Youtube Link: http://www.youtube.com/watch?v=bXCeIQBIXJ8
Grade: D
Comments: Tempo inconsistent, could be faster. RH & LH Articulation could be cleaner/more synchronized.
This is a fun etude, and unfortunately I spent not enough time on it (what else is new?). I really didn't account for New Years, but I didn't get started on this etude until Saturday or Sunday... needless to say, not enough time to prepare, and the video has me rushing in parts ... I did gain a lot from doing it though ... there's a lot of hidden techniques in this.
What do I mean by that? Well for one thing, this etude makes you switch between flat & curved fingers (b/c of the open strings and the broken 5ths) ... you also have to have thirds prepared, you have to be able to do staccato triplets at whatever given tempo you're doing, you have to be able to do triplet staccato string crossings fluidly, etc.
Every single piece of music we ever work on has something of this sort - technical aspects that aren't immediately observable on the surface. This is why we do technique - so when we encounter these hidden bits, we can automatically tackle them.
I tried to differentiate between on-string & off-string staccato this time (based on a comment I got on Dotzauer #3) ... I was starting to get it by then end ... I literally spent all my practice time today on this etude ...
In terms of memorization, I worked backwards about 3/4 of the way & then did the rest forwards - psychologically, this was a great way to approach it, because there's this feeling of relief that comes from working on the last quarter forward.
I've added a criteria to the rubric for tempo.
I'm so glad I don't have to make another one of these vids for a week!
Rubric:
F - Failed to memorize notes and bowings within one week.
D - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes (multiple attempts are acceptable).
C - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes (multiple attempts are acceptable). Correct Bow Distribution is present. Tempo is steady.
B - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes (multiple attempts are acceptable). Correct Bow Distribution and Articulation & Dynamics are present. Tempo is stead.
A - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes on First Try. Correct Bow Distribution and Articulation & Dynamics are present. Tempo is steady.
Showing posts with label Dotzauer Challenge. Show all posts
Showing posts with label Dotzauer Challenge. Show all posts
Tuesday, January 5, 2010
Tuesday, December 29, 2009
Dotzauer #3
Youtube Link: http://www.youtube.com/watch?v=ZvfahXeM3_g
Grade: D
Specific Comments: Bow distribution/speed/pressure was considered, but not achieved. Would benefit from slow practice, as well as more bow work. Dynamics were sometimes present. Only 1 attempt was necessary to record. Tempo is still on the slower side of Allegro.
This was a very different experience from the last one. To start with, this etude is a lot shorter and a lot more redundant & a lot more scalar (as opposed to 3rds and 6ths) - what a relief! I didn't quite get to spend as much time with it as I would have liked unfortunately. I definitely benefited from #2 though, because the LH part was easily within my grasp from the very beginning. This had some good consequences (namely that I was able to work with within larger groups/sections and that I wasn't as stressed), but also some bad consequences (I really didn't do much slow work, which I think could have benefited both of my hands).
I also approached this one a bit differently than #2 by working backwards in larger phrases and by relying on the music more (as opposed to trying to play from memory right away). I found this to be beneficial, because it meant that there was less room for error in the initial learning process. I also found that looking at the music helped me be more considerate of the dynamics, which I failed to memorize (and in general, fail to pay attention to - it's a huge flaw in my playing, but this etude got me to start considering it a bit more) ... I still think it's really important to perform from memory, but I think it will generally be worth it to work with the music more in the future. I also think in general when working on music, I could benefit from being more analytical (though there obviously has to be a balance between analysis and physical performance, since playing cello is ultimately about the latter).
Generally, I feel good about the progress I'm making & am really looking forward to #4. I'm going to try to put more time into cello in general so I can put more time into this...
Rubric:
F - Failed to memorize notes and bowings within one week.
D - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes (multiple attempts are acceptable).
C - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes (multiple attempts are acceptable). Correct Bow Distribution is present.
B - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes (multiple attempts are acceptable). Correct Bow Distribution and Articulation & Dynamics are present.
A - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes on First Try. Correct Bow Distribution and Articulation & Dynamics are present.
Grade: D
Specific Comments: Bow distribution/speed/pressure was considered, but not achieved. Would benefit from slow practice, as well as more bow work. Dynamics were sometimes present. Only 1 attempt was necessary to record. Tempo is still on the slower side of Allegro.
