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I solved it. I loving solved it. I feel like such a complete and utter fool. Don't you just hate it when something so incredibly simple stumps you for the longest time and then one morning just deigns to show itself in utmost clarity, mocking your blindness to it? I finally figured out how to finger this one bar that has been nagging at me for weeks. Ugh.
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Jan 6, 2014 10:52
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BRAAAAAAAINS posted:I solved it. Congratulations musician! You have successfully navigated yet another hurdle on the road to infinite mastery! If it makes you feel better, I've been practicing these particular 4 bars for six months and I still can't play them to tempo. They do sound pretty bad rear end though - 3 voices connected totally legato in one hand with a different tone and dynamic shaping for each voice, with the soprano forming a duet with the tenor in the left hand. Made possible by insan-o stretches and finger substitutions, as well as a zealous dedication to Bach.
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Jan 7, 2014 06:44
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CowOnCrack posted:Congratulations musician! You have successfully arrived at the next hurdle you will be bashing your head against for a period of time. Why thank you! And I must concur, Bach was a sadistic prick (a trait shared by most composers, really) who composed infinitely beautiful music. To make sense of this next annoying bar I opened the Prelude in Audacity, selected the bar in question, and put it to play on repeat. Anyway. Okay. So, if I understand this correctly, this bar is basically the same pattern that is used in bar 6 but inverted, and a bit weird. Actually, no, it's completely loving random. But it can be played similarly. I think. Maybe. 
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Jan 9, 2014 07:24
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Is there a thread for complaining about annoying composers? I have to rant about Britten.
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Jan 9, 2014 08:28
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I found the tempo I want to play this Prelude at; 16th note = 180 (I KNOW, you don't write it like that, you use quarter note, but ffffffu the piece is all 16th notes so whatevs, I'M AN ARTIST, DON'T JUDGE xD)Godsped posted:Is there a thread for complaining about annoying composers? I have to rant about Britten. Dude, feel free to rant away right here! This thread is basically the cafeteria placed strategically near the rehearsal room where all classical musicians on SomethingAwful can kick back with a cuppa tea and like-minded people sitting there next to you, ready to hear all about your latest successes and problems. So go right away!  EDIT:  I scribble too much in my music.. BRAAAAAAAINS fucked around with this message at 13:35 on Jan 9, 2014 |
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Jan 9, 2014 12:03
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Britten, you chose a great play and libretto in Curlew River. I'll post a link later. I just wish you weren't so difficult to do. I'll post pictures of the music later, but it's a lot of western style music and quite confusing, with two sections that are harmonically pleasing. Actually performing it was bad just because we carried all the props in and out with us, which included burlap sewn to itself that we used to make the outside of a boat and a sail that we put on a movable stand because the boat had to turn and move "upstream". I was the bow and I had to carry the sail (two 10' sticks that went together for the mast, two ten foot sticks that were part of the sail, and 180 square feet of cloth) over my shoulder when we entered and left while not hitting light trees. Plus we walked in with weird steps in the pitch dark through the audience. It was really x10 cool but nerve wracking and frustrating.
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Jan 10, 2014 09:10
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BRAAAAAAAINS posted:EDIT: That's scribbling? You should see my horn music from college. It's covered in stuff. Circling difficult passages, capital letters like LOUD or SLOW THIS DOWN or just !!!!!!!. I obviously need to find my copies of the Mozart horn concertos and scan them.
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Jan 11, 2014 08:39
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Hawkgirl posted:That's scribbling? You should see my horn music from college. It's covered in stuff. Circling difficult passages, capital letters like LOUD or SLOW THIS DOWN or just !!!!!!!. I obviously need to find my copies of the Mozart horn concertos and scan them. Haha, you definitely should! This one is still pretty light-weight for me. But then again I haven't really started adding expression stuff yet; right now it's pretty much just me grouping things up into sections that apparently make sense to me one way or another and figuring out fingerings, shifting, etc. But I feel like I'm going to have to break out the crayons soon if I want to keep it reasonably legible.. xD
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Jan 11, 2014 12:24
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Uuuggggh, moving SUCKS. Only now (two weeks later) starting to get back into normal practice routines in the new apartment. Any of you guys had to deal with trying to cram practice hours between moving shenanigans?
