First, an interesting thread on scales, started by Weils Cunningham (the guy who has a video of the 24th caprice on cello on youtube!)
http://p078.ezboard.com/I-need-your-help/fcellofuncellochat.showMessage?topicID=17263.topic
He mentions something called the Galamian acceleration patterns... never heard of those before, but I'm going to check them out...
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Alright, so I'm still in the process of trying to come up with some sort of routine & after playing for David Krieger a few days ago, I realized I really need to re-evaluate a lot of my technique & exercises (Also, I think I'm gonna ask my teacher to dedicate half our lesson to technique and the other half to rep. when I get back to school... I've got quite a few things to talka bout with him...)
But anyway, here's what I'm coming up with so far:
Using a metronome, progressing by intervals of 10 bpm, going from 60-200, all seperate bows & counting out-loud
1. Barred Whole Note Scale (5ths)
2. Quarter Note Scale
3. 8th Note Scale
4. 16th Note Scale
5. Quarter Note Arpeggios
6. 8th Note Arpeggios
7. 16th Note Arpeggios
This is giving me quite a bit to work with, and I'm thinking I might add in one string double stops to the mix or else find a way to add in the modes (that is, starting and stopping on each degree).
I find counting out-loud can be challenging, but I think it's completely necessary and I've already made a lot of progress from it. It increases my concentration and ability to multi-task & eventually the rhythm becomes like a pattern. I also find it's best to move with the hand as a unit & to lead with the bow (I know a lot of people say lead with the left hand, but I think the left hand is more the preparation, where as the right hand is the leader ... I think I got the idea from the ICS interview with Victor Sazer a while back...)
Saturday, June 30, 2007
Making the Cello Interesting Again...
Ok,
So lately I've been a bit more into my keyboard than my cello... this seems to happen every summer... I think I may have found the remedy for it.. pedals...
I hadn't really been messing around with pedals anytime recently because I don't actually have enough cables for it (I have 1, I need 3)... so anyway, I usually don't like to ask my brother to borrow cables b/c it becomes a hastle... but I did... and now that I'm over the "OMG I can hook the cello up to pedals" phase, I'm starting to actually try to create and/or mimic sounds ...
and holy shit! everything became so much more exciting... I'm a bit limited by what I have (chorus and distortion pedal), but once I get on my feet again money-wise, I'm going to pick up a multi-effects processor (and of course extra cables!) ... can't wait
Not only does playing it electrified make it so much easier to play, but I can get all these really cool effects by bowing "incorrectly" ... it adds a whole new dimension to bow technique that's really exciting, where pressure and speed and proximity to the bridge start to matter even more)...
Anyway, the highlight of that for me was getting this very analog, moog-synthesizer type of sound off of the chorus pedal (think Pink Floyd...)
so cool...
So lately I've been a bit more into my keyboard than my cello... this seems to happen every summer... I think I may have found the remedy for it.. pedals...
I hadn't really been messing around with pedals anytime recently because I don't actually have enough cables for it (I have 1, I need 3)... so anyway, I usually don't like to ask my brother to borrow cables b/c it becomes a hastle... but I did... and now that I'm over the "OMG I can hook the cello up to pedals" phase, I'm starting to actually try to create and/or mimic sounds ...
and holy shit! everything became so much more exciting... I'm a bit limited by what I have (chorus and distortion pedal), but once I get on my feet again money-wise, I'm going to pick up a multi-effects processor (and of course extra cables!) ... can't wait
Not only does playing it electrified make it so much easier to play, but I can get all these really cool effects by bowing "incorrectly" ... it adds a whole new dimension to bow technique that's really exciting, where pressure and speed and proximity to the bridge start to matter even more)...
Anyway, the highlight of that for me was getting this very analog, moog-synthesizer type of sound off of the chorus pedal (think Pink Floyd...)
so cool...
