Published: Aug. 30, 2007 at 6:35 PM
I found a hundred memories today, that nearly overwhelmed me. I thought they were all lost in a fire. I found my awards from Grade school, Jr. High and High School.
I found my award for making it to the regional science fair, and my ID tag from where I picked tobacco a summer during a summer work program. There also in that little packet, I found the article about our High School Graduation, that had a photo of my dear friend who died a few years ago grinning back at me. I miss her so very badly.
I found songs I'd written, and realized I was an environmentalist before the liberalizing influences of college; and, that our beautiful ancient mountains meant the world to me even in my early childhood. I found a poem that impressed a teacher so profoundly, that she hung it enlarged on posters during our spectacular autumns for years.
I found a beautiful letter one of my eighth grade teachers wrote me, telling me she loved me too! But that I needed to quit being so lazy--actually three times at least in the letter. I aggravated her unmercifully on a daily basis, and wish I could see her now.
I found a memorial from a lost friend in eighth grade. And I found a 1943 interpretation by Hawaii's media I had squirreled away, of Hawaii's official response to Pearl Harbor. I can't wait to read this, being a good revisionist revisionist reviser.
And after I stopped wiping my eyes, I realized just what I'm going to give my friend's son when he graduates High School in a couple more years.
Wednesday, December 26, 2007
My Virtuous posture
Published: Aug. 26, 2007 at 9:28 AM
My virtuous moment today, was very very cool. I started feeling my left elbow under the instrument in a somewhat instinctive way, and it was surprisingly fluid though not perfect. Months and months of crunching do not easily go away. I really wonder if Aleve should not pay me a few dollars, or at least grab me some strings.
Ron, I wish I could give you all the credit, but it was many many people who got me here over what feels like a long long time in some ways, but in other ways I'm somehow oblivious to the actual passing of the time.
Raphael, Buri, Sue, teachers, grit, a long long long list,... got me here. When I play cards I always say the winning card out loud for posterity's sake. It was Ron's exercises over the strings that won the game for me.
I started slowly just relaxing and flowing my elbow, then I furthered this by reducing the arcs each string might experience. Then I started focusing on a flow from the center of my neck and back left-wise. And I started feeling the swinging and adapting for notes in a light and fluid fashion. Some days being legatomeister do pay off. Today as tired as I am, I would have no choice anyway--use all moments folks.
So, I felt this flow starting to communicate with my fingers being over the strings actually as the reference point rather than the elbow, as the mental and physical connection was made. Dang, that's clear.
So, given the mountains I've climbed, this is major epiphany again--what for the third time this month?--and opens a lot of new doors for being able to focus on other things.
But the significance of the moment is that it is clear that for months and months and months I've been struggling with this. And just the idea of being able to refocus on technique more is darn awesome. Equally so, the idea of getting to push forward in my actual music isn't half bad either.
Ron, your exercises are finding allies all over the place in what little bag of tricks I've put together over the months. I feel like I'm being ganged up on by Oliver, Clayton, Milstein, Perlman and Hahn on my right side; and, you, a whole darn list of people darn near everywhere on my left side, a little old lady on my overall body, and I'm still a bashful little legatomeister who pants over my violin like a dog over a bone. Life is so unreal some days. I could've have made theoretical math my hobby! Dang. (uh-perhaps sadly, seriously;).)
Raphael's ditching the rest experience loaded the bases, and gracefully eased me into my girl's bosom. A teacher's coaching gave me an idea of where I needed to go overall, and inspired me with less than ten notes. And Hahn melted my Milstein fantasies with the most beautiful beautiful graceful control.
Just feeling my fingers adapt quickly for a vibration is a personal thing, that also deserves another mention concerning having been 'born' on violin with pain. I cash in another chit for having persisting, in taking the fingerboard for my own consistently, even if in an adolescent spirit so far. It's a step beyond the football player learning to dance in "Footlose". By gosh I got the bruises too!.
Also tonight, I felt the instrument floating in my hold, to adapt across the strings. And that showed also, or sounded rather. And I was able to adapt from my waist to augment my G/--somewhat D reaches. I'm currently feeling for my ranges of motion that compliment what I'm working on with my right side. But I'm also minimizing every motion as I go--I luv Hilary!
So this virtuous moment really is a consortium of ideas, angst and basic ability. A posture Festival is good for anyone.
My virtuous moment today, was very very cool. I started feeling my left elbow under the instrument in a somewhat instinctive way, and it was surprisingly fluid though not perfect. Months and months of crunching do not easily go away. I really wonder if Aleve should not pay me a few dollars, or at least grab me some strings.
Ron, I wish I could give you all the credit, but it was many many people who got me here over what feels like a long long time in some ways, but in other ways I'm somehow oblivious to the actual passing of the time.
Raphael, Buri, Sue, teachers, grit, a long long long list,... got me here. When I play cards I always say the winning card out loud for posterity's sake. It was Ron's exercises over the strings that won the game for me.
I started slowly just relaxing and flowing my elbow, then I furthered this by reducing the arcs each string might experience. Then I started focusing on a flow from the center of my neck and back left-wise. And I started feeling the swinging and adapting for notes in a light and fluid fashion. Some days being legatomeister do pay off. Today as tired as I am, I would have no choice anyway--use all moments folks.
So, I felt this flow starting to communicate with my fingers being over the strings actually as the reference point rather than the elbow, as the mental and physical connection was made. Dang, that's clear.
So, given the mountains I've climbed, this is major epiphany again--what for the third time this month?--and opens a lot of new doors for being able to focus on other things.
But the significance of the moment is that it is clear that for months and months and months I've been struggling with this. And just the idea of being able to refocus on technique more is darn awesome. Equally so, the idea of getting to push forward in my actual music isn't half bad either.
Ron, your exercises are finding allies all over the place in what little bag of tricks I've put together over the months. I feel like I'm being ganged up on by Oliver, Clayton, Milstein, Perlman and Hahn on my right side; and, you, a whole darn list of people darn near everywhere on my left side, a little old lady on my overall body, and I'm still a bashful little legatomeister who pants over my violin like a dog over a bone. Life is so unreal some days. I could've have made theoretical math my hobby! Dang. (uh-perhaps sadly, seriously;).)
Raphael's ditching the rest experience loaded the bases, and gracefully eased me into my girl's bosom. A teacher's coaching gave me an idea of where I needed to go overall, and inspired me with less than ten notes. And Hahn melted my Milstein fantasies with the most beautiful beautiful graceful control.
Just feeling my fingers adapt quickly for a vibration is a personal thing, that also deserves another mention concerning having been 'born' on violin with pain. I cash in another chit for having persisting, in taking the fingerboard for my own consistently, even if in an adolescent spirit so far. It's a step beyond the football player learning to dance in "Footlose". By gosh I got the bruises too!.
Also tonight, I felt the instrument floating in my hold, to adapt across the strings. And that showed also, or sounded rather. And I was able to adapt from my waist to augment my G/--somewhat D reaches. I'm currently feeling for my ranges of motion that compliment what I'm working on with my right side. But I'm also minimizing every motion as I go--I luv Hilary!
So this virtuous moment really is a consortium of ideas, angst and basic ability. A posture Festival is good for anyone.
OCD Thought of the Day.
Published: Aug. 24, 2007 at 7:27 PM
My OCD point for the day is that Ron got my left side heading in the correct direction. Again. The exercises for teaching my elbow to flow under the instrument seem to be working 'very' nicely; and, I created one of my own: "London Bridge is Falling down" starting with f3 on each string, very slowly and monitoring focus.
I will certainly work with the patterned exercises generously shared, but returning to this legato London focus is my way of Hahn'ing it out for some time to come. I took the exercises to some more intense etudes, and lasted longer than I thought I would. And I applied the awareness to more 'real' music fairly successfully.
So, I'm watching my left elbow, I'm watching my right elbow (thanks Oliver), I'm watching my neck and moving lightly from time to time to stay relaxed. I'm watching my bow hair contact, my sounding point, my bow pressure (speed is no problem). I'm watching my right shoulder, oh yeah, and I'm reading the music in between.
I've heard, what doesn't kill ya will make ya better. How true!. Had it not been for pegging the arpeggios I'm working on earlier, I'd yell or somethin!. And I love it.
My OCD point for the day is that Ron got my left side heading in the correct direction. Again. The exercises for teaching my elbow to flow under the instrument seem to be working 'very' nicely; and, I created one of my own: "London Bridge is Falling down" starting with f3 on each string, very slowly and monitoring focus.