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Jan 26, 2014 01:46
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BRAAAAAAAINS posted:Uuuggggh, moving SUCKS. Only now (two weeks later) starting to get back into normal practice routines in the new apartment. Any of you guys had to deal with trying to cram practice hours between moving shenanigans? I've never experienced practicing interlaced with moving. Throughout my undergrad I stayed in on campus housing and practiced at the school, and now during my masters I've been able to live close enough to the school that I can walk about 15 minutes to practice whenever. If I land one of these orchestra auditions I've got lined up soon, though, I'm sure I'll experience hell while moving, as they're all pretty much 10-15 hours away driving. I wish you luck though; if you need to practice while not annoying other people in the apartment/complex, I've known people to use huge practice mutes, although I'm sure you already know about that. On the topic of Britten (sorta) for this year's opera at the school, I was chosen for the "chamber orchestra" that's going to be playing Britten's Turn of the Screw. I'm excited because it's my first opera, but hesitant because it is Britten. I've heard that this version has a mildly intense solo section for each instrument. My last experience with Britten was back in high school when we did the Simple Symphony, arguably one of the easiest pieces of music ever written. Seems to me he is mostly inconsistent with his writing, but I find myself enjoying it most of the time. Now after April, I'll let you know if I still like him after the opera experience.
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Jan 27, 2014 01:18
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My teacher gave me a copy of her Julliard newsletter and there was an article about Alfred Schnittke being featured at the Focus festival. About time this stellar 20th century composer got some recognition. Here are some of my favorite inspirational keyboard works of his: Alfred Schnittke (1934-1998) Piano Concerto (1960) http://www.youtube.com/watch?v=xy2SY5H4AFQ Concerto for Piano and Strings (1979) http://www.youtube.com/watch?v=5vyCc_jFidw Hard to decide between Shostakovich and Schnittke for my favorite 20th century composer, but probably Schnittke for his unique genius.
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Jan 30, 2014 06:23
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When it comes to 20th-century composers, I love playing Henze. It's like standing beneath a neverending shower of amazing ideas and it always gives me a funny tingling sensation when I have decrypted another measure. 
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Jan 30, 2014 16:01
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Does anyone play the violin? I'd love to see a write up or megathread. I want to learn.
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Feb 11, 2014 09:42
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Karmakazi posted:Does anyone play the violin? I'd love to see a write up or megathread. I want to learn. Hello there and welcome to the thread! I can't remember if we have any violinists here, but I play the viola (which is similar in technique) so I might be able to offer you some help if you've got any specific questions. The main reason I created a megathread for classical music(ians) and not a specific instrument (or even specific instrument family) was because it would frankly be a little bit too niche for SA to keep any sort of discussion going. It's fine for super popular instruments like guitar, piano, and other instruments featured in pop and rock music. But we are quite a helpful bunch here though, so once more I'd like to welcome you to the thread and I hope we can provide useful information for you. 
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Feb 11, 2014 19:31
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I got to perform in my first master class today. I used to feel great about my excuse that the pianos at my school suck, therefore I can't produce that great of a sound on them. Then a professional concert pianist sits down and sight reads the piece I just played at my class piano. The first phrase she plays sounds better than any phrase I've ever played on that piano or any piano. Learning is best when it is at its most brutal.
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Feb 12, 2014 07:09
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Karmakazi posted:Does anyone play the violin? I'd love to see a write up or megathread. I want to learn. Just browsing and came across this thread, never posted. I play violin. That is, I just picked it up again after taking a ~14 year break from it. Lessons and everything. Not sure my goals but I'm having fun so far. CowOnCrack: One of my lessons a few months ago my teacher borrowed my violin instead of getting hers out of her case to show me something. To see her perfectly demonstrate a technique I couldn't grasp at all on my own instrument was eye opening. No more "my bow is too heavy and sucks" or "my violin is kinda crap and honky sounding," the slate of excuses wiped clean and only I was left standing.