Tuesday, June 26, 2007
Mathemusicians & the American Symphony Orchestra League
Had an interesting exchange with Eric Edberg, in response to his thoughts on Greg Sandow's blogging about the recent ASOL Conference (http://www.artsjournal.com/league/)
You can read the exchange here: http://ericedberg.blogspot.com/2007/06/sandow-and-his-inconvenient-truths.html
A really cool idea came out of it: video between pieces... I think video during pieces might be cool too, but anyway, go read the exchange there...
Also, for those of you on facebook, I discovered there is a really neat group that just started, called Mathemusicians ... Very interesting stuff & I think stuff that's potentially integral or at least useful to continued integration and value of arts education in schools and society.
Also, checking out the MENC website... I may get involved with it when school starts up...
Been taking it kinda easy on cello lately (though doing a lot more reading & expanding my musical base more)... starting to pick up again though b/c I noticed my technique went down a bit... some other neat stuff potentially planned, will blog about it as it happens...
You can read the exchange here: http://ericedberg.blogspot.com/2007/06/sandow-and-his-inconvenient-truths.html
A really cool idea came out of it: video between pieces... I think video during pieces might be cool too, but anyway, go read the exchange there...
Also, for those of you on facebook, I discovered there is a really neat group that just started, called Mathemusicians ... Very interesting stuff & I think stuff that's potentially integral or at least useful to continued integration and value of arts education in schools and society.
Also, checking out the MENC website... I may get involved with it when school starts up...
Been taking it kinda easy on cello lately (though doing a lot more reading & expanding my musical base more)... starting to pick up again though b/c I noticed my technique went down a bit... some other neat stuff potentially planned, will blog about it as it happens...
Tuesday, June 19, 2007
Practice Routine?? Not for me...
However, a technique routine is exactly what I need...
Copy/Pasted from an earlier post on the ICS - here's some stuff I've been developing or working with:
1. Universal Scale Fingerings - if the major/minor scale is the same no matter what note it starts on, then why shouldn't it be played like that?
2. Chromatic Double stops - I've been working on playing 5ths chromatically in a 1234321 pattern and then shifting up a half step and repeating (eg - on the C string - C#,D,D#,E, D#, D, C# then D, D#, E, F, E, D#, D etc.) So far I'm generally getting to the middle area of the fingerboard and there I start having trouble (what would be considered 4th, 5th, 6th position, etc) ... this middle area (and the thumb position area) are however getting progressively easier as I do this more and more.
3. Scale/Finger Mapping - going back to the non-universal fingerings, I am working on scales by playing in as many areas of the fingerboard as possible. What I do is essentially I do what I'm gonna call ladder scales (1, 2, 2, 1 then 1, 2, 3, 3, 2, 1 etc.) for as much of the scale as I can on the string I'm on. I start on the C string and go all the way up and down. Then I go from the C string and move over to the G string (ex. IV - CDEF, III - GABC and on), then I repeat with the D & A string. While doing this I force myself not to look at the fingerboard, but to look at the notes on the page, otherwise mapping doesn't occur and this would then only build up finger strength.
I guess what I need to do more of is bowing work (I'm starting to do some etudes a bit more and working with the Yampolsky for each scale, though I'm still working on a lot of the exercises for C Maj.). Practicing all intervals (1sts 2nds, 3rds, 4ths, 5ths, 6ths, 7ths, Octaves). Practicing scales starting on different notes (ex, In the key of F, Go from F to F, then G to G - this will help with jazz too since it basically unlocks all the basic modes)...
...
Anyways, basically, I'm not a routine kind of guy - just not me... however, I'm really aiming to put together a technique routine that will be as physically efficient as possible, while engaging the mind in important tasks & still be realistic to do... so in light of that, some more things I've come up with:
1. Counting out loud - extremely important to developing a good sense of rhythm and concetration ... also very challenging to do while you're worring about intonation or shifting or w/e ... so what I'm going to do is apply it to *every* exercise I do
2. Singing along - Very useful for developing internal pitch & definitely very useful for improvisation - I like to do this with scales, though, perhaps I should also do this with the pieces I play... at school, we'd do this with Solfege... I can't stand it though, so I just go with hitting the pitch and sometimes singing the note name
3. 1 finger scale in double stops - just your normal 1 finger scale that came from Margaret Rowell, however done in 5ths - as it is, the 1 finger scale develops finger strength/callouses, so why not push that to the extreme and really push for finger strength and intonation. The real challenge of course isn't getting it in tune, it's being relaxed and smooth while doing the exercise, which is the point of 1 finger scales in the first place...
