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.
Monday, June 30, 2008
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.
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