Just had my second lesson with David Krieger. We worked on the 2nd Bach suite, and the theoretical structure in it (which he says I need before thinking of the spiritual aspects of it) we also worked on not letting the sound die out ... but basically on thinking about and realizing things like sequences and inner melodies & scales & stuff of that sort ... basically the same kind of stuff that Inna talked about, only more specific ... he also gave me some fingerings to use, which is very helpful..
We also spent half the lesson resetting my soundpost (first time in 4 years that I've ever knocked it down!)
We're going to work on Elgar on saturday after the concert ... he told me to skip the 2nd movement for now... he also told me to go bach (back, whoops!) to working on the Haydn Concerto, b/c it will really develop my thumb position (now that I think about it, the third movement is perfect for this!) ... I'm also gonna keep at doing the Dotzaeur etudes in thumb.
I find the quality of my intonation really varies based on how much I practice... but basically the more I practice, the better it is ... and it bother's me when it isn't ...
The lecture/concert was really cool ... made me care about the piece more ... it was Adam Kent & he did Schumann's Kresleriana ... I kind of want to put him in touch w/ Steven Isserlis ... I bet they'd like a lot of the same things...
Somebody asked me to find a harp teacher around my area ... if anyone's got any suggestions ...
Thursday, July 31, 2008
Wednesday, July 30, 2008
Summit Day 4 - Don't Skip Lunch!
Today I learned that skipping lunch is a bad idea ... especially when I haven't actually had breakfast ... I think I would have practiced/played better if I hadn't ...
but on that note, I played in Inna Nasidze's masterclass & learned a lot! I played the 2nd Bach suite, and despite the faulty intonation (it really was like I was physically struggling against myself) & a technique thing here or there, what I was really seeking was some musical advice. And that's exactly what I got ... I hope I can remember everything, but basically it was like taking a 1-dimensional sketch and making it into 3d...
Some things I took away:
Prelude -
-Start at nothing
-Each restatement of the beginning motive becomes more "real"
Allemande -
-Sense of phrasing and not letting the phrase die prematurely
-Continuity of sound
-Don't rush! Especially for double-stops in Allemande
-Always have a concept in mind
-Cadenza at the end of the Allemande shouldn't be rushed
-Don't press w/ bow
-Don't stop bow - this results in "tch" sound (which is related to pressing...)
I still feel like I need a better set of fingerings/some technique help in the Prelude, but I have a lesson w/ David Krieger tomorrow. He walked into the masterclass right as I was about to start the piece - made me incredibly nervous ... also, I felt ... like I let me/him down b/c I wasn't able to incorporate what we talked about regarding bowing into this performance, b/c I was so tense/exhausted ...
Weber/Chausson rehearsal could have been better ... I still wasn't feeling/playing so great at that point though & I haven't had a chance to metronome the music ... gonna do that tonight ...
The lecture with David Dubal was very interesting ... I liked his ideas that we had to be more than just technical machines & that we had to have lives outside of music and be conscious of the world around us ... he commented a lot on how people used to be surprised if you didn't compose/improvise & now it's the other way around ... I couldn't always hear everything, because, in addition to doing lights, I also had to do sound... was stressful, but fun ... I really like that kind of work
That's the end of the cello masterclasses this week - which is good, cuz I'll get to practice more ... I'm gonna thank Inna for listening to me when I get a chance & *maybe* ask her if I can play Bach for her again next week ... she's a very nice/approachable person ...
That's all for now ...
but on that note, I played in Inna Nasidze's masterclass & learned a lot! I played the 2nd Bach suite, and despite the faulty intonation (it really was like I was physically struggling against myself) & a technique thing here or there, what I was really seeking was some musical advice. And that's exactly what I got ... I hope I can remember everything, but basically it was like taking a 1-dimensional sketch and making it into 3d...
Some things I took away:
Prelude -
-Start at nothing
-Each restatement of the beginning motive becomes more "real"
Allemande -
-Sense of phrasing and not letting the phrase die prematurely
-Continuity of sound
-Don't rush! Especially for double-stops in Allemande
-Always have a concept in mind
-Cadenza at the end of the Allemande shouldn't be rushed
-Don't press w/ bow
-Don't stop bow - this results in "tch" sound (which is related to pressing...)