4. Staccato Triplets in 5ths up and down a scale - going from C to C w/ the barred 5th or whatever... this is one of the few bow things I've tackled so far because I was having issues with one of the Dotzeaur Etudes... it's really challenging, but helpful...
What I need to find more of is ways to work on bowing techniques while doing this stuff... The reason I'm looking for some sort of routine is for the purpose of developing a better foundation (which I already have a pretty strong one) - I need to be able to move around all of the fingerboard with ease & have freedom with my bow... I wish I had the money to pick up Starker's "Organized Method of Cello Playing" or Victor Sazer's book (New Directions for cello playing??)... anyway, just wanted to repost that snippet from ICS so that I don't lose it (eventually, I'm gonna look back over all these entries & techniques & ideas & put together this routine...)
Any suggestions on the bow end of stuff?? I need to do much more with that... found Emily Wright's post quite helpful (you can get to her blog on the links on the side)
Copy/Pasted from an earlier post on the ICS - here's some stuff I've been developing or working with:
1. Universal Scale Fingerings - if the major/minor scale is the same no matter what note it starts on, then why shouldn't it be played like that?
2. Chromatic Double stops - I've been working on playing 5ths chromatically in a 1234321 pattern and then shifting up a half step and repeating (eg - on the C string - C#,D,D#,E, D#, D, C# then D, D#, E, F, E, D#, D etc.) So far I'm generally getting to the middle area of the fingerboard and there I start having trouble (what would be considered 4th, 5th, 6th position, etc) ... this middle area (and the thumb position area) are however getting progressively easier as I do this more and more.
3. Scale/Finger Mapping - going back to the non-universal fingerings, I am working on scales by playing in as many areas of the fingerboard as possible. What I do is essentially I do what I'm gonna call ladder scales (1, 2, 2, 1 then 1, 2, 3, 3, 2, 1 etc.) for as much of the scale as I can on the string I'm on. I start on the C string and go all the way up and down. Then I go from the C string and move over to the G string (ex. IV - CDEF, III - GABC and on), then I repeat with the D & A string. While doing this I force myself not to look at the fingerboard, but to look at the notes on the page, otherwise mapping doesn't occur and this would then only build up finger strength.
I guess what I need to do more of is bowing work (I'm starting to do some etudes a bit more and working with the Yampolsky for each scale, though I'm still working on a lot of the exercises for C Maj.). Practicing all intervals (1sts 2nds, 3rds, 4ths, 5ths, 6ths, 7ths, Octaves). Practicing scales starting on different notes (ex, In the key of F, Go from F to F, then G to G - this will help with jazz too since it basically unlocks all the basic modes)...
...
Anyways, basically, I'm not a routine kind of guy - just not me... however, I'm really aiming to put together a technique routine that will be as physically efficient as possible, while engaging the mind in important tasks & still be realistic to do... so in light of that, some more things I've come up with:
1. Counting out loud - extremely important to developing a good sense of rhythm and concetration ... also very challenging to do while you're worring about intonation or shifting or w/e ... so what I'm going to do is apply it to *every* exercise I do
2. Singing along - Very useful for developing internal pitch & definitely very useful for improvisation - I like to do this with scales, though, perhaps I should also do this with the pieces I play... at school, we'd do this with Solfege... I can't stand it though, so I just go with hitting the pitch and sometimes singing the note name
3. 1 finger scale in double stops - just your normal 1 finger scale that came from Margaret Rowell, however done in 5ths - as it is, the 1 finger scale develops finger strength/callouses, so why not push that to the extreme and really push for finger strength and intonation. The real challenge of course isn't getting it in tune, it's being relaxed and smooth while doing the exercise, which is the point of 1 finger scales in the first place...
