I find that if I don't keep this diary between each exercise I built up a huge amount more tension.
GRRRR. I AM ALWAYS WANTING TO RUSH EVERYTHING.
I AM WANTING TO RUSH WARMING UP. WHERE THE FUCK AM I GOING. WHO AM I TRYING TO PROVE MYSELF TO???? FUCK OFF????
.... 25%
Playing on dominant strings is...
- Faster and louder 'attack'. Ubrupt starting sound.
- Larger range of frequency.
- Abrasive.
I think i'll drop out of this concert thing. It's just not really worth it. I'm not even doing a solo and it's exhausting.
I should play with friends for a while. Perhaps my new art friend who plays the piano will be keen.
.... 20%
As dominant strings are more ubrudpt and abrasive I find that they illustrate unskilled bowing more than obligato strings.
35%
I have no idea but since I've change my strings my playing is sounds really bad. Or, perhaps, with new strings I can hear how bad my playing actually sounds....
35%
I'm playing like crap at the moment. Why.
- Worried about a project at work.
- Worried about trying to buy a house.
- Worried about performing in a concert.
- Worried about a girl in London.
- Worried about money in London and the tragic exchange rate of recent.
GRRRRRRRR. Tired. Exhausted. Annoyed. Angry.
The flaws in a musician are reminders of their shortcuts. We all learning differently. Persistance. Passion.
Oh. Also. It might be possible that the way dominant strings vibrate is different to an obligato string. Meaning, the distance between fingers is slight different. That the automatic formation of the hand is slightly different....
In particular, i've found that the first 2 intervals on the dominants seem further from the scroll than they did on the obligato.
Tuesday, 29 September 2009
Monday, 28 September 2009
Obligato VS Dominant Strings
Been playing on a set of Obligato strings for the past few months.
I was finding that they were shifting around about with tuning so though I'd change the string to a set of dominants (i had dominants on there previous).
The change is quite dramatic. Much louder and more distinct. The lower registers boom out more and the up registers seem brighter. All the strings are more sensitive to one another and all vibrate harmonically much more.
Would I recommend either in particular no. Right now perhaps I perfer the Obligato. Perhaps that is just what I'm used to.
Change string, for today, has made me feel like I'm playing on someone else machine and I'm not exactly sure what to expect from its sound production. Quite perculiar. I hope these strings become second nature soon enough.
Sort of enjoying the different sound despite its challenging nature.
Changing strings will probably set me back a few days in some respects.
I was finding that they were shifting around about with tuning so though I'd change the string to a set of dominants (i had dominants on there previous).
The change is quite dramatic. Much louder and more distinct. The lower registers boom out more and the up registers seem brighter. All the strings are more sensitive to one another and all vibrate harmonically much more.
Would I recommend either in particular no. Right now perhaps I perfer the Obligato. Perhaps that is just what I'm used to.
Change string, for today, has made me feel like I'm playing on someone else machine and I'm not exactly sure what to expect from its sound production. Quite perculiar. I hope these strings become second nature soon enough.
Sort of enjoying the different sound despite its challenging nature.
Changing strings will probably set me back a few days in some respects.
Sunday, 27 September 2009
An Ensemble Performance
I've been ask to take part in a 'friends' gathering and perform and a small concert hall.
- Hunting around for something easy to play.
- Considering a piano trio.
The interesting thing is. This will be the first performance I've done in more than 5 years and I am seriously nervous.
Perhaps I should just take it easy, prepare and do my best.
It's strange. Just hte idea makes me feel ill. Perhaps performing is not for me. Perhaps playing the violin is not for me?
If not to perform, then what is the point?!
- Hunting around for something easy to play.
- Considering a piano trio.
The interesting thing is. This will be the first performance I've done in more than 5 years and I am seriously nervous.
Perhaps I should just take it easy, prepare and do my best.
It's strange. Just hte idea makes me feel ill. Perhaps performing is not for me. Perhaps playing the violin is not for me?
If not to perform, then what is the point?!
Julio S. Sagreras Guitar Lessons
Having a look at some guitar lessons. It is interesting that it is difficult to understand what each string on the guitar is. I can't actually see a note and know where it occurs on the guitar.I don't even know where the open strings are on the treble clef?!
I think when learning were the notes are it is all based on where the open strings are and then 'shifting' up or down frets etc... perhaps?
http://kewlshare.com/dl/9f946852c8da/Sagreras_Guitar_Lessons_1-6.zip.html
ALong with my violin study perhaps I can work through 15mins of guitar before each practice session. or perhaps at the end to unwind?