I will certainly work with the patterned exercises generously shared, but returning to this legato London focus is my way of Hahn'ing it out for some time to come. I took the exercises to some more intense etudes, and lasted longer than I thought I would. And I applied the awareness to more 'real' music fairly successfully.
So, I'm watching my left elbow, I'm watching my right elbow (thanks Oliver), I'm watching my neck and moving lightly from time to time to stay relaxed. I'm watching my bow hair contact, my sounding point, my bow pressure (speed is no problem). I'm watching my right shoulder, oh yeah, and I'm reading the music in between.
I've heard, what doesn't kill ya will make ya better. How true!. Had it not been for pegging the arpeggios I'm working on earlier, I'd yell or somethin!. And I love it.
Albinoni: Part IV
Published: Aug. 19, 2007 at 11:04 PM
Well, I backed up my hope to move Albinoni up the the next octave for the first concept before the beautiful low range runs leading to the arpeggio a couple nights ago.
It's going to be very pretty several months from now, but I found that it works very well. And the contrast I was hoping for jumped out at me immediately.
After finishing a work cycle, I finally got some decent quality time today, though I play daily and after work. I made it through to page six reading, and up through page four is quickly on it's way to long term memory.
Anyway, I'm tempted to begin it an octave up, and jump back down to the runs mentioned, but will not at least for a long time. The elements following page four must be in place, and have an attached flow of their own that I do not want to mess with--I may however approach it as an aside with the higher octave just to prepare for the long run--it's very beautiful that way, and adds a lot to making it stand on it's own for solo and/or single accompaniment.
So tonight, after reading someone's blog I'm starting to get my quarter year goals in place, of course Albinoni memorization being one of them. They will consist of etudes, scales, arpeggios, etudes, etudes, etudes, and Suzuki.
I also want to reinvoke my earlier element studies I borrowed from violinmasterclass. I have to find a smarter approach though to prevent over use as I go forward though. I'm feeling that while learning Albinoni that my inability to walk and chew bubble gum is trying to express itself in making me lose my focus on posture.
So one of my goals will also be to sense where I'm pushing too much or too fast, and re-connect with Hilary's practice advice molded to my realities. I find that once I start successfully sketching something with good focus and slowness, the following efforts seem to find me finding myself getting sloppy on the parts I've already memorized. I know where the pattern comes from, but am not sure what to do about it.
Today, I started moving back towards good posture with page one through four successfully, and the tone shows--though is not where I need it to be yet.
Well, I backed up my hope to move Albinoni up the the next octave for the first concept before the beautiful low range runs leading to the arpeggio a couple nights ago.
It's going to be very pretty several months from now, but I found that it works very well. And the contrast I was hoping for jumped out at me immediately.
After finishing a work cycle, I finally got some decent quality time today, though I play daily and after work. I made it through to page six reading, and up through page four is quickly on it's way to long term memory.
Anyway, I'm tempted to begin it an octave up, and jump back down to the runs mentioned, but will not at least for a long time. The elements following page four must be in place, and have an attached flow of their own that I do not want to mess with--I may however approach it as an aside with the higher octave just to prepare for the long run--it's very beautiful that way, and adds a lot to making it stand on it's own for solo and/or single accompaniment.
So tonight, after reading someone's blog I'm starting to get my quarter year goals in place, of course Albinoni memorization being one of them. They will consist of etudes, scales, arpeggios, etudes, etudes, etudes, and Suzuki.
I also want to reinvoke my earlier element studies I borrowed from violinmasterclass. I have to find a smarter approach though to prevent over use as I go forward though. I'm feeling that while learning Albinoni that my inability to walk and chew bubble gum is trying to express itself in making me lose my focus on posture.
So one of my goals will also be to sense where I'm pushing too much or too fast, and re-connect with Hilary's practice advice molded to my realities. I find that once I start successfully sketching something with good focus and slowness, the following efforts seem to find me finding myself getting sloppy on the parts I've already memorized. I know where the pattern comes from, but am not sure what to do about it.
Today, I started moving back towards good posture with page one through four successfully, and the tone shows--though is not where I need it to be yet.
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).
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).
Albinoni: Legatomeister Bound: The Saga Part II.
Published: Aug. 17, 2007 at 7:25 AM
I was on like page three or four of Albinoni and encountered the low range runs. I melted. I'm still melting. This is humiliating. ;).
I dug in to the runs; and grabbed some slow loud at the bridge, and they are in my entire upper half of my body as I write.
Realizing as I sketched that even the arpeggios are going to be awesome, my brain screeched cuss words. I can't take it!. But I will.
I feel like I'm in a dream as all these things begin coming together: a wonderful, intense, even surreal something. God knows I've worked my 'quite pretty' arse off ;).
I immediately stepped out of the box and up to bat in choosing to do it in upper octaves as well, lower contrasting octaves, and more. This, will be one of my two so far legatomeister signatures for a long long time I'm sure.
My first legatomeister expression was a string of Ave's, which will always be a part of my personal repertoire. Then it was actually my first love, "Air on G", that took me to some 'real' competency. Mary Beth should have listened to me.
God will be jealous.
Come to think of it, I actually now have three legatomeister candidates, McGlothin's "Arms of the Angels" considered. I'm gonna rock that baby. Nonetheless, I'm finding Albinoni a perfect musical expression for violin.
When I make a song my own, it's a cool thing. And at some better percent of luck, I choose well for some reason. When I was grabbing my first lower range notes earlier, I knew that though it would sound cocky, that something very very spayshul was happening.
The 'D' string animated with that first 'G' in a way that made me grin broadly--and I did. And in making the choice for bow speed near(er) the fingerboard for the opening notes, I could hear the ensemble becoming the solo--I grinned again.
I do not even have the words for that experience of bridging the gap between ability, technique and abstraction. Oh'm'gosh.
I was on like page three or four of Albinoni and encountered the low range runs. I melted. I'm still melting. This is humiliating. ;).
I dug in to the runs; and grabbed some slow loud at the bridge, and they are in my entire upper half of my body as I write.
Realizing as I sketched that even the arpeggios are going to be awesome, my brain screeched cuss words. I can't take it!. But I will.
I feel like I'm in a dream as all these things begin coming together: a wonderful, intense, even surreal something. God knows I've worked my 'quite pretty' arse off ;).
I immediately stepped out of the box and up to bat in choosing to do it in upper octaves as well, lower contrasting octaves, and more. This, will be one of my two so far legatomeister signatures for a long long time I'm sure.
My first legatomeister expression was a string of Ave's, which will always be a part of my personal repertoire. Then it was actually my first love, "Air on G", that took me to some 'real' competency. Mary Beth should have listened to me.
God will be jealous.
Come to think of it, I actually now have three legatomeister candidates, McGlothin's "Arms of the Angels" considered. I'm gonna rock that baby. Nonetheless, I'm finding Albinoni a perfect musical expression for violin.
When I make a song my own, it's a cool thing. And at some better percent of luck, I choose well for some reason. When I was grabbing my first lower range notes earlier, I knew that though it would sound cocky, that something very very spayshul was happening.
The 'D' string animated with that first 'G' in a way that made me grin broadly--and I did. And in making the choice for bow speed near(er) the fingerboard for the opening notes, I could hear the ensemble becoming the solo--I grinned again.
I do not even have the words for that experience of bridging the gap between ability, technique and abstraction. Oh'm'gosh.
Albinoni The Saga.
Published: Aug. 15, 2007 at 10:36 PM
How cool that after blogging last, I found the Albinoni music first search. And it had the organ parts included as well. I was in the garden picking some zucchini for a friend and came in to rest a minute and decided to chance a search. Whalah!
I immediately went to working with it and was absolutely thrilled that I won't have to figure out the arpeggio like runs and so forth.
Even more importantly, I found myself reading it first pass, probably because I know it so well in some ways.
Now I have to fight the temptation to play the organ parts as well. And it's given me the written material with which to chose chunks and phrases as a violin solo without so much work as well.
How very cool.
How cool that after blogging last, I found the Albinoni music first search. And it had the organ parts included as well. I was in the garden picking some zucchini for a friend and came in to rest a minute and decided to chance a search. Whalah!
I immediately went to working with it and was absolutely thrilled that I won't have to figure out the arpeggio like runs and so forth.
Even more importantly, I found myself reading it first pass, probably because I know it so well in some ways.
Now I have to fight the temptation to play the organ parts as well. And it's given me the written material with which to chose chunks and phrases as a violin solo without so much work as well.