This was a very different experience from the last one. To start with, this etude is a lot shorter and a lot more redundant & a lot more scalar (as opposed to 3rds and 6ths) - what a relief! I didn't quite get to spend as much time with it as I would have liked unfortunately. I definitely benefited from #2 though, because the LH part was easily within my grasp from the very beginning. This had some good consequences (namely that I was able to work with within larger groups/sections and that I wasn't as stressed), but also some bad consequences (I really didn't do much slow work, which I think could have benefited both of my hands).
I also approached this one a bit differently than #2 by working backwards in larger phrases and by relying on the music more (as opposed to trying to play from memory right away). I found this to be beneficial, because it meant that there was less room for error in the initial learning process. I also found that looking at the music helped me be more considerate of the dynamics, which I failed to memorize (and in general, fail to pay attention to - it's a huge flaw in my playing, but this etude got me to start considering it a bit more) ... I still think it's really important to perform from memory, but I think it will generally be worth it to work with the music more in the future. I also think in general when working on music, I could benefit from being more analytical (though there obviously has to be a balance between analysis and physical performance, since playing cello is ultimately about the latter).
Generally, I feel good about the progress I'm making & am really looking forward to #4. I'm going to try to put more time into cello in general so I can put more time into this...
Rubric:
F - Failed to memorize notes and bowings within one week.
D - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes (multiple attempts are acceptable).
C - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes (multiple attempts are acceptable). Correct Bow Distribution is present.
B - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes (multiple attempts are acceptable). Correct Bow Distribution and Articulation & Dynamics are present.
A - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes on First Try. Correct Bow Distribution and Articulation & Dynamics are present.
Tuesday, December 22, 2009
Dotzauer #2
Youtube Link: http://www.youtube.com/watch?v=GL54AXSB4TQ
Grade: F
Specific Comments: Failed to memorize within one week due to sickness. Bow is very stiff & the Upper Half/Middle of the bow direction is ignored, partially defeating the point of the Etude. Left hand fingers still do not move as a unit.
Alright, so to start with, I got a horrible ear infection the weekend after Dotzauer #1 ... so horrible that I was often in pain, couldn't hear properly for about 2 weeks & actually went to a doctor & got antibiotics for the first time in 3 years!
Having already played this Etude, I mostly remembered the first section (of the 3 larger sections), but I still had to work it in to shape & then up to tempo. This time around, I really worked in larger sections/phrases/patterns, as opposed to so much measure by measure work (though I would sometimes go by measure or by note within the larger sections). The third section was really the only section I hadn't gone over much before, and at that point I went note by note, which I found really helpful. This has to be done while repeating the note names to oneself for full effect.
I think in general, I should have forced myself to always practice this further up the bow, and to think about the left finger groupings from very start. I found myself very able to hone in on patterns & harmonic rhythm. One thing this etude is great for is very subtle pattern variations, and those were a big challenge. I also needed to practice the tempos in between mm 144-184 more. As a final note, I really discounted the endurance factor of playing this at full speed. It's really at the edge of my technique (at 184), which means I needed to have it memorized by about the halfway point, so I could just repeat & develop the muscles for playing it straight-through. Not achieving my goal tempo is ok, because the act of preparing this has upped my general technical ability and I will be more likely to achieve those tempos in the future.
Rubric:
F - Failed to memorize notes and bowings within one week.
D - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes (multiple attempts are acceptable).
C - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes (multiple attempts are acceptable). Correct Bow Distribution is present.
B - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes (multiple attempts are acceptable). Correct Bow Distribution and Articulation & Dynamics are present.
A - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes on First Try. Correct Bow Distribution and Articulation & Dynamics are present.
Grade: F
Specific Comments: Failed to memorize within one week due to sickness. Bow is very stiff & the Upper Half/Middle of the bow direction is ignored, partially defeating the point of the Etude. Left hand fingers still do not move as a unit.
Alright, so to start with, I got a horrible ear infection the weekend after Dotzauer #1 ... so horrible that I was often in pain, couldn't hear properly for about 2 weeks & actually went to a doctor & got antibiotics for the first time in 3 years!
