MInuet from Bach Suite,cont’d

Tags

bach_suites, my_life

Most of the lesson focused on this.  Go slowly. Focus on moving the bow to get sound.  Pretend you don’t have a modern bow, so you can’t “insist” upon the strings to get them to sound.  Keep the bow moving.  We worked through the first few lines.  It was frustrating because I was so eager to show what I’ve learned (can you smell trouble yet?).

Anyway, I’m on hiatus again until second week of February.  Another book deadline.  The book’s really coming into shape.  I so want this to be my final round.  I’m still creatively dissatisfied.  Cello playing will still occur, although I think ‘insisting’ is coming from frustration in other areas of my life.

Slowly…Minuet from First Suite (Suzuki Book 4)

I’m amazed at after listening to various recordings of the first suite over the course of the last five years of my life, I am having trouble putting the notes into place on the minuet.  I’m amazed at how the phrases fall, and how different the sheet music seems. When I play what i see on the page, it sounds nothing like what I hear.   This is the ultimate adult beginner issue. We have this elaborate idea of hitting a high mark, but our bodies just aren’t ready.  Spirit being wililng and flesh being weak, and all that.  

I just need to remember that this piece, which is just a book 4 piece, should be approached like any piece. I need to stop at difficult points and figure out how to solve them. I focused tonight on the first two measures after the first repeat – just trying different ways of playing that D-F#-A-G-A-B, hearing each interval until it is in my head. I do feel like I have more musical tools at my disposal than I used to so there is progress.  But, wow, such a long road ahead. At least i won’t be bored!

The Obligatory New Years Resolution Post!

Tags

attitude, new_years, scales

For cello, in 2012, I resolve to (in rough order from most to least specific):

• Always have a purpose when I sit down to practice. I will NOT simply play a section over and over until I get it right. Having a purpose, I think, will also help me blog better.
• (This is the newest “practice smackdown” for ’12). In mid-April 2012, when much of my other commitments should abate, I will post one clip per week, with the understanding that it is a snapshot of a progress and not intended for public evaluation.
• I would also like to polish a piece and be able to present it in a group-class setting.
• Be more attentive during my scales, particularly to tone and fluidity of bow arm movement.
• Pay more attention to  Herr Kummer!
• Play more fluidly in general.

I did not set a goal to have any particular piece done, but in terms of the “like to have” section, it would be:

1. Start the next section of Kol-Nidre, or be able to play through the first large section fluidly. (Before the big runs of 11 and 13 notes start!)

2. Have the Minuet from Suite 1 really nice (relative to my current level of development.)

On vacation

Tags

suites, suites_1_mv5

But not from the cello! Working through first two lines of minuet from 1st Suite and getting some new scales in place. B major and Db major. Nothing to do with the pieces I’m on but Dan suggested I try one with more flats and sharps in it.

Shape and Energy

Tags

attitude, musicality

Right now, my emphasis in all my pieces is how not to make them boring. But I still need quite a bit of understanding about what gives music the energy to move forward.  Sometimes harmony (which is a vast mystery to me) and sometimes rhythm.   We’re supposed to somehow know. One of the reasons I love this process is that it not only helps me with cello, but gives me an appreciation of how music  ’works’ in all genres.   The more I don’t know, the less I’m bored.  It’s a good time to be alive.

Lesson Summary 5 – December 19, 2011

Worked through Ab major scale. Tried to get more comfortable in fifth position. We did an exercises where we tested our reach without reference to the cello, and are trying to break a habit of sitting my hands on the cello in the higher positions.

If there is a summary of today’s lesson, it’s similar to pool; always be ready for the next shot. I need to develop postures that are more nimble. In the Minuet for the triple string crossings, I need to take an elbow position in the middle of my (RH) position for the A and G strings. I tend to get depressed when I play sometimes and it shows in my posture. Conversely, changing my posture improves my mood.

Bach Minuet I and II from Cello Suite #1 & a question.

Here starts what I consider to be a very long journey.   I’ve been listening to a few recordings of this, and it’s challenging, to say the least, to figure out where the phrase boundaries go.  First, I’ll learn the notes, and then figure how they should be in my hands.  I’m working on the first two lines, and I should have clips of that over the break.   I’m going to need to work on that chord trill a few hundred thousand times.

How did you work through this when you first encountered it?

More Sound!

The consensus is that we’re ready to move on, and while the current pieces are not perfect, we do not need to belabor them. Today we went over the fingering to the Minuet of the First Suite. It’s a nice way to start my third year of Cello playing.

Other things that are new : Melodic minor scales, although Dan suggested that if they’re a little disorienting, to do the natural minor first.

Once I get my intonation down, I need to focus on getting more sound out of each string. If need be, take some breaks during practices between each phrase to really make sure I’m “ready to go”.

Also, coming soon : another La Cinquantaine recording.

Bow repairs

I had the eyelet on my bow repaired today. One matter that may be of interest to other amateur cellists is that the fellow who fixed the bow suggested that the frog cover I had been using to soften the grip may have subtly accelerated the process of wearing down the eyelet threads. The friction holding the frog in place when the grip cover was on may have been causing the screw to work harder than needed when I turned it. Over the course of the year, this can add up.

The same luthier, who has been very honest with me, still thinks that the bow has some good life in it and is worth the price of a rehair. I had assumed that rehair time meant new bow. This was good news. This is a bit of a relief because it gives me more time to save up for a new bow.

Happy Thanksgiving.

Three Years ago this week, I brought my lovely new rental cello home from Golden Violins. It had a subtle, dark varnish.   I had no idea what to do with it, except try playing a few open strings to see how it sounds.  When the family came over for Thanksgiving dinner, I happily showed off my new avocation to various expressions of bemusement.  The more politely phrased good wishes praised me for having “guts”, which means I’ve got to be crazy for starting something like this when there’s no way I’ll ever be good.

Three years later, on the eve of Thanksgiving, I own a lovely cello, and I am sitting down with it and playing open strings to listen carefully how it sounds.  Some things change, and some remain the same.  (I can tune it, now!)

I am grateful for not only the cello, but the community of friends who have supported me over the years, and of course to my teacher, Dan Delaney who patiently can listen to what I’m playing and carefully choose what needs the most attention and diplomatically not discussing what is not yet at my level to fix.  I’m also grateful to Emily Wright for tolerating both Skype and Cello technical difficulties.  

I would be remiss in thanking a certain very generous person who chooses not to be named for providing me with Stempie when that person’s cello was upgraded, on the condition that I keep playing and keep blogging.

Many other bloggers and friends deserve special thanks and mentions, both for helpful comments here as well as insight on their own blogs. I worry about a complete list, which is getting large, lest I leave somebody out.

Lest I forget: Today’s practice was 1 hour of playing La Cinq from memory, and trying to see if I can still hear the pulse when it comes to the trill. The primary focus was the last three lines. Key was just to have fun with it and try to get the piece to “wake up” in my hands.