How very cool.
Albinoni Revisited
Published: Aug. 15, 2007 at 5:44 PM
Adagio in Gm by Albinoni is awesome. Sitting here listening and learning I have to wonder if there is an unaccompanied solo version anywhere. For other adult beginners I highly recommend this piece for something meaty to chew on.
It was one of the first themes that came unexpectedly to my strings when I first started experimenting with violin some time ago. And now, learning some of the other parts is a 'peak' experience for sure. And most importantly, it is very much achievable--and God awful beautiful, especially when done 'exactly' at tempo.
Last night I was even stretching it out a little more because the place I was practicing had wonderful acoustics and it was filling the room awesomely.
Not only the main notion, but the interconnecting arpeggio like themes are just wonderful for working on musicality. And the white space required to pull it off successfully between phrases is good for one as well I think.
I find that it is also somewhat flexible and forgiving if one pushes it a little--unlike other especially largo type stuff that falls apart when pushed. But, m:52 grabs it distinctly.
Beautiful!
Adagio in Gm by Albinoni is awesome. Sitting here listening and learning I have to wonder if there is an unaccompanied solo version anywhere. For other adult beginners I highly recommend this piece for something meaty to chew on.
It was one of the first themes that came unexpectedly to my strings when I first started experimenting with violin some time ago. And now, learning some of the other parts is a 'peak' experience for sure. And most importantly, it is very much achievable--and God awful beautiful, especially when done 'exactly' at tempo.
Last night I was even stretching it out a little more because the place I was practicing had wonderful acoustics and it was filling the room awesomely.
Not only the main notion, but the interconnecting arpeggio like themes are just wonderful for working on musicality. And the white space required to pull it off successfully between phrases is good for one as well I think.
I find that it is also somewhat flexible and forgiving if one pushes it a little--unlike other especially largo type stuff that falls apart when pushed. But, m:52 grabs it distinctly.
Beautiful!
let it go,and be free! Paul's response
Published: Aug. 15, 2007 at 4:46 AM
Last modified: Aug. 15, 2007 at 4:46 AM
Paul, your post generated valuable wisdom all the way 'round. I just finished my first 'fairly' serious passes of "Adagio in Gm", in Em, by Albinoni.
This letting go! Your comment that you are just doing open strings made me think. You also said paraphrased, that "when I don't focus". I wanted to suggest to you that this focus is deceptive.
For your first several years, you will be focusing I hope, on this "letting go". I was writing earlier to someone that, 'this violin is a jealous creature' that demands complete "letting go".
But there is a method to this letting go, based on your specific body-type. Though you may be a natural in posture, there are chances that as an adult beginner that you may 'not be so natural'. Especially in playing violin.
Though this wonderful flowing image seems abstract, it isn't. The image is a matter of all the elements that make up relaxed posture, and apply themselves to the sometimes quarrelsome violin.
Tuck.
Lightness of instrument placement.
yet. secureness of instrument placement. many, my experience
Level control in a balanced but parallel orientation of the instrument. many + external sources
Worth repeating: a lightness of placement,
with the instrument 'resting' on the hand and shoulder. Raphael
Comfortable stance the basics
nice breathing many, external
Especially for adults all these things in a package do not come so easily. So, as you add technique--(different bowings, ....), keep all these things in mind. For instance, good detached notes do not come from scrunching so much, unless you are a scruncher. Good detached notes come from good relaxed control. I hope that makes sense.
When I was playing Albinoni a few minutes ago, it was so awesome! My body after months and months of work was floating--months and months of work--and pain, cussin'.. Not only Albinoni but other candidates in my legato fest, were melting all over the place--if not 100% perfectly.
Though my knees began trembling, I maintained composure a little better this time 'round. And when I just instinctively started sketching the first ascending theme, it came 'too' nicely.
This letting go you see, has many layers from finesse in technique, to effective efficient composure when the spirit hits. Do not take it for granted. Nurture it, make it yours. It will make all the difference.
Last modified: Aug. 15, 2007 at 4:46 AM
Paul, your post generated valuable wisdom all the way 'round. I just finished my first 'fairly' serious passes of "Adagio in Gm", in Em, by Albinoni.
This letting go! Your comment that you are just doing open strings made me think. You also said paraphrased, that "when I don't focus". I wanted to suggest to you that this focus is deceptive.
For your first several years, you will be focusing I hope, on this "letting go". I was writing earlier to someone that, 'this violin is a jealous creature' that demands complete "letting go".
But there is a method to this letting go, based on your specific body-type. Though you may be a natural in posture, there are chances that as an adult beginner that you may 'not be so natural'. Especially in playing violin.
Though this wonderful flowing image seems abstract, it isn't. The image is a matter of all the elements that make up relaxed posture, and apply themselves to the sometimes quarrelsome violin.
Tuck.
Lightness of instrument placement.
yet. secureness of instrument placement. many, my experience
Level control in a balanced but parallel orientation of the instrument. many + external sources
Worth repeating: a lightness of placement,
with the instrument 'resting' on the hand and shoulder. Raphael
Comfortable stance the basics
nice breathing many, external
Especially for adults all these things in a package do not come so easily. So, as you add technique--(different bowings, ....), keep all these things in mind. For instance, good detached notes do not come from scrunching so much, unless you are a scruncher. Good detached notes come from good relaxed control. I hope that makes sense.
When I was playing Albinoni a few minutes ago, it was so awesome! My body after months and months of work was floating--months and months of work--and pain, cussin'.. Not only Albinoni but other candidates in my legato fest, were melting all over the place--if not 100% perfectly.
Though my knees began trembling, I maintained composure a little better this time 'round. And when I just instinctively started sketching the first ascending theme, it came 'too' nicely.
This letting go you see, has many layers from finesse in technique, to effective efficient composure when the spirit hits. Do not take it for granted. Nurture it, make it yours. It will make all the difference.
It's still the small things: Peristence and Rambling
Published: Aug. 13, 2007 at 9:17 AM
Last modified: Aug. 13, 2007 at 9:37 AM
For about eighteen months, I've had a song on my strings that I heard years ago. I asked my friend--even tried to sing it over the telephone (I sing like a bull moose in heat), and never have been able to find where it comes from. Until today.
I had heard this music back in the early eighties and apparently it stuck. And on violin it is haunting and beautiful, if a little sad and mournful. But I've always been into those grab'm by the heart even if you have to make'm cry songs.
Leisurely picking up a classical tape in this mess I've made after traveling for thirty years, I threw it in the tape deck. Whalah! Well I'll be. Barely able to read the label with my tired eyes, I'm driving around the mountain trying to squeeze the letters out.
Anyway, even if I have to do it by ear, this will be a piece I'll always tinker with. It was actually part of my legato-fest last night, before I found it--now how cool is that. So I was refreshing my spelling of the composer, and there she lives on Youtube.
It's "Adagio in Gm" by Albinoni. Some may remember I was asking about Adagio and Cantabile music awhile back. This is definitely one of the reasons I think. And she's worth the waiting, or persisting.
http://youtube.com/watch?v=mz4dpbk8YBs
And finally as related to persisting, how pleasant to find that I can even bring it into a slower presentation than I'm already doing. Oh my. You would have had to been a fly on the wall at my earlier legato fest to understand. Persistence.
I s'pose I should start moving it from Em to Gm sooner rather than later, though I'll miss that open e-study it brought me through sorely. I would be interested to know other's thoughts about, if just making a piece one's own for solo purposes, whether to just leave it, or go ahead and do the transposing.
Musically, I love it more than the Sarabande I trudge along with, and it's been with me so long I know it's not because it's new. I think though that one will effect the other ultimately.
Earlier, I was rocking out Lully and jamming into the song with a sixteenth or so rest (my rests are for hopefully good drama found in white space more than perfect timing--I extend them, shorten them, have made them dramatically long). And I was working on my forte near the bridge, in that first e with focus still on legato--if that makes sense. At least for me, it was powerful.
Anyway, the combination as I get both settled down will be pretty cool. This is sort of E. European to me Mara. And now I've both persisted, and rambled.
And while I'm rambling, the tone improvement thread rocks.
http://www.violinist.com/discussion/response.cfm?ID=11903
Last modified: Aug. 13, 2007 at 9:37 AM
For about eighteen months, I've had a song on my strings that I heard years ago. I asked my friend--even tried to sing it over the telephone (I sing like a bull moose in heat), and never have been able to find where it comes from. Until today.
