Well, this happens every now and then. Students go to violin lesson, or piano, or any other instrumental lessons, without preparing for it. That is, they have not been practicing at all for the past week, or longer. Yet they go to lesson anyway. Most of the time, these are children who go for lessons because parents say so. Meaning, they have no choice.
Well, actually they do have choices. Perhaps the most known choice would be, to practice before going for lesson.
Anyway, what can the teachers do, if the students were not prepared? I used to just think, to let them practice during lesson. If there is no improvement (due to lack of practice), there would not be progress, and it would prove difficult to learn any new skill, or material, or just another new piece.
Is there other alternatives? I should have given this a little more thought. Maybe I will just spend the lesson time to practice, not the expected prepared piece, but exercises for basic skills. It is no substitute for regular everyday practice, but at least the lesson would not be a total waste. I wonder who else is reading this blog, and if any would care to comment.
Friday, August 1, 2008
Tuesday, July 22, 2008
Tips on buying violin
Oh I almost forgot. I have already put up a few posts on my website with tips on what to look out for when buying a violin, be it a new or an old one. Do drop by my website, at The Violin House to take a look. I am also experimenting around with other rather less generic names, so if you have any suggestion, please drop me a line! Thanks!
Monday, July 7, 2008
How to keep the interests going
Just discussed with a parent about student losing interest in violin. I took some time to think about it. Well, interests come and go. The younger the child, the more fleeting the interest. We can see that for young children to have a sustained interest in certain activity, they are either naturally born with it (i.e. "hard-wired" that way), or the interest developed through constant exposure. Some would include constant exposure even during pregancy time.
Learning a musical instrument takes more than interest, and more than talent. They amount to only about 10%. The other 90% are hardwork. Oops! It's too hard. So we need motivation to go along. Unfortunately, motivation is short-lived. So how do we get the "hard work" done?
For one thing, we can keep motivation coming. This can come from teacher, parent, and constant exposure.
As a violin teacher, I only see my student once a week, at most twice. Parents generally would not fork out astronomical fee to hire a violin teacher every day of the week. Oh they would do that for subjects like Maths, Science, etc. at the drop of a hat, but violin? Not unless they wish their child to be a world-standard virtuoso.
So here is the catch. The parents have to make 6/7 of the motivation, with the teacher doing 1/7. Well, maybe 3/7 of the motivation, the other 3/7 would be to listen to really nice violin music, orchestra music, and take part in musical activities, like orchestra rehearsal, mix around with other violin students, compare and contrast notes, etc.
That way, the 90% hard work would not feel so hard. And it can develop the strength of determination, the will to overcome challenges, and be a better person to face the challenges of life in general.
Learning a musical instrument takes more than interest, and more than talent. They amount to only about 10%. The other 90% are hardwork. Oops! It's too hard. So we need motivation to go along. Unfortunately, motivation is short-lived. So how do we get the "hard work" done?
For one thing, we can keep motivation coming. This can come from teacher, parent, and constant exposure.
As a violin teacher, I only see my student once a week, at most twice. Parents generally would not fork out astronomical fee to hire a violin teacher every day of the week. Oh they would do that for subjects like Maths, Science, etc. at the drop of a hat, but violin? Not unless they wish their child to be a world-standard virtuoso.
So here is the catch. The parents have to make 6/7 of the motivation, with the teacher doing 1/7. Well, maybe 3/7 of the motivation, the other 3/7 would be to listen to really nice violin music, orchestra music, and take part in musical activities, like orchestra rehearsal, mix around with other violin students, compare and contrast notes, etc.
That way, the 90% hard work would not feel so hard. And it can develop the strength of determination, the will to overcome challenges, and be a better person to face the challenges of life in general.
Thursday, July 3, 2008
The Use Of Metronome
The metronome, perhaps the most useful invention for musicians, or anywone aspiring to be one... including the drummers, especially!
I remain constantly surprised by students who do not use the metronome. I tried to make fun of it, or make it sound very serious, or be angry and yelled, etc. but to no avail. They just do not use metronome. I would love to know of anyone who can inspire students to vigilantly use metronome everyday until such time that they have develop a quartz clock ticking inside their heads (or hearts). (just joking)
One of the most ridiculous excuse for not using the metronome is ... "I am trying to learn the notes". This excuse is used by fresh beginners, all the way to post-grade-8 students. The end result is skewed rhythm, sometimes as much as 80% of the new piece that they are attempting, though most commonly some 30% to 50%.