I still feel like I need a better set of fingerings/some technique help in the Prelude, but I have a lesson w/ David Krieger tomorrow. He walked into the masterclass right as I was about to start the piece - made me incredibly nervous ... also, I felt ... like I let me/him down b/c I wasn't able to incorporate what we talked about regarding bowing into this performance, b/c I was so tense/exhausted ...
Weber/Chausson rehearsal could have been better ... I still wasn't feeling/playing so great at that point though & I haven't had a chance to metronome the music ... gonna do that tonight ...
The lecture with David Dubal was very interesting ... I liked his ideas that we had to be more than just technical machines & that we had to have lives outside of music and be conscious of the world around us ... he commented a lot on how people used to be surprised if you didn't compose/improvise & now it's the other way around ... I couldn't always hear everything, because, in addition to doing lights, I also had to do sound... was stressful, but fun ... I really like that kind of work
That's the end of the cello masterclasses this week - which is good, cuz I'll get to practice more ... I'm gonna thank Inna for listening to me when I get a chance & *maybe* ask her if I can play Bach for her again next week ... she's a very nice/approachable person ...
That's all for now ...
Tuesday, July 29, 2008
Summit Day 3
Today has consisted of Practicing the 2nd Bach Suite a lot ... also copied the cello parts for the Brahms/Beethoven Clarinet Trio ... just need to find a pianist to do those with ...
I'm supposed to play it for David Krieger at some point today, and may be playing it in a masterclass tomorrow ... I don't know yet ...
also have Chausson rehearsal at 7 .. tomorrow's Weber - ahhh! I need to get that up to tempo & haven't had any chance to practice it ...
They've started carding people for meals :( not fun ... that's all for now...
Edit: Didn't get to play for Mr. Krieger, but still going to play in the masterclass w/ Inna Nasidze tomorrow ... that means I've got to do a lot of practice ... and holy crap, I need to get the Weber up to tempo by tomorrow!! ahh...
I'm exhausted ... but good...
I've finally got that bloody light board figure out ... now I just have to explain it to someone else in case I'm not gonna be here...
I'm supposed to play it for David Krieger at some point today, and may be playing it in a masterclass tomorrow ... I don't know yet ...
also have Chausson rehearsal at 7 .. tomorrow's Weber - ahhh! I need to get that up to tempo & haven't had any chance to practice it ...
They've started carding people for meals :( not fun ... that's all for now...
Edit: Didn't get to play for Mr. Krieger, but still going to play in the masterclass w/ Inna Nasidze tomorrow ... that means I've got to do a lot of practice ... and holy crap, I need to get the Weber up to tempo by tomorrow!! ahh...
I'm exhausted ... but good...
I've finally got that bloody light board figure out ... now I just have to explain it to someone else in case I'm not gonna be here...
Monday, July 28, 2008
Summit Day 2 - Lessons & Limitations
So today consisted of:
2.5 hrs of practice
Learning the lightboard
Lesson with David Krieger
Lunch
Nathaniel Rosen Masterclass
11 hr of practice
It will also have a concert ... I'll add that later...
In my lesson, we talked about what I had/hadn't done & about the need for a fundamental technique/foundation ... which is perfect, because this is exactly what I'm seeking ... We went over a new way of doing scales... First, he wants me to use the more traditional Scale fingerings, plus he showed me a new way of doing them ... but the basic gyst is 2/4/6/8/12/24 notes to a bow ... all within the context of 2 beat measures ...
We also talked about bowing itself and particularly about the "X" motion (which goes along w/ the concept of the upside down U bowing motion). We also talked about not raising the elbow, which is my big problem on the A string (well, all the others too!)
I'm going to play Bach 2nd suite for him & he's going to give me double stop/position exercises!
The Rosen Masterclass went well, though I could have been in better shape with the piece ...
I played Elgar mov. 1 & learned the following:
-For the opening double stops use a small portion of the bow, then change for the chord, then slow the speed so you can surge
-Use familiar areas for fingerings (I'm not sure I want to do this, but I'll give it a try ... he suggested a new fingering for the Upward run, based on shifting at harmonics ...
We also talked about releasing the 3rd & 4th finger on the bow at times ... particularly for that run...
