Monday, July 7, 2008
um... adding on to rachel's post. i feel that la, is like, we cannot hog onto the same parts over and over again. lets say A plays 1st for alvamar,then younger B plays 3rd for alvamar, but when A graduates, B is forcedto take over. i mean la, ya, um, we have to face it sooner or later. now itsnot the problem of making your life easier or whatsoever, experience iswhat makes us grow what. if you just hog on to a same part your neverget your deserved experience. although 3rd is usually easier and havelower notes than 1st or 2nd, but the problem is, do you play it well.sometimes the low is too low for you to hit and even if you hit, you don'tproduce a good sound, then what for you play that part. then you mustask yourself, DO YOU DESERVE getting that part? oh, anotherproblem. lets say A is using a standard MLbore instrument. its a standardsize for most of us, but you don't project, in other words, you are inaudible.One fine sunny day, Mr Wong imported a new Bach Stradivarius 180Seriesmodel 52 Lbore(which means bigger bore). he chose you to play it, andwhen you play it, no sound come out, because larger bore instrumentsneed more air to play. morale of the story is, we must have high adaptability,like we must adapt to all kinds of instrument or hall conditions fast, causeVictoria Concert Hall is a bloody dry place, if we were to play at our presentvolume, even with caroline blasting away, our section would be inaudible.we must also take note of articulations so forth and stuff!!!
SOME ARTICLES TO READ:
I have three specific things to talk about this month that apply to most every musician. The first is the concept of the crescendo. I like to think of a crescendo as a sound that gets bigger and fatter as it gets louder. The timbre doesn't change, it just gets bigger. It's as though your instrument ate a big meal and got wider. This is the type of crescendo I try to impart to the ensembles I work with. Visualize a different kind of crescendo by taking the index and second finger to form a V and aim them as if you wanted to poke someone in the eyes. This is the kind of crescendo I hear very often that results in a sound that changes from mellow to hard as it increases in volume. A much more musical approach is a sound that grows wider and bigger without that obvious forward push that can assault the listener. Think of a forte that is 100 yards away, and moves evenly closer to the desired dynamic. I often tell students to play something marked forte, piano, and then tell them to play the forte with the exact same sound of the piano. The space in between the two dynamics would be the crescendo.I have three specific things to talk about this month that apply to most every musician. The first is the concept of the crescendo. I like to think of a crescendo as a sound that gets bigger and fatter as it gets louder. The timbre doesn't change, it just gets bigger. It's as though your instrument ate a big meal and got wider. This is the type of crescendo I try to impart to the ensembles I work with. Visualize a different kind of crescendo by taking the index and second finger to form a V and aim them as if you wanted to poke someone in the eyes. This is the kind of crescendo I hear very often that results in a sound that changes from mellow to hard as it increases in volume. A much more musical approach is a sound that grows wider and bigger without that obvious forward push that can assault the listener. Think of a forte that is 100 yards away, and moves evenly closer to the desired dynamic. I often tell students to play something marked forte, piano, and then tell them to play the forte with the exact same sound of the piano. The space in between the two dynamics would be the crescendo.
The second item on my menu this month is that most beautiful of articulations, the forte-piano. If there ever was a divergence of opinion, listen to the various versions of what people interpret as a forte-piano in an ensemble. No two seem to be the same and yet this is one of the most important tools we have as musicians. I visualize the forte-piano as something like the shape of a comet. It has a large dense, brightly glowing head, which gives off a luminous and long tail that decreases gradually into nothing. Of course there are various sizes of the glowing head, from small and brilliant to large and slightly less brilliant, all producing a beautiful multi-colored tail. No other articulation can result in such a pure resultant sound. Developing this aspect of the musical vocabulary is one of the essential things someone can do on the way to producing the best sound possible on a particular instrument. Being able to produce a pure, round forte-piano in various sizes, meaning various dynamics, providing the forte is always round and pure, never hard or brittle, gives a player a tremendous advantage in sound and style. As with anything, spending time and isolating this one articulation so as to develop it independently, away from normal music making, will pay large dividends.