I had heard this music back in the early eighties and apparently it stuck. And on violin it is haunting and beautiful, if a little sad and mournful. But I've always been into those grab'm by the heart even if you have to make'm cry songs.
Leisurely picking up a classical tape in this mess I've made after traveling for thirty years, I threw it in the tape deck. Whalah! Well I'll be. Barely able to read the label with my tired eyes, I'm driving around the mountain trying to squeeze the letters out.
Anyway, even if I have to do it by ear, this will be a piece I'll always tinker with. It was actually part of my legato-fest last night, before I found it--now how cool is that. So I was refreshing my spelling of the composer, and there she lives on Youtube.
It's "Adagio in Gm" by Albinoni. Some may remember I was asking about Adagio and Cantabile music awhile back. This is definitely one of the reasons I think. And she's worth the waiting, or persisting.
http://youtube.com/watch?v=mz4dpbk8YBs
And finally as related to persisting, how pleasant to find that I can even bring it into a slower presentation than I'm already doing. Oh my. You would have had to been a fly on the wall at my earlier legato fest to understand. Persistence.
I s'pose I should start moving it from Em to Gm sooner rather than later, though I'll miss that open e-study it brought me through sorely. I would be interested to know other's thoughts about, if just making a piece one's own for solo purposes, whether to just leave it, or go ahead and do the transposing.
Musically, I love it more than the Sarabande I trudge along with, and it's been with me so long I know it's not because it's new. I think though that one will effect the other ultimately.
Earlier, I was rocking out Lully and jamming into the song with a sixteenth or so rest (my rests are for hopefully good drama found in white space more than perfect timing--I extend them, shorten them, have made them dramatically long). And I was working on my forte near the bridge, in that first e with focus still on legato--if that makes sense. At least for me, it was powerful.
Anyway, the combination as I get both settled down will be pretty cool. This is sort of E. European to me Mara. And now I've both persisted, and rambled.
And while I'm rambling, the tone improvement thread rocks.
http://www.violinist.com/discussion/response.cfm?ID=11903
My Two Epiphany moments today.
Published: Aug. 1, 2007 at 5:27 PM
Doing away with my shoulder rest took guts, but I'm past that now and putting things back in place technique wise. One epiphany today involved understanding what others were doing with shoulder pads and adapting something along those lines.
I took three rubber bands and non-obtrusively but relatively securely attached my leather like pad to my instrument with no loss of sound. It works wonderfully and I'll still be able to put my instrument away with said pad attached. It's not the most secure setup I suppose, but I handle my violin with kid's gloves anyway, so I can see it doing the job for the foreseeable future.
Finally getting in the the Hahn practice spirit was my other epiphany over the past four or so days. After scanning the last three Suzuki pieces in book three, I started learning Becker's Gavotte.
Not experimenting, and containing the impulse to just play allowed me to learn the entire thing with correct bowings in just a few passes--though of course I have a long way to go to get it to really sing. I seem to have some problem remembering bowings, I think because there is no really fixed pattern as in running scales on piano.
But it was beyond the bowings that I finally got the HH spirit. I just forced myself to slow down as perfectly as I have been able to do so far. I've been working towards this for some time, and the diversion in ditching the rest, putting my bow back to the strings, and finding my centers seems to have created the luxury of space and time to allow me to just hit it note per note, phrase per phrase, detached note per detached note, and finally with continuity in getting through the entire piece.
The restless setup also served as a deterrent for me in getting the Hahn practice gig going. I respect the need for flow and relaxed posture as at no other time, and thus my focus has had to adjust to this 'do not slouch!', attitude.
I thus wonder if all people approaching particularly violin and viola go through this finding one's self body and posture wise? And does cello have it's own unique physical considerations? There is something that feels above and beyond getting my callus on guitar, compared to getting my tuck on violin--very above and beyond--at least for me.
Anyway, learning the Gavotte without that unfocused not-really knowing what was going on was somewhat a first experience for me. I won't say that other learning has been completely chaotic, but I will say this focus on slowness was especially calming and rather stress free.
I found it most notable that I found the ability to stop myself when I had lost my place; and, found the discipline to not try and memorize it without really knowing 'exactly' where each bowing was going. It was 'that' level of detail.
Epiphany is cool, even if it does sometimes only involved the smallest aspects of something.
Doing away with my shoulder rest took guts, but I'm past that now and putting things back in place technique wise. One epiphany today involved understanding what others were doing with shoulder pads and adapting something along those lines.
I took three rubber bands and non-obtrusively but relatively securely attached my leather like pad to my instrument with no loss of sound. It works wonderfully and I'll still be able to put my instrument away with said pad attached. It's not the most secure setup I suppose, but I handle my violin with kid's gloves anyway, so I can see it doing the job for the foreseeable future.
Finally getting in the the Hahn practice spirit was my other epiphany over the past four or so days. After scanning the last three Suzuki pieces in book three, I started learning Becker's Gavotte.
Not experimenting, and containing the impulse to just play allowed me to learn the entire thing with correct bowings in just a few passes--though of course I have a long way to go to get it to really sing. I seem to have some problem remembering bowings, I think because there is no really fixed pattern as in running scales on piano.
But it was beyond the bowings that I finally got the HH spirit. I just forced myself to slow down as perfectly as I have been able to do so far. I've been working towards this for some time, and the diversion in ditching the rest, putting my bow back to the strings, and finding my centers seems to have created the luxury of space and time to allow me to just hit it note per note, phrase per phrase, detached note per detached note, and finally with continuity in getting through the entire piece.
The restless setup also served as a deterrent for me in getting the Hahn practice gig going. I respect the need for flow and relaxed posture as at no other time, and thus my focus has had to adjust to this 'do not slouch!', attitude.
I thus wonder if all people approaching particularly violin and viola go through this finding one's self body and posture wise? And does cello have it's own unique physical considerations? There is something that feels above and beyond getting my callus on guitar, compared to getting my tuck on violin--very above and beyond--at least for me.
Anyway, learning the Gavotte without that unfocused not-really knowing what was going on was somewhat a first experience for me. I won't say that other learning has been completely chaotic, but I will say this focus on slowness was especially calming and rather stress free.
I found it most notable that I found the ability to stop myself when I had lost my place; and, found the discipline to not try and memorize it without really knowing 'exactly' where each bowing was going. It was 'that' level of detail.
Epiphany is cool, even if it does sometimes only involved the smallest aspects of something.
v.com:The Festival that Never Ends
Published: Jul. 2, 2007 at 9:34 PM
Last modified: Jul. 3, 2007 at 4:52 PM
Over the past weeks v.com has experienced The Great Balancing Act, a festival of work, thought and results. That is why this site rocks partly.
For me it began from an aside that involves balance somewhat in getting my bow dynamic to arch subtly so as to grab notes better in some respects. But more directly various discussions approached this from many angles so far as the balancing part is concerned. Basically for me, poor posture also meant poor bow approach and handling as much as anything else.
Raphael Klayman's excellent site has the nuts and bolts about holding the instrument ala no shoulder rest; and, gives the details about how to get there very clearly. For me, a new way of playing has resulted.
Then someone jumped in with research done in the Netherlands, which I have only begun to digest. This site takes Raphael's notions and truly breaks them down with photos, techniques and even philosophy. The site. I cannot find the original post, but some portions seem to be having technical difficulties. Nonetheless, the parts related to balance are quite clear in meaning.
Then Michael Schallock-How to Hold the violin. creates a wonderful streamlined but complete discussion on the entire topic hosted right here on v.com. With all this information, guess what I'll be working on the rest of the summer Buri.
Though I have found violin fairly overwhelming, mainly because of serial injuries and having to trudge along the best I can, v.com has always kept me thinking, and some days feeling like I'm making progress as a result of these discussions.
Beyond the festival though, Emily keeps me inspired with her photos of Alaska--a region nearly as beautiful as my mountains in southern West Virginia ;-) ; and, Maura keeps me close to the spirit of the Gypsy fidder--the attitude with which I began. And Emil has turned me into a crazy man who in turn has Paganini doing flips in his grave over my Witch's Dance--but God it's fun.
Sue made me feel welcome from the start, and Buri nearly worked me to death along with Kim Jee or something like that--who seems to have disappeared. And many others along the way (Jennifer, Kimberlee, Christian, .......) have patiently tolerated my sometimes repeated questions when I re-encounter an issue I really already know about, and later privately say *#&$#, I already knew that in embarrassment.