Having already played this Etude, I mostly remembered the first section (of the 3 larger sections), but I still had to work it in to shape & then up to tempo. This time around, I really worked in larger sections/phrases/patterns, as opposed to so much measure by measure work (though I would sometimes go by measure or by note within the larger sections). The third section was really the only section I hadn't gone over much before, and at that point I went note by note, which I found really helpful. This has to be done while repeating the note names to oneself for full effect.
I think in general, I should have forced myself to always practice this further up the bow, and to think about the left finger groupings from very start. I found myself very able to hone in on patterns & harmonic rhythm. One thing this etude is great for is very subtle pattern variations, and those were a big challenge. I also needed to practice the tempos in between mm 144-184 more. As a final note, I really discounted the endurance factor of playing this at full speed. It's really at the edge of my technique (at 184), which means I needed to have it memorized by about the halfway point, so I could just repeat & develop the muscles for playing it straight-through. Not achieving my goal tempo is ok, because the act of preparing this has upped my general technical ability and I will be more likely to achieve those tempos in the future.
Rubric:
F - Failed to memorize notes and bowings within one week.
D - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes (multiple attempts are acceptable).
C - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes (multiple attempts are acceptable). Correct Bow Distribution is present.
B - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes (multiple attempts are acceptable). Correct Bow Distribution and Articulation & Dynamics are present.
A - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes on First Try. Correct Bow Distribution and Articulation & Dynamics are present.
Sunday, December 13, 2009
In Sickness & In Health
So, I've had a horrible ear infection for a little over a week now ... I've barely touched my cello at all during this time, which of course has thrown off my Dotzauer Project, which Brian so kindly referenced here: http://celloetudes.tumblr.com/
I'm going to be picking this up again on tuesday & just starting fresh w/ #2 ... in the future, I will try to hold myself more stringently to this schedule ... this is something I need to work on professionally in general.
I'm going to be picking this up again on tuesday & just starting fresh w/ #2 ... in the future, I will try to hold myself more stringently to this schedule ... this is something I need to work on professionally in general.
Tuesday, December 1, 2009
Dotzauer Etude #1
My approach to memorizing was essentially:
-Play the piece few a through times to get it in my ear
-Start at the beginning and go measure by measure, adding one each time
-Work on solidifying sections/phrases before moving on
-Assess for trouble spots
-Fix trouble spots
-Repeat Larger section
-Run from beginning again
-Repeat the last few steps until whole piece is memorized
Observations:
-After a while I started memorizing 2 measures at a time (because the harmonic rhythm changed)
-I memorize the Etude very quickly (I also have read through it in the past), but it takes longer to play the Etude from memory
-I tend to rely mostly on Aural Memory and Kinesthetic/Muscle Memory. Initially I visualized the notes as I played them, and this was in some ways helpful, but I'm not sure how directly helpful it was.
-I find that saying the note names to myself, as I play them, really makes me thing about each note and the intervals & this helps me memorize the entire sequence
-It may be more useful to do Add-A-Note instead of Add-A-Measure - this ensures that each part of the "Dance" has been practiced and connected. It should mean that all motions are more efficient and solidified
-It may also be worth it to do it from the End, backwards with the same method
-I barely managed to memorize this etude in time, but I also did not work on it every day.
-Initially, I did not pay attention to bow distribution/dynamics, but soon realized that I needed to. I think the earlier I do this, the better
-It is easier to memorize notes with full/on-the-string strokes than it is to memorize staccato strokes. Of course, memorizing with the wrong bowing means that I'll need to go back and re-memorize with the right bowing.
-My memory gets affected when I'm hungry or exhausted & often the best way to recall things is to not think about them ... essentially, to quiet one's mind ... it's very meditative & simultaneously very risky, because if it's broken, then one has to rely on conscious thinking or muscle memory. This same meditative state is where one wants to be when performing.
So that's it for now ... Dotzauer #2 starts tomorrow. It will be really interesting to see how I do once I start getting to the Etudes I've never played through before...