4. Staccato Triplets in 5ths up and down a scale - going from C to C w/ the barred 5th or whatever... this is one of the few bow things I've tackled so far because I was having issues with one of the Dotzeaur Etudes... it's really challenging, but helpful...
What I need to find more of is ways to work on bowing techniques while doing this stuff... The reason I'm looking for some sort of routine is for the purpose of developing a better foundation (which I already have a pretty strong one) - I need to be able to move around all of the fingerboard with ease & have freedom with my bow... I wish I had the money to pick up Starker's "Organized Method of Cello Playing" or Victor Sazer's book (New Directions for cello playing??)... anyway, just wanted to repost that snippet from ICS so that I don't lose it (eventually, I'm gonna look back over all these entries & techniques & ideas & put together this routine...)
Any suggestions on the bow end of stuff?? I need to do much more with that... found Emily Wright's post quite helpful (you can get to her blog on the links on the side)
Thursday, June 14, 2007
The relationship between right and left hand technique
So I've been getting back into piano lately... about time!! Anyway, one of the results of this is re-exploring the Jordan Rudess Online Conservatory - wow!! amazing stuff to say the least (http://www.jroc.us). Jordan Rudess has basically reduced a lot of technique to the bare mechanics of the techniques and has then come up with exercises to tackle these mechanics as efficiently as possible (plus there's all sorts of videos ... go check it out!!)
Anyway, getting to the title of the post, my cello technique has sorta gone down over the last few days, which sucks because for a while it had really been going up (over the last week though, I haven't been practicing much for various reasons...). Anyway, one of the things I noticed is that my bow technique has especially gone back down (I *still* can not play the part with the running triplets from the Haydn C well...) and that a result of it was that I tried to compensate more by tensing up my left hand (which is ultimately somewhat assenine, since that will only make everything sound worse...). But anyway, I realized that technique in both hands basically comes down to the following principles:
finger strength
finger independence
hand independence
So far, I've been making the best progress with finger strength and independence in my left hand. The way I look at it, left hand finger strength is essentially presence of callouses, left hand finger independence is the flexibility between fingers (hard to define independence without creating a tautology...). My right hand needs a bit of work, and then on top of that, I need to develop the independence of them.
On a basic/foundational level, these things are best developed by patterns. This is where I think most classical etudes/technical studies fail (they seem to be more oriented around developing mental as opposed to physical flexibility and foundation).
Anyway, What I'm basically trying to do is come up with exercises to do things as efficiently as possible & basically (eventually) push my technique to the highest level. I've come up with some exercises already, and I'll be looking to Jordan Rudess' method for some more guidance on this... the next couple of posts I'm gonna focus on jotting down some of those techniques...
Also, the Yampolsky method is incredibly helpful in pushing myself, though I really need to get past the C Major exercises and onto some of the other keys...
In other news, I've got to prepare Beethoven A Maj. 1st mvmt. & a CPE Bach piece by next week... ahh!! May have some other neat little jamming or music things going on soon... if I do, I'll post...
Looking forward to hearing any comments/ideas.
-Mike
Anyway, getting to the title of the post, my cello technique has sorta gone down over the last few days, which sucks because for a while it had really been going up (over the last week though, I haven't been practicing much for various reasons...). Anyway, one of the things I noticed is that my bow technique has especially gone back down (I *still* can not play the part with the running triplets from the Haydn C well...) and that a result of it was that I tried to compensate more by tensing up my left hand (which is ultimately somewhat assenine, since that will only make everything sound worse...). But anyway, I realized that technique in both hands basically comes down to the following principles:
finger strength
finger independence
hand independence
So far, I've been making the best progress with finger strength and independence in my left hand. The way I look at it, left hand finger strength is essentially presence of callouses, left hand finger independence is the flexibility between fingers (hard to define independence without creating a tautology...). My right hand needs a bit of work, and then on top of that, I need to develop the independence of them.
On a basic/foundational level, these things are best developed by patterns. This is where I think most classical etudes/technical studies fail (they seem to be more oriented around developing mental as opposed to physical flexibility and foundation).