And I have to give a mention at least to my persistence in 'getting there' in trying to hammer down some solid basics. For anyone interested these basics to me means fiddling later, with a much expanded technique that allows me to at least realize my love for general classical--using Suzuki 10 as a pre-fiddler's goal.
It's no wonder I feel overwhelmed at times. Little details from other's issues I grab and reference in my mind like a kid with today's hundred dollars in a candy store. Humidity's role in squeaking. Things so advanced, I'll probably have to ask not only again but many times as I encounter them. The many perspectives on when to re-hair a bow. Shoulder rest or not. And the wonderful perspective that most have their favorite greats; and, among even the greats is greatness and failings.
I asked myself how this festival could be so effective for one thoroughly engaged. I've even commented to others of note beyond here how and why it is effective. It is so effective because of Laurie's stewardship, though I wish she would have Robert put the navigation footers at the bottom of every page within a region's context(discussion, blogs...)
But it is Laurie's commitment in scanning threads, and keeping things real that makes this site what it is first and foremost, followed closely by the hundred post limits someone either ingeniously or as the result of having had to simply set limits conceptualized from the start that enables this as well.
I'm interested and qualified to do information and semantics research. Though it's beyond me for the imaginable future, the next festival day's itinerary would be to systematically parse all this information into an available work that makes FAQ seem like the front cover of a book. Look out Simon Fischer, Laurie and Robert Niles have an encyclopedia of advancing information that is on the move and up and coming.
And finally, my violin whom I consider a lovely lady with a bit of attitude, demands that I continue. Long live Laurie's festival! Great job.
Last modified: Jul. 3, 2007 at 4:52 PM
Over the past weeks v.com has experienced The Great Balancing Act, a festival of work, thought and results. That is why this site rocks partly.
For me it began from an aside that involves balance somewhat in getting my bow dynamic to arch subtly so as to grab notes better in some respects. But more directly various discussions approached this from many angles so far as the balancing part is concerned. Basically for me, poor posture also meant poor bow approach and handling as much as anything else.
Raphael Klayman's excellent site has the nuts and bolts about holding the instrument ala no shoulder rest; and, gives the details about how to get there very clearly. For me, a new way of playing has resulted.
Then someone jumped in with research done in the Netherlands, which I have only begun to digest. This site takes Raphael's notions and truly breaks them down with photos, techniques and even philosophy. The site. I cannot find the original post, but some portions seem to be having technical difficulties. Nonetheless, the parts related to balance are quite clear in meaning.
Then Michael Schallock-How to Hold the violin. creates a wonderful streamlined but complete discussion on the entire topic hosted right here on v.com. With all this information, guess what I'll be working on the rest of the summer Buri.
Though I have found violin fairly overwhelming, mainly because of serial injuries and having to trudge along the best I can, v.com has always kept me thinking, and some days feeling like I'm making progress as a result of these discussions.
Beyond the festival though, Emily keeps me inspired with her photos of Alaska--a region nearly as beautiful as my mountains in southern West Virginia ;-) ; and, Maura keeps me close to the spirit of the Gypsy fidder--the attitude with which I began. And Emil has turned me into a crazy man who in turn has Paganini doing flips in his grave over my Witch's Dance--but God it's fun.
Sue made me feel welcome from the start, and Buri nearly worked me to death along with Kim Jee or something like that--who seems to have disappeared. And many others along the way (Jennifer, Kimberlee, Christian, .......) have patiently tolerated my sometimes repeated questions when I re-encounter an issue I really already know about, and later privately say *#&$#, I already knew that in embarrassment.
And I have to give a mention at least to my persistence in 'getting there' in trying to hammer down some solid basics. For anyone interested these basics to me means fiddling later, with a much expanded technique that allows me to at least realize my love for general classical--using Suzuki 10 as a pre-fiddler's goal.
It's no wonder I feel overwhelmed at times. Little details from other's issues I grab and reference in my mind like a kid with today's hundred dollars in a candy store. Humidity's role in squeaking. Things so advanced, I'll probably have to ask not only again but many times as I encounter them. The many perspectives on when to re-hair a bow. Shoulder rest or not. And the wonderful perspective that most have their favorite greats; and, among even the greats is greatness and failings.
I asked myself how this festival could be so effective for one thoroughly engaged. I've even commented to others of note beyond here how and why it is effective. It is so effective because of Laurie's stewardship, though I wish she would have Robert put the navigation footers at the bottom of every page within a region's context(discussion, blogs...)
But it is Laurie's commitment in scanning threads, and keeping things real that makes this site what it is first and foremost, followed closely by the hundred post limits someone either ingeniously or as the result of having had to simply set limits conceptualized from the start that enables this as well.
I'm interested and qualified to do information and semantics research. Though it's beyond me for the imaginable future, the next festival day's itinerary would be to systematically parse all this information into an available work that makes FAQ seem like the front cover of a book. Look out Simon Fischer, Laurie and Robert Niles have an encyclopedia of advancing information that is on the move and up and coming.
And finally, my violin whom I consider a lovely lady with a bit of attitude, demands that I continue. Long live Laurie's festival! Great job.
My Lavender Violin
Published: Jul. 4, 2007 at 7:08 AM
Playing without the shoulder rest for about a week now, I played pretty intently for about three hours tonight, working towards more etudes, scales and arpeggios, as well as continuing my sketch of the rest of Suzuki III, and contemplating Emily and Pauline throwing Lavender bras. What a world we live in.
Though my hand is 'a little tender', it is far from and nothing like before. I feel I could continue indefinitely rather than that sense of 'throbbing' as before. That, is a difference.
This lightness of hold, I achieved on and off I guess, or the tenderness would not be there; but, much more than less, I was there with and often returned to that balanced rest with light chin; and, was able to focus on much less gripping. The lightness is successively freeing my vibrato, allowing me to focus much better on a straight wrist and improving my tonality noticeably when several things come together.
Though I continue to search for my ideal placement on the shoulder, I don't think I'll need a pad; but I will cover the chin rest for my neck's sake. And I also continue to get my feet on the ground in the changes in balancing for actually bowing--though this is coming online as well.
Bowing has been not terrible, but a challenge without the shoulder rest. Several squeaks, re-finding how to glide back into the double stop and stop pinging other strings, those types of things should clear up over the next few weeks I think/hope.
Though I had messed around with no shoulder rest a few times, I never really persisted. I wish I had. 'Small stocky men should use their compactness, in creating a very efficient light violin approach that capitalizes on their low center of gravity; and, a self-contained spatial peripheral system of machines in a physiological sense has advantages as well.'
For whatever reason, at the same time I'm playing around with bow speed and pressure positively it feels. Tonight for example I was into playing a few notes with speed, then finding the pressure to try and get the same effect. I think I'll expand on this a little over the next couple days. My instinct tells me this may be really useful.
Primarily with speed/pressure, I find that either I, or my violin is, causing me to use more speed to get her singing than pressure; which in turn means I'm also using alot more energy. I don't mind the work, but if I can start using pressure more effectively I may be able to get better at other bowing(s).
Soooo this shoulder-rest(less) thing feels great--really great. I can envision a day when I might ('way' down the road) try playing with a rest again, if I can migrate the lightness just to further efficiency. But the lightness 'must' come first.
I think the best way to describe the tonal changes, is there is some sort of more resonant projection happening beyond the thing being more in direct line with my ear. And after I get at some of the issues above (string crossings etc),
I expect this projection to improve consistency over the next month as well--or so I hope.
Finally, I'm becoming more convinced that where possible, one might benefit from at least learning without a shoulder rest first, particularly old krachity stiff folk as myself. I know the newness of finding a lot less tension is compelling of itself, but it's as much about the sound, thus the music. I'm painting my violin lavender. ;)
Playing without the shoulder rest for about a week now, I played pretty intently for about three hours tonight, working towards more etudes, scales and arpeggios, as well as continuing my sketch of the rest of Suzuki III, and contemplating Emily and Pauline throwing Lavender bras. What a world we live in.
Though my hand is 'a little tender', it is far from and nothing like before. I feel I could continue indefinitely rather than that sense of 'throbbing' as before. That, is a difference.
This lightness of hold, I achieved on and off I guess, or the tenderness would not be there; but, much more than less, I was there with and often returned to that balanced rest with light chin; and, was able to focus on much less gripping. The lightness is successively freeing my vibrato, allowing me to focus much better on a straight wrist and improving my tonality noticeably when several things come together.
Though I continue to search for my ideal placement on the shoulder, I don't think I'll need a pad; but I will cover the chin rest for my neck's sake. And I also continue to get my feet on the ground in the changes in balancing for actually bowing--though this is coming online as well.
