Albinoni: My Daily Bread, The Saga Part III

Published: Aug. 17, 2007 at 5:33 PM
This morning I started playing consistently through page four, and trying to add better treatment--the kind I'm use to in Em to the first notion,attempting to add this treatment to the first runs, and shooting for the arpeggios. I made it to the arpeggios, but not through them.

So I was fed, to sense that all this work I've done on relaxing will pay it's first dividends as I not perfectly but surprisingly fluidly grabbed the high high G.

And I remembered that someone wrote (someone quoted someone good rather), that we should know "every" way of getting somewhere when shifting.

So, I kicked in my relax zen and just did it(Aside: this zen trickled backwards to what I was already doing ok in a preliminary sense). I still have to figure out the first details in 'style' though.

These details will involve what someone was talking about in terms of each string's character, in relation to what I choose to say with the arpeggios. While I have confidence in choosing music, 'these' details speak directly to Sung's question about becoming a better teacher.

The technician v. musician is at stake here, and I've been there many many times on piano. I've chosen before to take a bass line very low, and consisting of a single disjointed note rhythmically and making the melody and right hand speak well--somewhat like bagpipes or something the right hand in the lower upper ranges.

It will be easy enough to find logical comfortable shifts I think. But that will not be good enough for me ultimately. With this song I'll be gearing towards some of the things we've all discussed, again the individual string's character comes to mind, in making the music stand on it's own.

Though I didn't rosin, I'm wrestling with bow speed near the fingerboard because I do not really want to use vibrato, but I also do not want it to fall on it's face or become whispy on at least the first four violin measures. And as a comparison, m1 and m3 must be brilliant as open e on some levels(from where I tinkered with open e before finding the music AND THE SCORE!).

One of my major current obstacles is laying out eight pages of music. I got confused because a measure wasn't sounding right and nothing I did helped. Uh, page 3 was switched with page 4. For an entire day! ;).

But it's not the requisite fans during dog days, it's my eye sight, and fear of invoking tension leaning towards the music. Of course these problems go away when I've learned something completely--to me, but I've approached this like I did Becker's Gavotte: slowly and note wise.

Finally, the bread this morning was aggregate. Knowing that I'll be able to find my way nicely to the high G, speaks 'something' to the rest of the music. But I'm wise enough to know not to overdo it, if I want this song to progress 'over time'. I took my transposed slow mvmt: pathetique for granted for a couple years--at least--before I discovered the awesome awesome subtle beauty there.

I study of course as an experimental amateur violinist, with the technical things added much much earlier than any instrument I've worked with, and exponentially more intently--an experience I hope to continue.

My goal then is not to take series of techniques towards melody, but to use my ear for music to reverse the process this time, as I remain,
Mr. Legatomeister. (insert here the second and third ideas of slow mvmt: Pathetique).