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Feb 20, 2014 10:27
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ub posted:CowOnCrack: One of my lessons a few months ago my teacher borrowed my violin instead of getting hers out of her case to show me something. To see her perfectly demonstrate a technique I couldn't grasp at all on my own instrument was eye opening. No more "my bow is too heavy and sucks" or "my violin is kinda crap and honky sounding," the slate of excuses wiped clean and only I was left standing. My brain still cries for an excuse - I was thinking, well she's been playing forever! Then I thought, wow you're an idiot - your whole goal is to get good stupid, what kind of excuse is that? Then that competitive side got activated and I told myself, "hrmm, I think I've decided that in one year I will be able to play better than this lady who has been studying from age 5, and I started when I was 26. Mwahahhahahahh! *EVIL LAUGHS*" Yeah, my typical mental life as a musician. Besides the notes swimming around of course. Here's a little video of some cool poo poo I spend months practicing. https://www.facebook.com/photo.php?v=10151926907267478&l=373758399148359722
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Feb 23, 2014 07:50
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Is that you? If so we have a mutual friend  It's a little unfair to have a pro play your instrument and feel bad about the awful sounds you get out of it. It takes some practice on a quality instrument to learn to coax that kind of sound out of an inferior one. I feel bad every time I play a kid's flute to check for leaks only to find that yes, it's pretty leaky, but I make it sound like it's not. I just have a way finer understanding of how exactly to direct my air to minimize the effect of the leak. But their flute (normally) doesn't require such a fine understanding. My personal flute does require that fine understanding all the time, because the tone hole is more delicately crafted. If I let them borrow it for a month they'd no doubt go back to their instrument and immediately have a better tone.
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Feb 23, 2014 08:07
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Apparently uploading a video is the only way I've found to get a video off my phone. I don't have anything that can read tiny SD cards and I lost mine anyway. That's a bit surprising we share a friend since I don't have very many friends and don't prefer Facebook. My friends on there are almost entirely my singing group at school. Small world! Feel free to add me or whatever, but chances are I won't notice haha
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Feb 23, 2014 18:44
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I have a viola that I would like to learn to play properly. I'm not aiming to be professional, or even have any goals of performing for an audience, I'd just like to play for myself. It's not a great instrument, one I inherited, and had repaired a few years ago. I played double bass in grade school, 15+ years ago, with a private teacher, so I have at least some idea of how to handle string instruments. I can somewhat manage to play a C-major scale, but I don't really have any further idea of what to do. So, I would like to get some recommendations for things to practice, perhaps books to look for, pieces suitable for a beginner. Unfortunately taking lessons is not an option. Edit: Also, the viola case I have is literally falling apart and I should get a new one, but I actually don't know what size the instrument is, for ordering online. Where do I measure? nielsm fucked around with this message at 17:25 on Feb 24, 2014 |
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Feb 24, 2014 17:22
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nielsm posted:So, I would like to get some recommendations for things to practice, perhaps books to look for, pieces suitable for a beginner. Unfortunately taking lessons is not an option. A lot of people have issues with the Suzuki Method as a whole and it's probably not how I'd deal with a beginner taking private lessons, but for self-teaching you could do worse than to pick up a copy of Suzuki Volume 1 for Viola. Carefully examine the pictures at the front of the book and read how to set yourself up to hold the instrument/bow correctly. Practice in front of a mirror (just open strings even) to check your form. Especially watch out for and correct a crooked left wrist. If you're weak at reading music Suzuki Method is extremely generous with giving you fingerings. Every volume has a corresponding audio recording to play along with if you want to track it down. Your instrument is almost certainly a full-size but I'm sure some simple googling can sort that out. Edit: My lack of viola-specific knowledge is apparent. Reading the wiki, I'm reminded that viola sizing is less precise than violins. I'd imagine that most cases would be roomy enough to accommodate whatever you have though. ub fucked around with this message at 06:12 on Feb 25, 2014 |
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Feb 25, 2014 06:06
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Karmakazi posted:Does anyone play the violin? I'd love to see a write up or megathread. I want to learn. I am a little late to answer this, I do not read this thread very often. I am a professional violinist, I teach violin in private lessons but I don't think I could even attempt to write a megathread. Learning violin is one of those things that really needs to be done in person with someone who knows what they are doing. If you have any questions I can try to answer them, For nielsm, the Suzuki method is pretty okay for learning if you have the CD's. There is also a line of method books called the "Sassmanhaus" method that I use, and I think is pretty good. It is really aimed at small children with the pictures and songs, but by the 2nd or 3rd book you are ready to start tackling basic literature. If you can do a C-Major scale you could probably tackle the middle of the 1st book. It might seem really kid-oriented, but my adult students use it to good success. Most viola cases will fit any viola. One part of the case will slide so the viola fits snugly. Violas are measured in inches, and it is usually printed on the label inside the instrument. Look through the left f-hole for the label.