Secretly, i prefer the sound of the guitar?!?!?!
"Sagreras Las Primeras Lecciones is on a par with other great guitar methods like Carcassi, Giuliani, Sor, and Tarrega. In 100 years, people will still be using this wonderful little book. It's rare that something this good is this affordable."
Interestingly, just like with the violin; the initial focus is on the right hand and the way it excited the string, completely devoid of intonation.
Some further notes on studies for the guitar.
http://en.wikipedia.org/wiki/Classical_guitar_technique
Carcassi, Matteo: Studies Op 60
http://www.free-scores.com/download-sheet-music.php?pdf=729
http://imslp.org/wiki/Etudes,_Op.60_%28Carcassi,_Matteo%29
Fernando Sor Method...
http://www.muslib.se/ebibliotek/boije/pdf/Boije%201140.pdf
Saturday, 26 September 2009
Subdivision of Maturity!
Beginners. A focus on each note.
Level1. A focus on every beat.
level2. A focus on every second beat.
....
Level8. A focus on every bar or every phrase. or many phrases. A mental focus of goal posts and rhythmic analysis.
One thing i've noticed: if I can't play a passage as a 'lvl1' (focus on each note) then i definately can't play a passage with a more complex focus.
Level1. A focus on every beat.
level2. A focus on every second beat.
....
Level8. A focus on every bar or every phrase. or many phrases. A mental focus of goal posts and rhythmic analysis.
One thing i've noticed: if I can't play a passage as a 'lvl1' (focus on each note) then i definately can't play a passage with a more complex focus.
Returning from a 1 hour break
so I've just ducked out for 2 hours to inspect a house. all great.
now i'm back and looking at the same study i feel as though i've completely lost ability.
usually i start with a collection of warm up exercises.
- fischer.
- sevcik.
- schradieck.
- wohlfahrt.
- kayser.
- ...
The strange thing is. If I get confident with anything in that collection and then return directly to it, without all the preceeding warmup, it's as though I've lost some ability.
WHY IS IT DIFFICULT TO RETURN TO A PARTICULAR STUDY?
WHY IS A WARM UP SO DISTINCTLY IMPORTANT?
It's as though if i warm up the particular skill for a given study i achieve nothing. I've i do a few scales it doesn't help. It's as though I need to do the entier work through of a collection of things.
Alternatively, perhaps it is a timing thing. Perhaps i simply need to be playing of 30 minutes, something simple and analytical, maybe that will do the job. Perhaps warming up requires more patience??!
Perhaps warming up requires.
- more time than expected.
- more breaks along the way to ensure no stress.
- a variety of exercises.
... this all sounds like a very impractical source of entertainment :(
It's as though all violin practice is a warm up which is simply lost in the wind within an hour.
Perhaps all violin playing *is* simply a warmup. Perhaps the warm up never ends?
How to perform or playin a concert without a warm up? Why is this all so precious?! I'm sure people play well without having had a warm up...?
now i'm back and looking at the same study i feel as though i've completely lost ability.
usually i start with a collection of warm up exercises.
- fischer.
- sevcik.
- schradieck.
- wohlfahrt.
- kayser.
- ...
The strange thing is. If I get confident with anything in that collection and then return directly to it, without all the preceeding warmup, it's as though I've lost some ability.
WHY IS IT DIFFICULT TO RETURN TO A PARTICULAR STUDY?
WHY IS A WARM UP SO DISTINCTLY IMPORTANT?
It's as though if i warm up the particular skill for a given study i achieve nothing. I've i do a few scales it doesn't help. It's as though I need to do the entier work through of a collection of things.
Alternatively, perhaps it is a timing thing. Perhaps i simply need to be playing of 30 minutes, something simple and analytical, maybe that will do the job. Perhaps warming up requires more patience??!
Perhaps warming up requires.
- more time than expected.
- more breaks along the way to ensure no stress.
- a variety of exercises.
... this all sounds like a very impractical source of entertainment :(
It's as though all violin practice is a warm up which is simply lost in the wind within an hour.
Perhaps all violin playing *is* simply a warmup. Perhaps the warm up never ends?
How to perform or playin a concert without a warm up? Why is this all so precious?! I'm sure people play well without having had a warm up...?
IPhone Recording
I haven't been keep a diary of recent because the fischer dialog in 'basics' is interesting enough.
Really enjoying his bowing ideas. Major advancement I can see. Up to exercise 11 and I can see the ongoing approach is affective. An exercise a day...