My third and final entree is learning how, and the importance of, playing to the space you are performing in. A common problem is practicing in a small space (after all, how many of us have concert halls to practice in,) and then playing to the same space when auditioning in a large space. I don't mean just playing louder either. I mean being able to fill a large space with your sound, just like you fill every nook and cranny (I hope) of your horn. You need to learn to fill a large space without forcing, and this takes thought and practice directly related to this skill. My first item on this months menu would be of help in this regard. Of course the reverse is also true, being able to fill a small space with your sound without overfilling, if you have been practicing in a larger space.
-Credits to Jayfriedman
please read as this article talks about common stuff we have problem with.
signing off.
geof.
SOME ARTICLES TO READ:
I have three specific things to talk about this month that apply to most every musician. The first is the concept of the crescendo. I like to think of a crescendo as a sound that gets bigger and fatter as it gets louder. The timbre doesn't change, it just gets bigger. It's as though your instrument ate a big meal and got wider. This is the type of crescendo I try to impart to the ensembles I work with. Visualize a different kind of crescendo by taking the index and second finger to form a V and aim them as if you wanted to poke someone in the eyes. This is the kind of crescendo I hear very often that results in a sound that changes from mellow to hard as it increases in volume. A much more musical approach is a sound that grows wider and bigger without that obvious forward push that can assault the listener. Think of a forte that is 100 yards away, and moves evenly closer to the desired dynamic. I often tell students to play something marked forte, piano, and then tell them to play the forte with the exact same sound of the piano. The space in between the two dynamics would be the crescendo.I have three specific things to talk about this month that apply to most every musician. The first is the concept of the crescendo. I like to think of a crescendo as a sound that gets bigger and fatter as it gets louder. The timbre doesn't change, it just gets bigger. It's as though your instrument ate a big meal and got wider. This is the type of crescendo I try to impart to the ensembles I work with. Visualize a different kind of crescendo by taking the index and second finger to form a V and aim them as if you wanted to poke someone in the eyes. This is the kind of crescendo I hear very often that results in a sound that changes from mellow to hard as it increases in volume. A much more musical approach is a sound that grows wider and bigger without that obvious forward push that can assault the listener. Think of a forte that is 100 yards away, and moves evenly closer to the desired dynamic. I often tell students to play something marked forte, piano, and then tell them to play the forte with the exact same sound of the piano. The space in between the two dynamics would be the crescendo.
The second item on my menu this month is that most beautiful of articulations, the forte-piano. If there ever was a divergence of opinion, listen to the various versions of what people interpret as a forte-piano in an ensemble. No two seem to be the same and yet this is one of the most important tools we have as musicians. I visualize the forte-piano as something like the shape of a comet. It has a large dense, brightly glowing head, which gives off a luminous and long tail that decreases gradually into nothing. Of course there are various sizes of the glowing head, from small and brilliant to large and slightly less brilliant, all producing a beautiful multi-colored tail. No other articulation can result in such a pure resultant sound. Developing this aspect of the musical vocabulary is one of the essential things someone can do on the way to producing the best sound possible on a particular instrument. Being able to produce a pure, round forte-piano in various sizes, meaning various dynamics, providing the forte is always round and pure, never hard or brittle, gives a player a tremendous advantage in sound and style. As with anything, spending time and isolating this one articulation so as to develop it independently, away from normal music making, will pay large dividends.
My third and final entree is learning how, and the importance of, playing to the space you are performing in. A common problem is practicing in a small space (after all, how many of us have concert halls to practice in,) and then playing to the same space when auditioning in a large space. I don't mean just playing louder either. I mean being able to fill a large space with your sound, just like you fill every nook and cranny (I hope) of your horn. You need to learn to fill a large space without forcing, and this takes thought and practice directly related to this skill. My first item on this months menu would be of help in this regard. Of course the reverse is also true, being able to fill a small space with your sound without overfilling, if you have been practicing in a larger space.
-Credits to Jayfriedman
please read as this article talks about common stuff we have problem with.
signing off.
geof.