A second most common excuse is... "it is too fast". Well, duh... the metronome can be set to a slower speed.
The truth is, there is absolute no reason not to use the metronome from day 1 of learning a new piece. Sure, there are always tricky bits and pockets of the music, from beginner to advanced levels. Sure, we all need to just work out the notes, setting aside rhythms, just focusing on the notes. But that should not last more than approximately 10 minutes. Once the basic notes, finger movements, etc. are grasp, rhythm kicks in. That means setting metronome to a very slow speed to get those tricky bits on-time, then going faster, until such speed that matches the rest of the piece (just starting to learn, or otherwise).
If you cannot get the notes in 10 to 15 minutes, try taking a break (fatigue), or just dropping the piece (not up to standard yet).
That is my advice: use metronome from Day One. Or have a quartz clock implanted somewhere. (hehe)
I remain constantly surprised by students who do not use the metronome. I tried to make fun of it, or make it sound very serious, or be angry and yelled, etc. but to no avail. They just do not use metronome. I would love to know of anyone who can inspire students to vigilantly use metronome everyday until such time that they have develop a quartz clock ticking inside their heads (or hearts). (just joking)
One of the most ridiculous excuse for not using the metronome is ... "I am trying to learn the notes". This excuse is used by fresh beginners, all the way to post-grade-8 students. The end result is skewed rhythm, sometimes as much as 80% of the new piece that they are attempting, though most commonly some 30% to 50%.
A second most common excuse is... "it is too fast". Well, duh... the metronome can be set to a slower speed.
The truth is, there is absolute no reason not to use the metronome from day 1 of learning a new piece. Sure, there are always tricky bits and pockets of the music, from beginner to advanced levels. Sure, we all need to just work out the notes, setting aside rhythms, just focusing on the notes. But that should not last more than approximately 10 minutes. Once the basic notes, finger movements, etc. are grasp, rhythm kicks in. That means setting metronome to a very slow speed to get those tricky bits on-time, then going faster, until such speed that matches the rest of the piece (just starting to learn, or otherwise).
If you cannot get the notes in 10 to 15 minutes, try taking a break (fatigue), or just dropping the piece (not up to standard yet).
That is my advice: use metronome from Day One. Or have a quartz clock implanted somewhere. (hehe)
Monday, June 30, 2008
Rachmaninoff Piano Concerto
I just came across it the other day on eMusic the recordings of Rachmaninoff Piano Concerto No.2. Well, I used to play it when I was working in the orchestra. It was one of the more popular concertos being performed. I enjoyed playing each time, with a different soloist, brings new inspiration of the piece, even though much of the time I was busy playing my own part, the music was not focused on the piano solo alone.
No.2 is almost like speaking to the subconscious, the deep melody.
For No.3, it is the hollow melody at the opening that gets me. A very simple melody, without much supporting harmony, hollow, and haunting, at the same time. Like nostalgia, like catching something that is fleeting and vague, good but no longer available, sweet and sad at the same time. I find myself listening to these 2 great pieces over and over again.
No.2 is almost like speaking to the subconscious, the deep melody.
For No.3, it is the hollow melody at the opening that gets me. A very simple melody, without much supporting harmony, hollow, and haunting, at the same time. Like nostalgia, like catching something that is fleeting and vague, good but no longer available, sweet and sad at the same time. I find myself listening to these 2 great pieces over and over again.
Saturday, June 28, 2008
How to practice thirds
How do you learn to play thirds, as in double stops? Nobody really say anything about the "how". My teacher would just point to the scale book and say "practice, memorize, and play on the stage next week". Sure, we all need to practice. It would help to have a little more detailed steps, or strategy.
Here is mine. Do feel free to share yours in comments.
1. Identify the semitone from 1 pair of 3rds to the next. Mark it out on the music.
2. Feel the semitone in your fingers (touching fingertips).
3. Listen to the intonation, adjust if necessary (especially the whole tone movement, where fingertips are not touching).
Repeat the action again until the movement is fluid and accurate.