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Feb 26, 2014 18:28
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Can any piano players recommend some Mozart? For some reason I don't know as much as I probably should by now of his piano music, the only pieces that I'm really acquainted with are his Fantasia in D Minor and a Sonata in F Major. Any recommendations for stuff that's part of the more standard repertoire would be well appreciated!
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Mar 11, 2014 02:58
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If you're looking for his joyful, carefree stuff, I have two recommendations. I'm a fan of his Viennese Sonatina in C Major which is fairly simple and fun to play and accessible to beginners. For a more intermediate piece, I love Piano Sonata No. 13 in B-Flat. For a advanced piece, his C Minor Fantasia is a very complicated piece of great depth and beauty but it's difficult to play and interpret. I also have to mention that I played the Rondo in D Major, and it's a wonderful piece, but the headaches of various technical hangups really wounded me!
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Mar 14, 2014 04:27
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St. Patrick's Day Nocturne. Op. 15 No. 1 in F Major, the light green key of shamrocks and stuff. (I guess) Enjoy! https://www.youtube.com/watch?v=4VHyouGRw3g
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Mar 18, 2014 08:07
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I didn't even knew this thread existed! I have played violin for 9 years, classically trained. But last autumn I started at a school that has 2 folk music programmes, singing and folk music for violin only, where I am right now. Having played classical music all the time, it's quite difficult to play folk tunes, especially when the class is based on playing by ear. All tunes we learn and all the exercises are by ear (exercises which I am very familiar with since before going here) are pretty much all done by ear. The teacher started playing when he was 24 or 25, and the next year he was studying in a music college. He can play pretty much anything on the violin and has a vast knowledge of theory, so it's really above what I thought it would be (Like mainly playing tunes and very simple stuff, very prejudgemental of me). My classmates differ from having played for 1 year to 15 which is very fun. It's been great so far, though for me personally some days can feel slow since I'm the only one not coming from a "playing-by-ear" background and have technique and enough music theory in my back to have some exercises be very obvious how to execute and understand. Other than that, my practice literature now consists of playing a scale by Flesch once a day and whatever I have to practice I use Sevcik op.1 and op.2, his 40 variations, Kreutzer etudes, and Seybold op. 32. Also I'm working on Bach's Sonata 2 in d-minor. I have the Allemande sorta down and have started on the Sarabande. I would appreciate some kind of bigger piece if anyone has any recommendations! For maybe get an idea on what to practice, I like this chart: http://www.violinmasterclass.com/images/stories/Virtuous_Moments/basics_blnk.pdf If anyone have any violin questions feel free to ask. 
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Apr 4, 2014 16:47
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I have a question about violin. How did you learn to do vibrato?
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Apr 4, 2014 18:02
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Hawkgirl posted:I have a question about violin. How did you learn to do vibrato? For lower positions there are two ways to do it. One is wrist vibrato. The way it works is that you move your wrist away from you, stretching your finger and making it straight while pressing the string, then back again curving it like in a normal playing position. The other way is the arm vibrato where you move your whole lower and upper arm and hand all in one motion. Do not put any pressure on the shoulder while doing this. I only use the wrist vibrato. I practiced it by just putting down one finger at the time and doing the movement slowly. The whole trick is to put the strength and force from the knuckle into the fingertip as you straighten the finger. In music school beginner might have some kind of object between the arm and the instrument to really prevent the arm from moving, and just practice the wrist motion. This has to be done slowly as any kind of practice. Use to bow and listen to the intonation. Just one vibrato at the time. You have to build strength and flexibility in the fingers to get it working. An exercise to learn how the movement of the wrist is is to put the thumb under the root just where the fingerboard's back side ends and flick the frist backwards and forwards. Maybe some other violinist can help with the arm vibrato, but try both for a while a see which one you are more comfortable with. For very high positions you can use a finger vibrato, but I'm no expert on that subject.