Bowing has been not terrible, but a challenge without the shoulder rest. Several squeaks, re-finding how to glide back into the double stop and stop pinging other strings, those types of things should clear up over the next few weeks I think/hope.
Though I had messed around with no shoulder rest a few times, I never really persisted. I wish I had. 'Small stocky men should use their compactness, in creating a very efficient light violin approach that capitalizes on their low center of gravity; and, a self-contained spatial peripheral system of machines in a physiological sense has advantages as well.'
For whatever reason, at the same time I'm playing around with bow speed and pressure positively it feels. Tonight for example I was into playing a few notes with speed, then finding the pressure to try and get the same effect. I think I'll expand on this a little over the next couple days. My instinct tells me this may be really useful.
Primarily with speed/pressure, I find that either I, or my violin is, causing me to use more speed to get her singing than pressure; which in turn means I'm also using alot more energy. I don't mind the work, but if I can start using pressure more effectively I may be able to get better at other bowing(s).
Soooo this shoulder-rest(less) thing feels great--really great. I can envision a day when I might ('way' down the road) try playing with a rest again, if I can migrate the lightness just to further efficiency. But the lightness 'must' come first.
I think the best way to describe the tonal changes, is there is some sort of more resonant projection happening beyond the thing being more in direct line with my ear. And after I get at some of the issues above (string crossings etc),
I expect this projection to improve consistency over the next month as well--or so I hope.
Finally, I'm becoming more convinced that where possible, one might benefit from at least learning without a shoulder rest first, particularly old krachity stiff folk as myself. I know the newness of finding a lot less tension is compelling of itself, but it's as much about the sound, thus the music. I'm painting my violin lavender. ;)
I'm embarassed...
Published: Jul. 6, 2007 at 9:11 PM
Last modified: Jul. 6, 2007 at 9:15 PM
that it took over two years to be comfortable with my violin, and that it took ditching my shoulder rest to make it happen. Even more so, I'm embarrassed that all these little pieces coming together I've known forever: straight wrist, support the instrument, somewhat:play from the front center....
And other little pieces along the way, are only now making sense. (Buri: "your elbow too close to your body", others...)... Sheesh, it's been an adventure. I knew however I was getting there only recently.
After ditching the shoulder rest ala Klayman's site, I started practicing in front of a big wall size mirror a few days past that. But before the mirror thing, I had already sensed and felt many points of relaxed posture.
Then, in front of the mirror, I learned to tweak my elbow and tuck, the last but probably most important part of my posture journey. The relaxed posture had already improved projection noticeably including the very shape and sound of notes as well. But, the elbow tuck, cleaned up my left hand articulation on yet another level somehow I do not really understand. I think it must be related to effective support of the instrument.
But now f4 on other strings has started to resonate almost like an open string. I'm impressed, but still embarrassed.
Last modified: Jul. 6, 2007 at 9:15 PM
that it took over two years to be comfortable with my violin, and that it took ditching my shoulder rest to make it happen. Even more so, I'm embarrassed that all these little pieces coming together I've known forever: straight wrist, support the instrument, somewhat:play from the front center....
And other little pieces along the way, are only now making sense. (Buri: "your elbow too close to your body", others...)... Sheesh, it's been an adventure. I knew however I was getting there only recently.
After ditching the shoulder rest ala Klayman's site, I started practicing in front of a big wall size mirror a few days past that. But before the mirror thing, I had already sensed and felt many points of relaxed posture.
Then, in front of the mirror, I learned to tweak my elbow and tuck, the last but probably most important part of my posture journey. The relaxed posture had already improved projection noticeably including the very shape and sound of notes as well. But, the elbow tuck, cleaned up my left hand articulation on yet another level somehow I do not really understand. I think it must be related to effective support of the instrument.
But now f4 on other strings has started to resonate almost like an open string. I'm impressed, but still embarrassed.
When a flat is a good thing.
Published: Jul. 7, 2007 at 6:40 PM
Opportunity to grow comes from the strangest places sometimes. I happened across Bach's Air played in a-flat on youtube a little while ago, and held my own really well.
But more telling, is that all those f4's sounded good for no longer than I've been getting my tuck under to shoot for the resonance effectively because of my posture festival.
So sometimes yes, a flat is a good thing.
Opportunity to grow comes from the strangest places sometimes. I happened across Bach's Air played in a-flat on youtube a little while ago, and held my own really well.
But more telling, is that all those f4's sounded good for no longer than I've been getting my tuck under to shoot for the resonance effectively because of my posture festival.
So sometimes yes, a flat is a good thing.
Mairead Nesbitt in 'The Butterfly'
Published: Jul. 10, 2007 at 1:22 AM
Last modified: Jul. 10, 2007 at 4:14 PM
Ever since the first time I watched Celtic Woman on PBS I've been in love with Mairead Nesbitt. Her rendition of "The Butterfly" is amazing. Though some have called it all show, she nonetheless expresses the spirit of the Celtic Fiddle as a composite image of beauty, passion and music.
Though one may not call her fiddling sonorous, it like gypsy in my mind reaches back to a time when melody truly tried to express voice, in her case lilt, without bells and whistles. A little martele here and there, and off goes the open mind to her dancing beautiful expression.
See her here
http://youtube.com/watch?v=OXanHvrjQO0&mode=related&search=
Last modified: Jul. 10, 2007 at 4:14 PM
Ever since the first time I watched Celtic Woman on PBS I've been in love with Mairead Nesbitt. Her rendition of "The Butterfly" is amazing. Though some have called it all show, she nonetheless expresses the spirit of the Celtic Fiddle as a composite image of beauty, passion and music.
Though one may not call her fiddling sonorous, it like gypsy in my mind reaches back to a time when melody truly tried to express voice, in her case lilt, without bells and whistles. A little martele here and there, and off goes the open mind to her dancing beautiful expression.
See her here
http://youtube.com/watch?v=OXanHvrjQO0&mode=related&search=
Somebody put Moonshine in my Cheerios
Published: Jul. 12, 2007 at 5:58 AM
Last modified: Jul. 12, 2007 at 6:12 AM
Listening earlier today to apparently one of the members here, playing Kreisler Preludium, I realized that it is now achievable for me to start moving towards more expressive confidence, at least in small ways. My posture and bowing are balancing some. Wow!.
So tonight, after working on Suzuki III/7 Bouree last night, I was still timid with the chords, then I read a description of gliding through them, seamlessly-- adding a quality I think is likely inferred here. But tonight, I started legatomeistering my chords, and finding a couple extra applications adding a trill on the end, dancing around them in scales and etc. And throwing in to the first few notes of Preludium, wow!.
This posture festival I've been on actually since the beginning, but cohesively for months anyway, is creating one of the biggest leaps in my playing since the beginning. Now when I mindlessly play, as I have since the beginning, the thing is starting to resonate and swell, and diminish, and a light straight bow, albeit legato considered significantly accompany considerably better control. And it is prittaeh now often, using the Henry Fielding pronunciation.
The role of posture in all the above, is direct and substantial, again. Finding the imagery that addressed my problem areas has been long and hard, I think many will agree. And the other day when I further discovered the role of a lazy left wrist in many of those problems, I felt like somebody put moonshine in my cheerios. JEEEZ!. So now I tell myself ten times a day, 'it's not breaking bad habits, it's creating good ones'.;). But, tonight's jammin was worth it.
Now I can see how to improve in other ways too, and that's so cool. But somehow, some things, from some place, are coming together that get me sort of where I think I'd been a few months ago had I not begun injured. Buri, I'm sure you shall never see Alexander as I shall apply it. I earned this aside--and besides that I'm that laid back anyway in reality. Even if in all these things I'm at like an advanced toddler's>>early childhood stage creating a metaphor, I know how to get them???... Yes...
This all has been pretty overwhelming! Burp!. Wow!.
Last modified: Jul. 12, 2007 at 6:12 AM
Listening earlier today to apparently one of the members here, playing Kreisler Preludium, I realized that it is now achievable for me to start moving towards more expressive confidence, at least in small ways. My posture and bowing are balancing some. Wow!.
So tonight, after working on Suzuki III/7 Bouree last night, I was still timid with the chords, then I read a description of gliding through them, seamlessly-- adding a quality I think is likely inferred here. But tonight, I started legatomeistering my chords, and finding a couple extra applications adding a trill on the end, dancing around them in scales and etc. And throwing in to the first few notes of Preludium, wow!.