Double stop scales for ABRSM and Trinity exams, the 3rds at least, are printed in slurred pairs. So I suggest students to practice each pair until the movement is accurate and confident, before moving on to the next.
Repeating the whole process... that is called "practice". It takes time, and for students, this is a new skill requiring repetitions to gain familiarity. My "strategy" works for me. Anyone may find other strategy works, too. Always experiment around to find your best way to learn.
Here is mine. Do feel free to share yours in comments.
1. Identify the semitone from 1 pair of 3rds to the next. Mark it out on the music.
2. Feel the semitone in your fingers (touching fingertips).
3. Listen to the intonation, adjust if necessary (especially the whole tone movement, where fingertips are not touching).
Repeat the action again until the movement is fluid and accurate.
Double stop scales for ABRSM and Trinity exams, the 3rds at least, are printed in slurred pairs. So I suggest students to practice each pair until the movement is accurate and confident, before moving on to the next.
Repeating the whole process... that is called "practice". It takes time, and for students, this is a new skill requiring repetitions to gain familiarity. My "strategy" works for me. Anyone may find other strategy works, too. Always experiment around to find your best way to learn.
Thursday, June 26, 2008
Listen to music
Recently a violin student told me that she does not like listening to music. I was very surprised by that. For someone to be interested in music enough to pick up violin and piano, and taken exams through to grade 6 and higher, to say that she does not like to listen to music, just play whatever she is learning.
It is like saying that a writer does not like reading. And I do no mean just "reading novels", but reading anything, including magazines and newspapers. Can a writer just pull everything from the "ether", from the "spirit", to write beautifully? How does the writer learn all the words, idioms, phrases, etc. without reading? Can a musician learn anything without listening to music? Just by listening to the teachers twice a week (one violin, one piano teacher)?
I do not about other writers, but I read a lot, even though I may not be reading high literature stuff. For music, I listen to a larger variety, too, though I prefer the Classical, Romantic, and Nationalistic music, and I also prefer orchestra music, for the rich and diverse tone qualities.
Even more so -- if I need to perform a particular piece of music, I listen to it all the time, and listen to different people's renditions.
So here is my advice to all music students -- listen to music, and not just those that you are currently learning (e.g. exam music). The more advanced your level of playing, the more variety of music you should listen to. Just like we sometimes re-read some books (novels included), we "re-listen" to some music, too, especially when it was performed live, because every performance brings to life what was originally written notes (dead). Even "re-listening" to recorded music could bring new inspirations, new discoveries. Even world famous violinists say that they attend others' performances, too, though they are no doubt very busy with their own already.
It is like saying that a writer does not like reading. And I do no mean just "reading novels", but reading anything, including magazines and newspapers. Can a writer just pull everything from the "ether", from the "spirit", to write beautifully? How does the writer learn all the words, idioms, phrases, etc. without reading? Can a musician learn anything without listening to music? Just by listening to the teachers twice a week (one violin, one piano teacher)?
I do not about other writers, but I read a lot, even though I may not be reading high literature stuff. For music, I listen to a larger variety, too, though I prefer the Classical, Romantic, and Nationalistic music, and I also prefer orchestra music, for the rich and diverse tone qualities.
Even more so -- if I need to perform a particular piece of music, I listen to it all the time, and listen to different people's renditions.
So here is my advice to all music students -- listen to music, and not just those that you are currently learning (e.g. exam music). The more advanced your level of playing, the more variety of music you should listen to. Just like we sometimes re-read some books (novels included), we "re-listen" to some music, too, especially when it was performed live, because every performance brings to life what was originally written notes (dead). Even "re-listening" to recorded music could bring new inspirations, new discoveries. Even world famous violinists say that they attend others' performances, too, though they are no doubt very busy with their own already.
Friday, June 13, 2008
It's all in the mind-set
Today I had this discussion with a few students. One mentioned that if she played a piece by memory, she would not trip up and the usual spot, not when she reads the notes, a voice would say in her mind "this is where I trip up", and it happened... exactly like a self-fulfilling prophecy.
It got me thinking. Did I have such a voice? How did I get past all those tricky bits? Why did I pick the tough music to learn? There I have the answer. I pick some of the toughest music to learn simply because I have seen others do it, and I want to play those as well. I see those fancy moves techniques and I say "I want to be able to show off like them, too". Sure I come across those tricky bits, and sure I tripped out... but I never had the voice that says "here is where I trip up". If anything, the voice usually say "I'm going through this", and afterward, "YES I did it!".