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Apr 4, 2014 18:18
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Vibrato should be a relaxed movement, no extra pressure. Not a spazzy tensing up, just a little wiggle of the wrist keeping the finger in place on the string. Never vibrate when practising for intonation, such as doing scales. Dunno bout that arm vibrato, sounds like a cello-ish thing. I'm just picking up violin again after quitting about 14 years ago. Von Braun, I'm guessing you meant Bach's Partita #2 (the Sonata is in a minor). I've played the Giga from it; generally though most of the sonatas and partitas are beyond me (for now!). ub fucked around with this message at 18:05 on Apr 7, 2014 |
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Apr 7, 2014 01:37
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Yep, the d-minor partita. It's pretty much my limit as far as technical difficulties are for me right now. But I think it's very fun though!
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Apr 7, 2014 15:44
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Heh, good luck if you ever get to the Chaconne. I was incidentally just watching a video of Heifetz rockin' it yesterday... yeah, I'll never play that. Right now I'm just slowly working through my 3 octave scales, etc trying to get them back into shape. Noodling on a Mozart sonata - so technically challenging for such "'simple" sounding music.
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Apr 7, 2014 18:12
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Isaac Stern playing the Chaconne is my favorite thing in the world: https://www.youtube.com/watch?v=1zvRWFD_1_M It's extremely difficult, but I sometimes pick it out and play part from it just for fun. Some places in it is very fun, but not something I will get down in a long time.
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Apr 7, 2014 19:12
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Hi! I'm a violin student nearing my second year of apprenticeship. My tutor has recently passed me Vivaldi's Concerto in A Minor, first movement, prominent on Suzuki's 4th booklet. The problem I've had so far is that all the Suzuki songs seem to have piano accompaniments. Is there a program that plays those accompaniments? Like, something that reads the piano's sheet music and plays a midi version of it, and lets you change the tempo and such? This is maybe not the best thread for it, but I don't quite know where else to ask. I have a hard time playing the songs without the additional voices in there, and I think not playing anything but the main melody'll hurt me in the long run. Thanks in advance! Hawkgirl posted:I have a question about violin. How did you learn to do vibrato? This is just from personal experience, and I don't really even think I quite learned how to do it, but vibrato isn't really something that you're taught, per say. I mean, you can be taught how to do it, and any teacher worth his salt will probably teach you how to do it, since that's just the way the instrument's normally played, but vibrato is something you get curious about and start doing the more you become comfortable with your instrument. It was like that for me one day. I was a bit bored doing my practice exercises, then I decided to try it a little bit. I started doing it very timidly out of sheer curiosity, testing out what worked, what to do with my arm, my wrist, etc. I couldn't really explain my technique because I barely understand how to do it myself, but if you asked me to do a couple of scales using it, I could probably do a passable job of it, and nobody even taught me how to do it. OSad fucked around with this message at 20:39 on Apr 10, 2014 |
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Apr 10, 2014 20:33
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I've decided that I'm imposing (self-imposing) a ban on my own performances unless they are strictly necessary or forced on me as a student, or the music is actually ready to perform (see you in 10 years). No more playing on pianos where I can find them, no more performing casually, no more performing really at all unless I'm instructed to do so largely against my will. As Sorabji said after hearing the first performance of Pars Prima of his Opus Clavicembalisticum, "No performance at all is preferable to an utter travesty!" He then proceeded to ban all performances of his works until near the end of his life. This is my reaction to poor quality playing and allowing myself to be so disrespectful to the music I love. I've been suckered into the logic of, "well it's OK, yo're just learning, be realistic in your expectations, your performances are fine (from the viewpoint drastically lowered standards - I inserted this)." Never again! Now I'm going to focus exclusively on developing technique and if I'm forced to perform I'll pick something 10 levels below what is comfortable so I can actually make music. Being given repertoire way above my level just because I'm a gifted and quick learner, and then being asked to perform it, has almost crushed me as a musician. But I will rise above.
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Apr 16, 2014 16:41
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I don't think this extreme approach could be beneficial. Playing publicly in itself is an important musical ability that has to be practiced systematically and with care. You simply cannot achieve your best if you aren't used to the stage situation and have the confidence you only get performing regularly for an audience. The best solution for me is playing my concert programme at least twice in front of people who frequently hear me before I have a bigger rehearsal.
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Apr 16, 2014 19:10
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Yeah, quite a bizarre attitude unless you consider yourself entirely bereft of performance anxiety. I know my own playing is affected by a degree of stage fright so any opportunity to practice performing can only be good. Being asked (required?) to perform material that you feel is beyond your current level or within too small a time-frame to be able to properly prepare is lovely though. Sounds like this is a talk you need to be having with your teacher. I dunno what your situation though - at a certain level putting in crazy hours and stressing the gently caress out kinda comes with the territory.