This posture festival I've been on actually since the beginning, but cohesively for months anyway, is creating one of the biggest leaps in my playing since the beginning. Now when I mindlessly play, as I have since the beginning, the thing is starting to resonate and swell, and diminish, and a light straight bow, albeit legato considered significantly accompany considerably better control. And it is prittaeh now often, using the Henry Fielding pronunciation.
The role of posture in all the above, is direct and substantial, again. Finding the imagery that addressed my problem areas has been long and hard, I think many will agree. And the other day when I further discovered the role of a lazy left wrist in many of those problems, I felt like somebody put moonshine in my cheerios. JEEEZ!. So now I tell myself ten times a day, 'it's not breaking bad habits, it's creating good ones'.;). But, tonight's jammin was worth it.
Now I can see how to improve in other ways too, and that's so cool. But somehow, some things, from some place, are coming together that get me sort of where I think I'd been a few months ago had I not begun injured. Buri, I'm sure you shall never see Alexander as I shall apply it. I earned this aside--and besides that I'm that laid back anyway in reality. Even if in all these things I'm at like an advanced toddler's>>early childhood stage creating a metaphor, I know how to get them???... Yes...
This all has been pretty overwhelming! Burp!. Wow!.
Ruth's Right: Closure is a circle.
Published: Jul. 12, 2007 at 6:26 PM
Last night, I surmised as to how:
'Now I can see how to improve in other ways too, and that's so cool. But somehow, some things, from some place, are coming together that get me sort of where I think I'd been a few months ago had I not begun injured. Buri, I'm sure you shall never see Alexander as I shall apply it. I earned this aside--and besides that I'm that laid back anyway in reality. Even if in all these things I'm at like an advanced toddler's>>early childhood stage creating a metaphor, I know how to get them???... Yes...'
After reading Karen's closure and Ruth's telling comment suggesting one step forward and two steps back, I realized just how true this is while working on my left wrist more this morning, adjusting my shifts to my now shoulder-restless hold, and just in general as well.
Getting ready to go check out Hilary Hahn in a few days will help my spirits in all this I'm sure, but it really seems as Ruth suggested--one doesn't really know sometimes when and how they get better.
Now, I'm working on collecting perspective on how to use the left wrist better, beyond the shoulder-rest thing. Fortunately, Caeli's "Time for Three" rocked double Bach lightening things up along the way.
Onward, upward, then again
Last night, I surmised as to how:
'Now I can see how to improve in other ways too, and that's so cool. But somehow, some things, from some place, are coming together that get me sort of where I think I'd been a few months ago had I not begun injured. Buri, I'm sure you shall never see Alexander as I shall apply it. I earned this aside--and besides that I'm that laid back anyway in reality. Even if in all these things I'm at like an advanced toddler's>>early childhood stage creating a metaphor, I know how to get them???... Yes...'
After reading Karen's closure and Ruth's telling comment suggesting one step forward and two steps back, I realized just how true this is while working on my left wrist more this morning, adjusting my shifts to my now shoulder-restless hold, and just in general as well.
Getting ready to go check out Hilary Hahn in a few days will help my spirits in all this I'm sure, but it really seems as Ruth suggested--one doesn't really know sometimes when and how they get better.
Now, I'm working on collecting perspective on how to use the left wrist better, beyond the shoulder-rest thing. Fortunately, Caeli's "Time for Three" rocked double Bach lightening things up along the way.
Onward, upward, then again
A Festival of Festivals:my daily ramblings
Published: Jul. 16, 2007 at 4:37 PM
Last modified: Jul. 16, 2007 at 5:12 PM
I knew this was going to happen but do not really care. After a couple days of minimal practice, or at least one, I threw down like a kid in a candy store. But most importantly is how things came together generally. I used a mirror almost the entire practice, and whala: the tuck, the table, overall lightness of hold, and more: a big cool important more. Raphael, you know what--if you asked today, you probably could have my Bud Lite.
During my posture festival I had been practicing using almost no chin pressure to help stable the instrument; and, I had been having somewhat zoned out problems finding the table because so many things have changed for me recently. So last night I realized that zero pressure does not mean no pressure with the chin and played with a well formed forward but not raised table consistently. And I played, and I played, and I played. I feel like I've been on a drunk. And I played. And my southpaw though a little tired, is quite ok.
So, I increased my chin pressure from stable to lightly throughout the night, going from an 'able to hold the violin up on the table' posture to a 'minimize considered' posture. Also, because I'm using a center mount, am finding my chin doesn't really hit the chin rest, but my jawline feels perfect on the rest. Oddly even to me, this feels less claustrophobic to me in a way I do not understand. And I can see my pretty face in the mirror as I practice (Henry Fielding pronunciation).
Once again, a new level has been achieved though I would not be the one qualified to describe it. My playing on this stable table was really really nice, full (or becoming fuller)--just wonderful.
And I also started applying two points I feel important to stamina. Playing from center better is one point, a point shared by teacher; but, the second point has to do with visualizing the straight neckline in a truly truly relaxed interaction with the instrument--very nice indeed. I think the teacher might have inferred this if not directly mentioned it, but it was the web site from the Netherlands that drove it home to an image I could truly work with.
These things, these layers, these elements, have little yet to do with bowing. These festivals, spread out over weeks and months now focusing at first leisurely then intently on posture I feel soon will be joined with the work I've done with bowing I hope. But that, may be another festival.
One more thing: my coach helped me with some shifting circumstances perspective building on the phone last night. (AE-shoot for above 5th--all the way)(GD-get competent to 5th and don't worry about it.)
My first impulse on waking was to practice, but I have to rest some so I'll wait until later.
If it's the Lord's will, I'll see Hilary Hahn tomorrow night in Greensboro. I'm so excited I can't stand it. This will be a good break for me.
Last modified: Jul. 16, 2007 at 5:12 PM
I knew this was going to happen but do not really care. After a couple days of minimal practice, or at least one, I threw down like a kid in a candy store. But most importantly is how things came together generally. I used a mirror almost the entire practice, and whala: the tuck, the table, overall lightness of hold, and more: a big cool important more. Raphael, you know what--if you asked today, you probably could have my Bud Lite.
During my posture festival I had been practicing using almost no chin pressure to help stable the instrument; and, I had been having somewhat zoned out problems finding the table because so many things have changed for me recently. So last night I realized that zero pressure does not mean no pressure with the chin and played with a well formed forward but not raised table consistently. And I played, and I played, and I played. I feel like I've been on a drunk. And I played. And my southpaw though a little tired, is quite ok.
So, I increased my chin pressure from stable to lightly throughout the night, going from an 'able to hold the violin up on the table' posture to a 'minimize considered' posture. Also, because I'm using a center mount, am finding my chin doesn't really hit the chin rest, but my jawline feels perfect on the rest. Oddly even to me, this feels less claustrophobic to me in a way I do not understand. And I can see my pretty face in the mirror as I practice (Henry Fielding pronunciation).
Once again, a new level has been achieved though I would not be the one qualified to describe it. My playing on this stable table was really really nice, full (or becoming fuller)--just wonderful.
And I also started applying two points I feel important to stamina. Playing from center better is one point, a point shared by teacher; but, the second point has to do with visualizing the straight neckline in a truly truly relaxed interaction with the instrument--very nice indeed. I think the teacher might have inferred this if not directly mentioned it, but it was the web site from the Netherlands that drove it home to an image I could truly work with.
These things, these layers, these elements, have little yet to do with bowing. These festivals, spread out over weeks and months now focusing at first leisurely then intently on posture I feel soon will be joined with the work I've done with bowing I hope. But that, may be another festival.
One more thing: my coach helped me with some shifting circumstances perspective building on the phone last night. (AE-shoot for above 5th--all the way)(GD-get competent to 5th and don't worry about it.)
My first impulse on waking was to practice, but I have to rest some so I'll wait until later.
If it's the Lord's will, I'll see Hilary Hahn tomorrow night in Greensboro. I'm so excited I can't stand it. This will be a good break for me.
Stolen Fire: Hilary Hahn/ Josh Ritter: Guilty!
Published: Jul. 18, 2007 at 11:02 PM
Last modified: Jul. 18, 2007 at 11:05 PM
I find it both ironic and eery that beautiful
beautiful peace loving historic Quaker
inspired Guilford College's Dana Auditorium, was
the scene of this crime. They are Guilty!
Guilty I say! The proof follows.