Anyway, What I'm basically trying to do is come up with exercises to do things as efficiently as possible & basically (eventually) push my technique to the highest level. I've come up with some exercises already, and I'll be looking to Jordan Rudess' method for some more guidance on this... the next couple of posts I'm gonna focus on jotting down some of those techniques...
Also, the Yampolsky method is incredibly helpful in pushing myself, though I really need to get past the C Major exercises and onto some of the other keys...
In other news, I've got to prepare Beethoven A Maj. 1st mvmt. & a CPE Bach piece by next week... ahh!! May have some other neat little jamming or music things going on soon... if I do, I'll post...
Looking forward to hearing any comments/ideas.
-Mike
Monday, June 11, 2007
Interesting Vocal Website
Was talking to a guitarist about singing and he dropped me this link: http://www.melissacross.com/home.php?
Melissa Cross works with modern bands on singing techniques & has a neat little instructional DVD out called "The Zen of Screaming" ... I'm gonna give it a closer look at some point... singing's not really my thing, but still interesting nevertheless...
I always like it when the rock & classical worlds begin to blend they both have so much they can learn from each other... from the classical world: discipline & methodology ... from the rock world: freedom and exploration
Melissa Cross works with modern bands on singing techniques & has a neat little instructional DVD out called "The Zen of Screaming" ... I'm gonna give it a closer look at some point... singing's not really my thing, but still interesting nevertheless...
I always like it when the rock & classical worlds begin to blend they both have so much they can learn from each other... from the classical world: discipline & methodology ... from the rock world: freedom and exploration
Sunday, June 10, 2007
A New Beginng - The Journey to Heavy Metal
So I actually started this blog months ago & then couldn't figure out how to get back into it for a while... anyways, I just did & I'm glad... I need to have some sort of music journal & I think a blog is the best way for me to do this... I was keeping a journal for a good long while & then my powerbook died... talk about a shot to the heart... at the moment I can't get to that journal... hopefully some day I'll be able to...
However, learning from that experience & stemming from wanting to share my ideas & teach and learn, I'm going to keep a somewhat regular journal here... hopefully I'll get some readers soon (will post in my facebook profile & on myspace... maybe even consider importing this on facebook, we'll see...)
Anyway, been going through a lot of stuff lately that's left me kind of down, but a good result of this all is that I'm determined to explore and forge a path for the cello in heavy metal... I think this is going to be the main thing I work on as an artist.
Why? Heavy metal has always been the music that moves me the most & I love listening to/playing it ... I want to follow in the footsteps of groups like Break of Reality & Apocalyptica...
In order to do that, I'm going to need to do some serious technical work & ear training as well as really learn heavy metal inside and out (after all, this stuff is meant to be played on keyboards and guitars!!) ... it's going to be my new focus... I've got some potentially exciting stuff coming up in that area, so I'll write about it as things start to happen...
In the meantime, 2 posts that I started on the Internet Cello Society:
1. Bridging the Gap Between Cello/Guitar & Classical/Metal
2. Some things I just don't understand...
guess that's all for now...
However, learning from that experience & stemming from wanting to share my ideas & teach and learn, I'm going to keep a somewhat regular journal here... hopefully I'll get some readers soon (will post in my facebook profile & on myspace... maybe even consider importing this on facebook, we'll see...)
Anyway, been going through a lot of stuff lately that's left me kind of down, but a good result of this all is that I'm determined to explore and forge a path for the cello in heavy metal... I think this is going to be the main thing I work on as an artist.
Why? Heavy metal has always been the music that moves me the most & I love listening to/playing it ... I want to follow in the footsteps of groups like Break of Reality & Apocalyptica...
In order to do that, I'm going to need to do some serious technical work & ear training as well as really learn heavy metal inside and out (after all, this stuff is meant to be played on keyboards and guitars!!) ... it's going to be my new focus... I've got some potentially exciting stuff coming up in that area, so I'll write about it as things start to happen...
In the meantime, 2 posts that I started on the Internet Cello Society:
1. Bridging the Gap Between Cello/Guitar & Classical/Metal
2. Some things I just don't understand...
guess that's all for now...
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