-He also said I was over-using slides & this was "slowing" down the piece ... he showed me how to lift the bow to allow for clean shifts & the sound I want, and said i need to choose when we hear the shift
David Krieger told me afterwards that I played well, but that we should have had at least 2 lessons before I played that for a masterclass ... I told him that I agreed ... I really want to sign up to play the 2nd Bach Suite for the thursday masterclass, but I'm afraid it won't be ready.... time to go play it & see ... and then I'll see if I can play it for Krieger tomorrow...
That's all I can remember for now...
The concert was amazing!! I don't want to write more about it now, b/c I'm exhausted ... the light board on the other hand really is a pain in the ass ... but I think I've gotten the hang of it!
I need to practice ... severely
2.5 hrs of practice
Learning the lightboard
Lesson with David Krieger
Lunch
Nathaniel Rosen Masterclass
11 hr of practice
It will also have a concert ... I'll add that later...
In my lesson, we talked about what I had/hadn't done & about the need for a fundamental technique/foundation ... which is perfect, because this is exactly what I'm seeking ... We went over a new way of doing scales... First, he wants me to use the more traditional Scale fingerings, plus he showed me a new way of doing them ... but the basic gyst is 2/4/6/8/12/24 notes to a bow ... all within the context of 2 beat measures ...
We also talked about bowing itself and particularly about the "X" motion (which goes along w/ the concept of the upside down U bowing motion). We also talked about not raising the elbow, which is my big problem on the A string (well, all the others too!)
I'm going to play Bach 2nd suite for him & he's going to give me double stop/position exercises!
The Rosen Masterclass went well, though I could have been in better shape with the piece ...
I played Elgar mov. 1 & learned the following:
-For the opening double stops use a small portion of the bow, then change for the chord, then slow the speed so you can surge
-Use familiar areas for fingerings (I'm not sure I want to do this, but I'll give it a try ... he suggested a new fingering for the Upward run, based on shifting at harmonics ...
We also talked about releasing the 3rd & 4th finger on the bow at times ... particularly for that run...
-He also said I was over-using slides & this was "slowing" down the piece ... he showed me how to lift the bow to allow for clean shifts & the sound I want, and said i need to choose when we hear the shift
David Krieger told me afterwards that I played well, but that we should have had at least 2 lessons before I played that for a masterclass ... I told him that I agreed ... I really want to sign up to play the 2nd Bach Suite for the thursday masterclass, but I'm afraid it won't be ready.... time to go play it & see ... and then I'll see if I can play it for Krieger tomorrow...
That's all I can remember for now...
The concert was amazing!! I don't want to write more about it now, b/c I'm exhausted ... the light board on the other hand really is a pain in the ass ... but I think I've gotten the hang of it!
I need to practice ... severely
Sunday, July 27, 2008
Summit Day 1
Most of the day consisted of running around & helping the administration ... also doing the lights for the concert, because nobody could figure out how to (I love being a tech-y person)
I had the Weber rehearsal today ... went well ... the scherzo is good, but the pianist needs to bring it up to speed ... once we're there, we're there! The finale is good, but *none* of us realized it was in cut time before! So lots of work to do there ... but once it's there, it's there ... both are going well!
Nathaniel Rosen, and the other artists who played with him gave an amazing concert!! Highlight of it was definitely the Kodaly Duo (best cello/violin duo ever written in my opinion)
I have my first lesson w/ David Krieger - very exciting ... we haven't discussed rep, but I'm going to bring in Elgar Mov. 2 (How do I do this spiccato thing anyway ...) & Popper 1 & have elgar 1 & bach as my extra things to do ...
Speaking of Elgar ... I'm going to be playing for Nathaniel Rosen in a masterclass tomorrow ... the first movement ... this is incredible, and really scary at the same time ... and I told another cellist I was nervous about it, and she said "Don't Be" ... quite surprising ... I'm always on the other end of that ...
I've never played in a masterclass before ...
Met a bunch of neat people, including a *ton* of cellists today ... and this is only the 1st week ... so very cool...
I had the Weber rehearsal today ... went well ... the scherzo is good, but the pianist needs to bring it up to speed ... once we're there, we're there! The finale is good, but *none* of us realized it was in cut time before! So lots of work to do there ... but once it's there, it's there ... both are going well!