In between practice, the music, the challenging part, would go through in my mind. At first I just let it "do it's thing", because it can be such a distraction especially when I need to do something else. Then I noticed something -- when the music flows through in my mind, it also "trip up" and exactly the places that I have difficulty. Well that does NOT make sense, does it? I mean, I was not even playing the violin, it's all in the mind! And it is doubly annoying to have an unwanted melody in the mind, plus the mistakes. I mean, at least I can have a nice and smooth tune, can't I? So I set about to deliberately direct the melody in my mind to be smooth and flowing, and erase the mistake. I did this out of spite, if nothing else, without realizing it is exactly the way to reprogram my brain. Of course any time I can have a "perfect version" just by listening to a recording, a CD. The difference is, when the melody flows through the mind, all the associated memories of fingers, shifts, bow movements are actually being "reprogrammed". e.g. If I keep running out of bow to do that slur, my mental action would show that I have plenty enough bow to do it, and that translates to the ability to actually do it on my next practice.
Bear in mind, though. This is not a short-cut. I don't just "reprogram" and it worked out perfectly the next day. I still need hours to practise. The difference is, I got the result I want, I can go show off that fancy move, and I don't have the voice that says "I'm going to trip up here".
Day dreaming does help, it seems. ;) Just don't do that 24/7.
It got me thinking. Did I have such a voice? How did I get past all those tricky bits? Why did I pick the tough music to learn? There I have the answer. I pick some of the toughest music to learn simply because I have seen others do it, and I want to play those as well. I see those fancy moves techniques and I say "I want to be able to show off like them, too". Sure I come across those tricky bits, and sure I tripped out... but I never had the voice that says "here is where I trip up". If anything, the voice usually say "I'm going through this", and afterward, "YES I did it!".
In between practice, the music, the challenging part, would go through in my mind. At first I just let it "do it's thing", because it can be such a distraction especially when I need to do something else. Then I noticed something -- when the music flows through in my mind, it also "trip up" and exactly the places that I have difficulty. Well that does NOT make sense, does it? I mean, I was not even playing the violin, it's all in the mind! And it is doubly annoying to have an unwanted melody in the mind, plus the mistakes. I mean, at least I can have a nice and smooth tune, can't I? So I set about to deliberately direct the melody in my mind to be smooth and flowing, and erase the mistake. I did this out of spite, if nothing else, without realizing it is exactly the way to reprogram my brain. Of course any time I can have a "perfect version" just by listening to a recording, a CD. The difference is, when the melody flows through the mind, all the associated memories of fingers, shifts, bow movements are actually being "reprogrammed". e.g. If I keep running out of bow to do that slur, my mental action would show that I have plenty enough bow to do it, and that translates to the ability to actually do it on my next practice.
Bear in mind, though. This is not a short-cut. I don't just "reprogram" and it worked out perfectly the next day. I still need hours to practise. The difference is, I got the result I want, I can go show off that fancy move, and I don't have the voice that says "I'm going to trip up here".
Day dreaming does help, it seems. ;) Just don't do that 24/7.
Wednesday, June 11, 2008
Vivaldi Summer
Just listened to Vivaldi Summer, played by Pinchas Zukermann. Very interesting playing. I have also another recording done by St-Martin-In-The-Field, who was said to play Baroque music (or specialized in Baroque music) with period instruments (not modern instruments). They actually sounded a little rough in this Summer. Zukermann's rendition sounded with more finesse. Really enjoyed listening to it.
Saturday, June 7, 2008
New Web site
There! I finally got around to set up a web-site, with domain name same as this one. No doubt this blog site is a whole lot more functional than the other site. I suppose I just like the more flexible design and additional features available. Do drop by http://www.theviolinhouse.com to check things out.
Tuesday, June 3, 2008
Operas... molto espressivo
Voice is our most natural and frequence choice of expression. It is no wonder that many composers chose vocal music as they mature. All musical instruments are like substitute to voice, and for accompanying voice. Violin is no exception. I just downloaded a few songs from Mozart's opera, The Magic Flute. Ah I miss all those fine singing. The Queen of the Night solo, wonderful high pitches. All the phrases and expressions sound so natural and automatic when sung. Things I can learn to adapt onto the violin.