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Apr 16, 2014 20:38
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Honj Steak posted:I don't think this extreme approach could be beneficial. Playing publicly in itself is an important musical ability that has to be practiced systematically and with care. The only stage anxiety I've ever had has been from being forced to perform pieces that I'm not comfortable playing. If anything the opposite of what you are saying is true in my case. ub posted:Yeah, quite a bizarre attitude unless you consider yourself entirely bereft of performance anxiety. I know my own playing is affected by a degree of stage fright so any opportunity to practice performing can only be good. I feel like the current system's approach to this problem is pretty retarded. If I were running a class for applied musicians, I would have everyone perform something small and very manageable every day. Once you are on stage a million times you stop caring, as Rock and Jazz artists will attest to. Instead, classical soloists have massive stressful buildups to that ONE performance where everything hangs on a thin thread and the slightest mistake is the end of the world. The number of times they get to perform in a year are counted on one or two hands. No wonder stage anxiety crushes so many of us. quote:Being asked (required?) to perform material that you feel is beyond your current level or within too small a time-frame to be able to properly prepare is lovely though. Sounds like this is a talk you need to be having with your teacher. I dunno what your situation though - at a certain level putting in crazy hours and stressing the gently caress out kinda comes with the territory. Oddly enough, if anything I rise above what I can do in practice and wing it like crazy with these pieces but instead of a good feeling this is a lovely feeling. The reason I'm being given these pieces is because I'm improving so fast, and the performance failures are seen as a necessary consequence I guess. Actually, I have had more free reign that I have been exercising up to this point on this issue and now I have simply decided to exercise it for the preservation of my musical sanity.
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Apr 16, 2014 22:28
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Training your performance skills is more than controlling nervousness. It's amongst others the ability to adapt to different room situations, to interact with the audience and to pace yourself over the course of a longer rehearsal. All these things are best learned just by doing it. Regarding the "current system's approach": I don't think that this is a general occurence and more of a thing that totally depends on the particular class you are in. Here at my conservatoire it is easily possible to play every week and noone will look weird at you if you frequently play smaller pieces.
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Apr 16, 2014 22:45
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Those Schiff lectures earlier on in this thread got me to finally listen to the Appassionata, and now that I've got a new piano and started playing again, learn it. My conclusion: 12 years of not touching a piano gives you the dexterity of an elderly man with arthritis who also wears gloves. Still, I'm making good progress on it and since I never played it before, I can't rely on my memory like with other pieces. It's making my technique improve by leaps and bounds!
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Apr 17, 2014 05:24
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Hey, CowOnCrack, according to your first post in this thread, you've only been playing piano a little over two years. I'm not saying this to put you down, but I just think you're a little wet-behind-the-ears to be saying things like this:CowOnCrack posted:Instead, classical soloists have massive stressful buildups to that ONE performance where everything hangs on a thin thread and the slightest mistake is the end of the world. The number of times they get to perform in a year are counted on one or two hands. No wonder stage anxiety crushes so many of us. This (especially the bolded part) is totally not true. Every single working classical musician I know is performing as much as possible. Yea, people have their "big personal milestone performances" or whatever, but in between, there are dozens and dozens of gigs, big and small. Accompanying, playing events or weddings, performing at any venue that'll pay the bills. Realistically, the only place where what you're describing happens is in the academic world, which is pretty unrepresentative of working life. Also, you're a pianist, and if you know any piano accompanists worth their salt you know they have plenty of performances, playing pieces of all levels, shapes and sizes. Performance isn't always about "you" the player. quote:I feel like the current system's approach to this problem is pretty retarded. If I were running a class for applied musicians, I would have everyone perform something small and very manageable every day. Like Honj pointed out, you're trying to talk about the "current system" but really you're just talking about your own classes. Where I studied (and where everyone I know studied), we had weekly studio classes where everyone performed something, anything, in front of their peers. Honj is right, performance is a skill that has to be practiced. Purposefully saying "I need to perform less" is just silly and does no good. Have a talk with your teacher and reevaluate what you're performing, but "perform less" is a bad idea for anyone who's serious about their musicianship.
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Apr 17, 2014 05:33
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