July 17th at eight in the evening, a very mixed
unsuspecting crowd assembled at Guilford
College's Dana Auditorium as part of the
Eastern Music Festival. Little did they know
that their hearts would be layed open raw, as
Hilary Hahn and Josh Ritter both literally and
figuratively stole fire from the Gods, and, made
them like it. Disgraceful.
Young girls and old softies would be enticed
by Josh Ritter's opening folk songs, that was
not unlike the rare four of four star rated by
the "Rolling Stone" Tom Rush lyrically. Knowing
exactly how to break the ice, the coy, calm, cool
Josh Ritter was setting the stage for this crime,
as Josh's last song relied on the eternal "Last
Rose of Summer", evoking the equally powerful
image of a rose. Despicable! Oh, the plot thickens.
Showing the true connection between folk and
classical, the pied piper two would then deploy
lovely Ms. Hilary Hahn to finish off the poor
people, with a direct poignant example of how
Ernst interpreted Variations on "The Last Rose
of Summer" classically. These partners in crime
were playing pre-meditatively--I'm sure of this.
I will convince you of this.
Josh Ritter would rest the crowd before intermission with a beautiful song: "The Blue Flame". But their plotting and nefarious ways were not far behind. And I think the rest may have had other motives.
I'm sure of their intentions because next Hilary
Hahn finished off the call to battle with the most
beautiful rendition of Bach's Sonata for solo violin No.2 in Am imaginable after intermission.
Every note, every phrase, every vibrato was
perfectly intoxicating, rich, balanced, resonant
and God inspiring beautiful.
Or was it really God invoking and provoking? I think you see the picture of their plot too, as well as the intention of Josh's previous rest.
Sadly but tellingly, Hahn even warned the crowd
sort of. "If you don't like violin, you should
leave because for the next twenty minutes....",
as she played Bach. A pin could be heard. A silence fell on the auditorium unmatched throughout the entire evening. I could feel the entire group melting. Of course nobody left--they were completely mesmerized.
Diva Hahn would truly begin the epochal battle
playing Ysaye's "Ballade"-I think a test to ensure
the crowd was present and ensnared in what would
happen next, by adding complex "abstract"
substance to their evoking of the Gods.
Hahn then reversed order of examples by interpreting Erlkonig:Ernst's "Caprice for Solo Violin, after Franz Schubert, Op 26. Further drawing the crowd in with her description of the four voices present in the piece, the War was about to begin.
Josh Ritter boldy, even courageously stepped up and shared his interpretation of the same Ernst piece from Schubert, entitled as a direct translation "The Oak Tree King".
Josh's images were bright and lucid, and he told the story in the true spirit of storytelling, but in song in his most brilliant animation of the four voices. The God's would soon show their displeasure at Josh's sharing of eternal secrets.
The battle between Greensboro North Carolina and
Prometheus was just beginning though, you can be sure of this.
Paganini's 24th Caprice, finished off the crowd who had had their hearts melted with Hahn's interpretation of Bach. Now the Gods tried to fight back!. Thunder and lightening erupted loud war dances just above Dana Auditorium as Hahn played Paganini. (True story)
One poor soul who was still trying to compose himself from her Bach, displayed what seemed a maniacal grin, given swollen eyes and a defeated embarrassed countenance hoping nobody could see, as all hades broke lose outside and Paganini filled the hall inside. Translation: 'ee-hah.' These two showed no mercy friends!. No mercy at all... They are guilty!
But after defeating the Gods, and involving the
entirety of Dana Auditorium, Hahn stood with her
foot on Prometheus' chest as she played
Paganinians for Violin by Milstein, bringing
Everyman's de Tocquevillian journey into the
present.
And Josh Ritter stomped his feet right beside
Prometheus right ear, by having the audacity to
accompany Hahn with classical guitar in Paganini's
Cantabile as an encore, quite beautifully--his first attempt at that form.
Knowing they were defeated, the God's quieted the
thunder and rain enough for the poor unsuspecting
victims of this epochal exercise to return peacefully
to their hamlets and hollows; as if this time the
God's, were inducing future wars of phenomenal
beauty, skill and interpretation of life itself.
Storytelling at it's best!. Brilliant. Exhausting.
Last modified: Jul. 18, 2007 at 11:05 PM
I find it both ironic and eery that beautiful
beautiful peace loving historic Quaker
inspired Guilford College's Dana Auditorium, was
the scene of this crime. They are Guilty!
Guilty I say! The proof follows.
July 17th at eight in the evening, a very mixed
unsuspecting crowd assembled at Guilford
College's Dana Auditorium as part of the
Eastern Music Festival. Little did they know
that their hearts would be layed open raw, as
Hilary Hahn and Josh Ritter both literally and
figuratively stole fire from the Gods, and, made
them like it. Disgraceful.
Young girls and old softies would be enticed
by Josh Ritter's opening folk songs, that was
not unlike the rare four of four star rated by
the "Rolling Stone" Tom Rush lyrically. Knowing
exactly how to break the ice, the coy, calm, cool
Josh Ritter was setting the stage for this crime,
as Josh's last song relied on the eternal "Last
Rose of Summer", evoking the equally powerful
image of a rose. Despicable! Oh, the plot thickens.
Showing the true connection between folk and
classical, the pied piper two would then deploy
lovely Ms. Hilary Hahn to finish off the poor
people, with a direct poignant example of how
Ernst interpreted Variations on "The Last Rose
of Summer" classically. These partners in crime
were playing pre-meditatively--I'm sure of this.
I will convince you of this.
Josh Ritter would rest the crowd before intermission with a beautiful song: "The Blue Flame". But their plotting and nefarious ways were not far behind. And I think the rest may have had other motives.
I'm sure of their intentions because next Hilary
Hahn finished off the call to battle with the most
beautiful rendition of Bach's Sonata for solo violin No.2 in Am imaginable after intermission.
Every note, every phrase, every vibrato was
perfectly intoxicating, rich, balanced, resonant
and God inspiring beautiful.
Or was it really God invoking and provoking? I think you see the picture of their plot too, as well as the intention of Josh's previous rest.
Sadly but tellingly, Hahn even warned the crowd
sort of. "If you don't like violin, you should
leave because for the next twenty minutes....",
as she played Bach. A pin could be heard. A silence fell on the auditorium unmatched throughout the entire evening. I could feel the entire group melting. Of course nobody left--they were completely mesmerized.
Diva Hahn would truly begin the epochal battle
playing Ysaye's "Ballade"-I think a test to ensure
the crowd was present and ensnared in what would
happen next, by adding complex "abstract"
substance to their evoking of the Gods.
Hahn then reversed order of examples by interpreting Erlkonig:Ernst's "Caprice for Solo Violin, after Franz Schubert, Op 26. Further drawing the crowd in with her description of the four voices present in the piece, the War was about to begin.
Josh Ritter boldy, even courageously stepped up and shared his interpretation of the same Ernst piece from Schubert, entitled as a direct translation "The Oak Tree King".
Josh's images were bright and lucid, and he told the story in the true spirit of storytelling, but in song in his most brilliant animation of the four voices. The God's would soon show their displeasure at Josh's sharing of eternal secrets.
The battle between Greensboro North Carolina and
Prometheus was just beginning though, you can be sure of this.
Paganini's 24th Caprice, finished off the crowd who had had their hearts melted with Hahn's interpretation of Bach. Now the Gods tried to fight back!. Thunder and lightening erupted loud war dances just above Dana Auditorium as Hahn played Paganini. (True story)
One poor soul who was still trying to compose himself from her Bach, displayed what seemed a maniacal grin, given swollen eyes and a defeated embarrassed countenance hoping nobody could see, as all hades broke lose outside and Paganini filled the hall inside. Translation: 'ee-hah.' These two showed no mercy friends!. No mercy at all... They are guilty!
But after defeating the Gods, and involving the
entirety of Dana Auditorium, Hahn stood with her
foot on Prometheus' chest as she played
Paganinians for Violin by Milstein, bringing
Everyman's de Tocquevillian journey into the
present.
And Josh Ritter stomped his feet right beside
Prometheus right ear, by having the audacity to
accompany Hahn with classical guitar in Paganini's
Cantabile as an encore, quite beautifully--his first attempt at that form.
Knowing they were defeated, the God's quieted the
thunder and rain enough for the poor unsuspecting
victims of this epochal exercise to return peacefully
to their hamlets and hollows; as if this time the
God's, were inducing future wars of phenomenal
beauty, skill and interpretation of life itself.
Storytelling at it's best!. Brilliant. Exhausting.
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