Saturday, May 17, 2008
Mahler Symphony No.5
Just listened to this recording. Well, I won't be writing a good review. I loved the 4th movement, the slow movement. It sounds somewhat like Hollywood movie music, but that would probably draw lots of criticism from Mahler fan. It is among the sweetest and saddest music I've heard. When played well, it really draws the audience into their deepest depth of soul. Yet the other movements can be light and mischievious. It is such a delight to listen to this piece of music, long as it is. It is not an easy piece to listen to. I doubt any teenager would appreciate it on the first listen-through. Oh there are always some who can "get it" right away, of course. For the general audience, I would say that the music grows with you. The more mature you get, as you appreciate music, and appreciate life in general, the more you will grow to like this piece.
Friday, May 16, 2008
Earthquake in Sichuan
It is heart-rending to see whole town reduced to rubble, and people dying. Here's a little prayer to the dead, and for the survivors. Here is the real show of survival. I haven't seen many news-clips on the rescue missions, but I bet everyone can use some music right now. Something soothing, calming. And something to cheer the rescuers on, something to keep those still trapped, keep their morale up. Some music to remind those still trapped, that rescuers have not given up hope of finding survivors, even after 4 days, and so they should also not give up surviving.
Sunday, May 11, 2008
Wieniawski Dudziarz
Another Grade 8 exam music. Well, it is a show piece. Many fun parts to slide around, showing off the shifting skills, and the flare of showmanship. The challenge is to convince the students to show their confidence in the tone, whether they know the notes or not. It is funny that there are some people who do that all the time. But these are usually the rare few. If they don't do well, it leaves many in the audience cringing for them, at the same time admiring their guts to showoff something that they don't really have to show off on.
Well, that is for the audience who knows the music. What if the audience does not know the music? Playing with a flare will make it a good show, a good show that audience can appreciate better than a very orderly and tamed performance. For Dudziarz, there is nothing tame or timid about the music. There are some refined tone, some pacing, before exploding into rowdy dance tune. Leave the orderly and elegance to Baroque or Classical music.
Well, that is for the audience who knows the music. What if the audience does not know the music? Playing with a flare will make it a good show, a good show that audience can appreciate better than a very orderly and tamed performance. For Dudziarz, there is nothing tame or timid about the music. There are some refined tone, some pacing, before exploding into rowdy dance tune. Leave the orderly and elegance to Baroque or Classical music.
Tuesday, May 6, 2008
Counting and Rhythm
Today, one teacher talked to us about her student who cannot count. Her tempo would go suddenly or gradually faster or slower. I had witnessed it first-hand on a few rehearsals before the May Concert. It was a Torelli Double Concerto, and we let the students take turns playing the solo parts. This one volunteered to play one section, on the 2nd violin. All the solo parts are actually duets with the 1st violin solo. This student could not enter on time, and could not hold a steady tempo.
I reflected that I also have a few students who just cannot count. Lo and behold... after that exchange, my next student is on such example. At the end of the exchange, however, an idea suddenly popped up, that I suggest to ask the student be the metronome, while the teacher plays the melody. To see if the student can hold a steady tempo. Now another idea pops up, too... Maybe the teacher can deliberately play off-beat, like going faster or slower, irregularly. It would be interesting to see if the student got annoyed because we do not follow them (the metronome).
Anyway, during that lesson, I suggested to the student to stomp his feet on the beats. It worked for a short while, when the notes are simple. When the going gets tough, his hands and feet goes independent, and irrelevant. Perhaps I should let him learn the notes better before asking him to include stomping. Or maybe I should try "marching on the spot" rather than stomping. I'll try it out next time.
I reflected that I also have a few students who just cannot count. Lo and behold... after that exchange, my next student is on such example. At the end of the exchange, however, an idea suddenly popped up, that I suggest to ask the student be the metronome, while the teacher plays the melody. To see if the student can hold a steady tempo. Now another idea pops up, too... Maybe the teacher can deliberately play off-beat, like going faster or slower, irregularly. It would be interesting to see if the student got annoyed because we do not follow them (the metronome).
