as important if not more important than our normal idea of practice.  So last Saturday, I forced to try this idea because I was very busy and didn't have time for a normal 4-5 hour practice session.  I recorded myself on three pieces I'm working on with no specific warm-up.  I listened to them and made comments on things I need to fix before my next lesson.  I also researched bow strokes on www.violinmasterclass.com (great resource btw's)  Anyways, another way I've tried to get the fire back is I signed up for Adv. Rep/audition class.  We go through excerpts for orchestral auditions.  I need to learn these because even though I don't plan on winning a spot in a high-to do orchestra, I need to be able to teach these.  So I'm going to record myself everyday, make notes, and base my practice for the next day based on my practicing away from the instrument.

Telemann Mvt. III

1. Clean Shift at the beginning
2. Check for correct pitches especially perfect interval between the E and B.  Make sure E's match
3. Keep the line moving from one set of slurred notes to the other.  Don't let the music die.
4. Don't choke or lose the sound during held notes
5. Be sure to start softer in order to bring out the cresc.
6. In the section of one 16th followed by three 16ths slurred, watch for intonation, specifically third finger G's and first finger C's in third position
7. After the cadenza, right before the tutti section, make sure the B's and everything in relation is in tune
8. The End sucked, fix it.

Telemann Mvt. IV

1. Make sure your unisons are consistent and reliable
2. Drill running 16th note passages checking for intonation and making sure you feel confident playing it at the drop of a hat.
3. Drill all shifts
4. Check Intonation on all perfect intervals, especially the harmonic ones

Kreutzer No. 2

1. Make sure all string crossings over two strings are crisp and clear and in tune.  Drill from 40-80 bpm.  Work hands separate if need be.

final thought:

"My Name is Kvothe.  I have stolen princesses back from sleeping barrow kings.  I burned down the town of Trebon.  I have spent the night with Felurian and left with both my sanity and my life.  I was expelled from the University at a younger age than most people are allowed in.  I tread paths by moonlight that others fear to speak of during day.  I have talked to Gods, loved women, and written songs that make the minstrels weep.  You may have heard of me."

"The Name of the Wind" by Patrick Rothfuss