When the music start to sound good or interesting I start to imagine others listening to it and it takes my attention away from the music.
It's as though when it gets good i worry and make it worse so i don't have to bother with it sounding good. It's as though I get lose in the music and then panic.
I've got my iphone recording performances within my practice.
- Is it good to listen to a bad recording of mine.
- Does it sounds good.
- It's strange to analyse my own violin playing. Does it sounds ok or horrific.
- Perhaps I should be listening recording from better artists rather than my own?
- I learn more from looking at other people drawings. I learn a lot from looking at my own drawings though.
- If someone else had done this recording what would I think.
- Perhaps who cares if someone else has a better recording. Perhaps I should go for what I want out of a recording. Imaginative. Personal. Enticing.
IPhone recordings for general practice get the point. The play back give the quality that is required to analyse the sound quality of the player / instrument, character and intonation.
Will do at least one recording for each session and then listen to them on the way into/out of work...
Really enjoying his bowing ideas. Major advancement I can see. Up to exercise 11 and I can see the ongoing approach is affective. An exercise a day...
When the music start to sound good or interesting I start to imagine others listening to it and it takes my attention away from the music.
It's as though when it gets good i worry and make it worse so i don't have to bother with it sounding good. It's as though I get lose in the music and then panic.
I've got my iphone recording performances within my practice.
- Is it good to listen to a bad recording of mine.
- Does it sounds good.
- It's strange to analyse my own violin playing. Does it sounds ok or horrific.
- Perhaps I should be listening recording from better artists rather than my own?
- I learn more from looking at other people drawings. I learn a lot from looking at my own drawings though.
- If someone else had done this recording what would I think.
- Perhaps who cares if someone else has a better recording. Perhaps I should go for what I want out of a recording. Imaginative. Personal. Enticing.
IPhone recordings for general practice get the point. The play back give the quality that is required to analyse the sound quality of the player / instrument, character and intonation.
Will do at least one recording for each session and then listen to them on the way into/out of work...
Wednesday, 23 September 2009
Basics
Absolutely marvelling at Fischer's Basics. Just going through each page one by one in the order they are given and finding it all incredibly informative.
At orchestra I started discussing some of the physical bowing exercises and found it was lots of fun. They seriously work.
Great physical stuff.
At orchestra I started discussing some of the physical bowing exercises and found it was lots of fun. They seriously work.
Great physical stuff.
Saturday, 19 September 2009
Watching the fingers
In addition to the 'read-close-play-pause' exercise it is interesting to watch the fingers instead of 'close eyes'.
It is interesting to read and imagine the music. Then watch the body struggle to find the notes. It is interesting that the tension in the fingers is so visibly notiable. Also, it is stricking how far the hand needs to move in order to handle evening shifting a single position??! In my minds eye I always thought the distance was much less>!?!!?
Is it possible that simply watching the position of the fingers helps with the intonation?! Theoretically that seems impossible but practically it helps a lot?!?
Either way, playing whilst *not* looking at the music makes a world of difference for engaging the mind.
Visually watching the fingers form the double stop obviously helps co-ordinate the arm, hand and bow.
Also, it's surprising to watch how little actual movement in the fingers is required. It's surprising how much action is added unnecessarily. It's strange to watch the fingers be careful.
It is interesting to read and imagine the music. Then watch the body struggle to find the notes. It is interesting that the tension in the fingers is so visibly notiable. Also, it is stricking how far the hand needs to move in order to handle evening shifting a single position??! In my minds eye I always thought the distance was much less>!?!!?
Is it possible that simply watching the position of the fingers helps with the intonation?! Theoretically that seems impossible but practically it helps a lot?!?
Either way, playing whilst *not* looking at the music makes a world of difference for engaging the mind.
Visually watching the fingers form the double stop obviously helps co-ordinate the arm, hand and bow.
Also, it's surprising to watch how little actual movement in the fingers is required. It's surprising how much action is added unnecessarily. It's strange to watch the fingers be careful.
Thursday, 17 September 2009
No one can take this from me
Perhaps the additiude to sharing music with others is...
No one can ever take this magic and beauty from me. The story and wonder is mine to create and enjoy. Perhaps others can enjoy but they can take.
No one can ever take this magic and beauty from me. The story and wonder is mine to create and enjoy. Perhaps others can enjoy but they can take.
Wednesday, 16 September 2009
If I can't play [this] there is something seriously wrong with me!
With all the practice and work that goes into playing the violin I find myself often with the concern....