Anyway, during that lesson, I suggested to the student to stomp his feet on the beats. It worked for a short while, when the notes are simple. When the going gets tough, his hands and feet goes independent, and irrelevant. Perhaps I should let him learn the notes better before asking him to include stomping. Or maybe I should try "marching on the spot" rather than stomping. I'll try it out next time.
Monday, May 5, 2008
Voice ...
I just heard on the radio, the descriptions of a singer's voice: moody, depressing, old, comfortable, "putting you to sleep". Interesting way to describe voices. Well, from the song, I would say the voice sounded "tired".
Also teaching a student to play airy tone on the violin today. Most students have some sort of phobia to play long bows, or fast bows. The exceptions are usually very young children -- they just use the whole bow, with minimal control, anyway. Tone quality was not in consideration. Besides, they like to squeel and shriek anyway, haha.
Also teaching a student to play airy tone on the violin today. Most students have some sort of phobia to play long bows, or fast bows. The exceptions are usually very young children -- they just use the whole bow, with minimal control, anyway. Tone quality was not in consideration. Besides, they like to squeel and shriek anyway, haha.
Sunday, May 4, 2008
May Concert
Yesterday we held a concert at Republic Cultural Centre, in the Republic Polytechnic. It was an afternoon concert, and it was quite fun.
Just a few photos...
The photos were taken at the final dress rehearsal just before the concert. More photos and videos are available from Mandeville Music School.
Saturday, May 3, 2008
Mozart too heavy
Well, yesterday I had a lesson with a student. That's when I noticed that she could play Mozart with almost all the necessary skills, spiccato, lifting, etc. But it just sounded heavy. It is a combination of both hands that contributed to that. Even at the loud places, the concerto No. 5 should not sound heavy. It was written in Mozart's early years, when he was without care for life's troubles. Even if Mozart were troubled in any ways, he took care not to reflect in his music. It was until much later in his life that he poured his soul out into the music. We would have seen the darker side of Mozart's emotions had he lived longer and write more.
But I digress. Something about how the bow as sustained on the string, and about the vibrato, that caused the tone to sound heavy, even on the high notes, especially when it got loud. Hard to explain in all the details of executing this "loud and light" tone. It just has to be done with the "final goal of tone color" in mind.
But I digress. Something about how the bow as sustained on the string, and about the vibrato, that caused the tone to sound heavy, even on the high notes, especially when it got loud. Hard to explain in all the details of executing this "loud and light" tone. It just has to be done with the "final goal of tone color" in mind.
Thursday, May 1, 2008
Ravel, Bolero
Just downloaded this piece of music, sound recording. It's been a long time since I played in this piece that I forgot all the details. What I always remember is the way to do pizzicato near the end -- strumming the strings, both ways, on the violin. The high tension of violin strings and the lack of any strumming piece makes this a rather painful exercise.
However, the rest of the piece is an excellent example of show-casing the various instruments. It is also very useful to teach students the different tone quality, color, of the various instruments. Snare-drum, flute, clarinet, saxophone, euphonium, etc. And the type of harmony when there are parallel movements, like parallel 5ths.
A wonderful piece. If anyone has not heard it yet, it is time to listen, at least once.
However, the rest of the piece is an excellent example of show-casing the various instruments. It is also very useful to teach students the different tone quality, color, of the various instruments. Snare-drum, flute, clarinet, saxophone, euphonium, etc. And the type of harmony when there are parallel movements, like parallel 5ths.
A wonderful piece. If anyone has not heard it yet, it is time to listen, at least once.
Sunday, April 27, 2008
Mozart music style, violin
Today I heard 2 students playing Mozart concerto. 2 different ones. Both can manage the notes relatively well, but both are not playing with the correct tone color, and articulation.
In order to appreciate the Classical period style, the best way would be to listen to more recording. Mozart's music is lively and charming enough for most students to like. And to learn. At the same time, the music demands high clarity, crystal clear tone, that remains challenging even for advanced players. This is especially so when a bunch of them are going to play together, as in an orchestra music. It remains a "test", or a "measuring rod", for an orchestra to perform anything by Mozart. No doubt the structure of the music is straight-forward. Layers of phrases, melodic lines, etc. are simple. Precisely because of that, it is challenging for 70+ players to execute with identical articulation, despite difference in instruments (most prominently in the first violins).