Nathaniel Rosen, and the other artists who played with him gave an amazing concert!! Highlight of it was definitely the Kodaly Duo (best cello/violin duo ever written in my opinion)
I have my first lesson w/ David Krieger - very exciting ... we haven't discussed rep, but I'm going to bring in Elgar Mov. 2 (How do I do this spiccato thing anyway ...) & Popper 1 & have elgar 1 & bach as my extra things to do ...
Speaking of Elgar ... I'm going to be playing for Nathaniel Rosen in a masterclass tomorrow ... the first movement ... this is incredible, and really scary at the same time ... and I told another cellist I was nervous about it, and she said "Don't Be" ... quite surprising ... I'm always on the other end of that ...
I've never played in a masterclass before ...
Met a bunch of neat people, including a *ton* of cellists today ... and this is only the 1st week ... so very cool...
Friday, July 25, 2008
My Bible
I've decided that Metallica + Popper + Dotzauer in thumb position is gonna be my bible from now on ... it's how I'm gonna start my cello days ...
Metallica, b/c it's insanely hard, and because it's my musical core (even more than nightwish & dream theater)
Popper, b/c it's insanely hard and fast and pushes my technique
Dotzauer because it helps blaze open the doors for thumb position and really again causes me to push ... I feel like most things I'll come across will be easy after that ...
I'm trying to decide on what role scales will play in all of this ... whatever role that is though, i want Metallica to start off the day...
Metallica, b/c it's insanely hard, and because it's my musical core (even more than nightwish & dream theater)
Popper, b/c it's insanely hard and fast and pushes my technique
Dotzauer because it helps blaze open the doors for thumb position and really again causes me to push ... I feel like most things I'll come across will be easy after that ...
I'm trying to decide on what role scales will play in all of this ... whatever role that is though, i want Metallica to start off the day...
Thursday, July 24, 2008
Goals
Taken from an email I wrote to a friend:
(context, she asked what my cellistic goals were ... I formatted it so that it's a bit more readable here...) ... I think I've watched a couple too many Metallica documentaries recently ... but hey, that's my inspiration...
My immediate goals are to be able to play the following: Elgar mov. 2, Popper 1, Metallica Kill 'Em All (all the Rhythm Parts for the whole album) & this Weber trio I'm working on.
My broader goals are that:
-I want to develop an amazing technique that will let me play whatever I want;
-I want to be be able to get into any conservatory in the country when I apply for grad school;
-I want to develop the ability to shred faster than any guitar player, the way guitarists like Kirk Hammet or Dave Mustaine or John Petrucci or like a billion others are capable of (physics is of course against me on that one);
-I want to develop a strong tone and loud sound; I want to keep writing original, interesting music for solo cello;
-finally, I want to be in some kind of heavy metal/rock band, and really push people's conception of what the cello's capable of in that format, cuz a lot of what I've seen so far has come off to me as: "oh hey look we have a cello, doesn't that make us cool" ... as opposed to amazing bands that just happen to have a cellist as one of their players. ...
-I'd like to be able to earn my income solely from cello 1 day
(context, she asked what my cellistic goals were ... I formatted it so that it's a bit more readable here...) ... I think I've watched a couple too many Metallica documentaries recently ... but hey, that's my inspiration...
My immediate goals are to be able to play the following: Elgar mov. 2, Popper 1, Metallica Kill 'Em All (all the Rhythm Parts for the whole album) & this Weber trio I'm working on.
My broader goals are that:
-I want to develop an amazing technique that will let me play whatever I want;
-I want to be be able to get into any conservatory in the country when I apply for grad school;
-I want to develop the ability to shred faster than any guitar player, the way guitarists like Kirk Hammet or Dave Mustaine or John Petrucci or like a billion others are capable of (physics is of course against me on that one);
-I want to develop a strong tone and loud sound; I want to keep writing original, interesting music for solo cello;
-finally, I want to be in some kind of heavy metal/rock band, and really push people's conception of what the cello's capable of in that format, cuz a lot of what I've seen so far has come off to me as: "oh hey look we have a cello, doesn't that make us cool" ... as opposed to amazing bands that just happen to have a cellist as one of their players. ...
-I'd like to be able to earn my income solely from cello 1 day
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