-Play the piece few a through times to get it in my ear
-Start at the beginning and go measure by measure, adding one each time
-Work on solidifying sections/phrases before moving on
-Assess for trouble spots
-Fix trouble spots
-Repeat Larger section
-Run from beginning again
-Repeat the last few steps until whole piece is memorized
Observations:
-After a while I started memorizing 2 measures at a time (because the harmonic rhythm changed)
-I memorize the Etude very quickly (I also have read through it in the past), but it takes longer to play the Etude from memory
-I tend to rely mostly on Aural Memory and Kinesthetic/Muscle Memory. Initially I visualized the notes as I played them, and this was in some ways helpful, but I'm not sure how directly helpful it was.
-I find that saying the note names to myself, as I play them, really makes me thing about each note and the intervals & this helps me memorize the entire sequence
-It may be more useful to do Add-A-Note instead of Add-A-Measure - this ensures that each part of the "Dance" has been practiced and connected. It should mean that all motions are more efficient and solidified
-It may also be worth it to do it from the End, backwards with the same method
-I barely managed to memorize this etude in time, but I also did not work on it every day.
-Initially, I did not pay attention to bow distribution/dynamics, but soon realized that I needed to. I think the earlier I do this, the better
-It is easier to memorize notes with full/on-the-string strokes than it is to memorize staccato strokes. Of course, memorizing with the wrong bowing means that I'll need to go back and re-memorize with the right bowing.
-My memory gets affected when I'm hungry or exhausted & often the best way to recall things is to not think about them ... essentially, to quiet one's mind ... it's very meditative & simultaneously very risky, because if it's broken, then one has to rely on conscious thinking or muscle memory. This same meditative state is where one wants to be when performing.
So that's it for now ... Dotzauer #2 starts tomorrow. It will be really interesting to see how I do once I start getting to the Etudes I've never played through before...
The Dotzauer Challenge Introduction
This is in response to: http://celloetudes.tumblr.com/
I loved the idea of what he's doing, because I love working on Etudes (and technique in general) & I love memorizing, so introducing some structure to these activities is great & beneficial to me, because it forces me to focus on one thing for an extended period of time!
I'm doing it slightly differently than his Popper Project though ... I'm memorizing 1 Etude a week (after all, this is Dotzauer, not Popper we're talking about), I'm not limiting myself to 45 minutes a day & I have come up with a rubric to grade myself each week. I am also recording a video of me playing each memorized Etude at the end of the week.
I've already gone through week one.
Youtube Link: http://www.youtube.com/watch?v=ocS227zehQ0
Grade: D
Specific Comments: Open A string very clunky, Bow distribution not always correct, Contact point should be reconsidered at times. Left hand fingers could use improvement in the areas of staying in alignment & moving as a unit.
Rubric:
F - Failed to memorize notes and bowings within one week.
D - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes (multiple attempts are acceptable).
C - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes (multiple attempts are acceptable). Correct Bow Distribution is present.
B - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes (multiple attempts are acceptable). Correct Bow Distribution and Articulation & Dynamics are present.
A - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes on First Try. Correct Bow Distribution and Articulation & Dynamics are present.
I loved the idea of what he's doing, because I love working on Etudes (and technique in general) & I love memorizing, so introducing some structure to these activities is great & beneficial to me, because it forces me to focus on one thing for an extended period of time!
I'm doing it slightly differently than his Popper Project though ... I'm memorizing 1 Etude a week (after all, this is Dotzauer, not Popper we're talking about), I'm not limiting myself to 45 minutes a day & I have come up with a rubric to grade myself each week. I am also recording a video of me playing each memorized Etude at the end of the week.
I've already gone through week one.
Youtube Link: http://www.youtube.com/watch?v=ocS227zehQ0
Grade: D
Specific Comments: Open A string very clunky, Bow distribution not always correct, Contact point should be reconsidered at times. Left hand fingers could use improvement in the areas of staying in alignment & moving as a unit.
Rubric:
F - Failed to memorize notes and bowings within one week.
D - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes (multiple attempts are acceptable).
C - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes (multiple attempts are acceptable). Correct Bow Distribution is present.
B - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes (multiple attempts are acceptable). Correct Bow Distribution and Articulation & Dynamics are present.
A - Notes and bowings are memorized, and piece is performed completely through without any stops or wrong notes on First Try. Correct Bow Distribution and Articulation & Dynamics are present.
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