Let's see if those 2 students can make improvements.
In order to appreciate the Classical period style, the best way would be to listen to more recording. Mozart's music is lively and charming enough for most students to like. And to learn. At the same time, the music demands high clarity, crystal clear tone, that remains challenging even for advanced players. This is especially so when a bunch of them are going to play together, as in an orchestra music. It remains a "test", or a "measuring rod", for an orchestra to perform anything by Mozart. No doubt the structure of the music is straight-forward. Layers of phrases, melodic lines, etc. are simple. Precisely because of that, it is challenging for 70+ players to execute with identical articulation, despite difference in instruments (most prominently in the first violins).
Let's see if those 2 students can make improvements.
Thursday, April 24, 2008
Ok, here is a little about the last Singapore International String Conference. It was in 2006, and was at Methodist Girls School, at Blackmore Drive. Quite a few professors were invited from the US. The "star" of the group is Terry Durbin. He was the funniest of them all. And he has tons of patience. He can conduct a class of rowdy children, and can get all of their attention.
We are inviting him this time, too. If for no other reason, I look for to attend his classes, if only to see and learn how to get and sustain the attention of the children.
What happened last time was that I learnt quite a few technique of teaching from these professors. The first few lessons after that, I was spending a lot of time and attention on the postures, violin-hold, and bow-hold. I am not sure if the students felt bored with those lessons, though. After all, they didn't get to play as much, but trying to change bow-hold, or violin positions.
Well, a few students did get to be more interested in playing the violin after attending the String Conference. However, I was not able to sustain their interest for long. As the saying goes, the devil is in the details... but details can get tedious a lot of the time. And the challenge is to sustain the interests, despite the work on details.
We are inviting him this time, too. If for no other reason, I look for to attend his classes, if only to see and learn how to get and sustain the attention of the children.
What happened last time was that I learnt quite a few technique of teaching from these professors. The first few lessons after that, I was spending a lot of time and attention on the postures, violin-hold, and bow-hold. I am not sure if the students felt bored with those lessons, though. After all, they didn't get to play as much, but trying to change bow-hold, or violin positions.
Well, a few students did get to be more interested in playing the violin after attending the String Conference. However, I was not able to sustain their interest for long. As the saying goes, the devil is in the details... but details can get tedious a lot of the time. And the challenge is to sustain the interests, despite the work on details.
Singapore International String Conference 2008
Oh yes, our music school is organizing this. Anyone reading this can go to http://www.singaporestring.com to check it out.
And we are also running a concert at the Republic Cultural Centre, on 3rd May. That is when students and teachers are performing together. Mostly violin teachers and students, anyway. It is the first time we are doing this. It should be quite fun. We will see how it turns out.
And we are also running a concert at the Republic Cultural Centre, on 3rd May. That is when students and teachers are performing together. Mostly violin teachers and students, anyway. It is the first time we are doing this. It should be quite fun. We will see how it turns out.
Monday, April 21, 2008
Violin and Guitar
Earlier today I heard, on the radio, a short snip of violin and guitar duet. The music sounds like gypsie music, or maybe Hungarian. There is no drum, but the simple melodic line suggests a pop piece, a modern, or transcribed.
It's a nice sound. The singing quality of violin sound, combined with a blocked chords (strummed), and plucking sound. It does sound like the guitar sound is amplified, and the violin sound is closer to an electric violin. The combination was not "fighting against each other", but bring out the unique differences, and contribute to a richer whole. There should be more of this type of music around.
It's a nice sound. The singing quality of violin sound, combined with a blocked chords (strummed), and plucking sound. It does sound like the guitar sound is amplified, and the violin sound is closer to an electric violin. The combination was not "fighting against each other", but bring out the unique differences, and contribute to a richer whole. There should be more of this type of music around.
Singapore Flyer
The huge ferris wheel, called Singapore Flyer. I was there earlier. It was expensive, but it offered free rides for kids till 30th April. What I discovered was a rather blend experience. Sure, the scenary was nice. I went on a nice ride. Shot a few pictures, some videos. I will be posting some later.
Other than this, the experience was rather bland. The other passengers were getting a little restless, too, by about 20 minutes into the ride. So over all, a 30-minute seems just nice to test the patience of those on board.