"If I can't play [this] there is something seriously wrong with me!"
The statement itself is becoming a concern. It's seems to be some form of pre-doubt?! Definately something worth shedding.
Which leaves the question. Why is it that even after practicing something a lot it is still relatively impossible to accurately replicate previously mastered passage? Why is it that the skill is fleeting? Why is the skill difficult to categorically retain? Why is my body beyond my control?
There is sometihng very backward about all this question. The key seems to be in the 'relaxing' and 'trying less'....
20%
PLAY MUSIC FOR ENJOYMENT YOU IDIOT!
"If I can't play [this] there is something seriously wrong with me!"
The statement itself is becoming a concern. It's seems to be some form of pre-doubt?! Definately something worth shedding.
Which leaves the question. Why is it that even after practicing something a lot it is still relatively impossible to accurately replicate previously mastered passage? Why is it that the skill is fleeting? Why is the skill difficult to categorically retain? Why is my body beyond my control?
There is sometihng very backward about all this question. The key seems to be in the 'relaxing' and 'trying less'....
20%
PLAY MUSIC FOR ENJOYMENT YOU IDIOT!
Tuesday, 15 September 2009
Additions
Today I'm adding Fischers Basics and Schradieck Book 2 to my practice :)
5%
Read less play more. A good session but in a bit of a rush to get through my exercises
5%
Read less play more. A good session but in a bit of a rush to get through my exercises
- fischer
- sevick p1 & p2
- schradieck 1 & 2
- Wohlfahrt
- Kayser
Monday, 14 September 2009
Start with a mute
I've found that starting a practice session with a mute help to adjust the ear. Especially to repeatitive large bowing exercises. It's as though both the violin and the ear need to 'warm' to the sound of the instrument.
in regards to 'pause playing'. it's surprisingly difficult to take control of the sound when learning the violin from such a young age.
in regards to 'pause playing'. it's surprisingly difficult to take control of the sound when learning the violin from such a young age.
Sunday, 13 September 2009
Pause, Read, Close Eyes, Play, Pause, Read, ...
This cycle of practicing music involving; stop, read, close eyes, play and then again... enables the mind to comprehend what is intended, chose what to capture and decisively engage the body.
Reading whilst playing seems to by pass the mind. Reading whilst playing seems to bypass the enjoyment.
I've found this sort of practice also helps a lot with sight reading at orchestra rehearsals!
Reading whilst playing seems to by pass the mind. Reading whilst playing seems to bypass the enjoyment.
I've found this sort of practice also helps a lot with sight reading at orchestra rehearsals!
Saturday, 12 September 2009
Play from memory
Play from memory and OWN the music.
Reading the music from the sheet doesn't give the brain enough time to imagine and create.
A great exercise is to stop, read ahead and play, then stop, read and play ahead. The iterations can be as short or as long as preferred. Don't read whilst playing.
To play from memory engages the mind and enables it to own and generate the sound. To read off the page is to bypass the brain and simply replicate the written notes without any enjoyment. This especially applies to intonation and schradieck studies. Simple analystical stuff.
Own more, play less.
Reading the music from the sheet doesn't give the brain enough time to imagine and create.
A great exercise is to stop, read ahead and play, then stop, read and play ahead. The iterations can be as short or as long as preferred. Don't read whilst playing.
To play from memory engages the mind and enables it to own and generate the sound. To read off the page is to bypass the brain and simply replicate the written notes without any enjoyment. This especially applies to intonation and schradieck studies. Simple analystical stuff.
Own more, play less.
Play without hate.
Play with love rather than hate. Conjure joy rather than frustration. Listening to my music is listening to my soul.
Play to bring joy.
5%
I think i've been playing the violin with hatred. I hated the violin as a child. I've been playing the violin as a form of passive aggression.
Playing with a mute helps to play without hate.
I play violin angrily because my mum forced me to play and because my father was a bastard.
Play to bring joy.
5%
I think i've been playing the violin with hatred. I hated the violin as a child. I've been playing the violin as a form of passive aggression.
Playing with a mute helps to play without hate.
I play violin angrily because my mum forced me to play and because my father was a bastard.
Friday, 11 September 2009
Playing for Other
My time away with Clare was amazing. I hope we can make it work.
Playing for others has made me learn to enjoy 'my sound', because at the end of the day 'they' aren't ever going to really appreciate it as much as I do.
Playing for others has made me learn to enjoy 'my sound', because at the end of the day 'they' aren't ever going to really appreciate it as much as I do.
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