I wonder what it is like for corporate package -- do they go around only once, have a "company annual party" in 30 minutes? Or do they go around a few more times?
Yes it is a good place to host a party, or any occasion. But the "occasion" would be the theme, and the location, the scenary, is the background.
I think more can be done to make it the other way round. Make the scenary, the location, be the central of attention. The background music can be more attuned to the mood. What I heard was just some regular "elevator music" (pun incidental). Music is a mood-setter. Day trip and night trip are different in that aspect and so need different music. There should also be "guided multimedia tour". Oh yes there are packages for VIP with a tour guide, but the price tag is more than double the regular (or basic) one.
Already there are debates on printed media about the worthiness of $29.95 ($30) for a 30-minute trip.... about $1 per minute. Why don't they tender for a multimedia package for the basic rides? It is not a very good business package as it is. It is not about catering for the rich and affluent for a luxury trip to the Flyer. It is about how enjoyable a trip around the wheel is. And right now, the level of enjoyment is worth just under $20. I would say $15 to $19.
I can easily offer a few suggestions, if anyone is willing to listen. :)
Other than this, the experience was rather bland. The other passengers were getting a little restless, too, by about 20 minutes into the ride. So over all, a 30-minute seems just nice to test the patience of those on board.
I wonder what it is like for corporate package -- do they go around only once, have a "company annual party" in 30 minutes? Or do they go around a few more times?
Yes it is a good place to host a party, or any occasion. But the "occasion" would be the theme, and the location, the scenary, is the background.
I think more can be done to make it the other way round. Make the scenary, the location, be the central of attention. The background music can be more attuned to the mood. What I heard was just some regular "elevator music" (pun incidental). Music is a mood-setter. Day trip and night trip are different in that aspect and so need different music. There should also be "guided multimedia tour". Oh yes there are packages for VIP with a tour guide, but the price tag is more than double the regular (or basic) one.
Already there are debates on printed media about the worthiness of $29.95 ($30) for a 30-minute trip.... about $1 per minute. Why don't they tender for a multimedia package for the basic rides? It is not a very good business package as it is. It is not about catering for the rich and affluent for a luxury trip to the Flyer. It is about how enjoyable a trip around the wheel is. And right now, the level of enjoyment is worth just under $20. I would say $15 to $19.
I can easily offer a few suggestions, if anyone is willing to listen. :)
Sunday, April 20, 2008
Salut d'Amour
I was just teaching this piece. Like the part when the notes go high on the A-string. Sounds soft and pliable, and sweet. Very romantic piece. If there are glides along the shifts, it can make your heart melt.
Then there is the thick and rich tone near the end, on high position G string. Ah when done well, the sound is not rough, but rich and full. Always reminds me of thick chocolate, or vibrant color, as opposed to pastel colors.
Then there is the thick and rich tone near the end, on high position G string. Ah when done well, the sound is not rough, but rich and full. Always reminds me of thick chocolate, or vibrant color, as opposed to pastel colors.
Saturday, April 19, 2008
The Colorful Tones
I started to learn music when I was very young. It was an assignment. It is also a culture that one gets to grow with, to enjoy or to pick on. The wonderful thing about music is that no matter what your personality or temperament is, there is a type of music for you.
I started with violin. You? Pop? Jazz? Classical?
Violin has a huge variey of sound and tone qualities. Modern musical instruments, the electronic variety, also can generate a lot. However, if you investigate closer, you would notice that more than half of those synthesized tones actually originated from real-life (existing) sources, like drums, hand-claps, various musical instruments like piano, jazz piano, grand piano, guitar, etc. with a small minority of purely electronically originated tones. These are the really fascinating ones. Yes, they add to the overall colors of music.
But I still like the old school. Violin, orchestra music.
I started with violin. You? Pop? Jazz? Classical?
Violin has a huge variey of sound and tone qualities. Modern musical instruments, the electronic variety, also can generate a lot. However, if you investigate closer, you would notice that more than half of those synthesized tones actually originated from real-life (existing) sources, like drums, hand-claps, various musical instruments like piano, jazz piano, grand piano, guitar, etc. with a small minority of purely electronically originated tones. These are the really fascinating ones. Yes, they add to the overall colors of music.
But I still like the old school. Violin, orchestra music.
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