Another post...
Before I did the recording today, I read through a Canadian piece for viola and piano...written by one of my close friends from university. Looks and sounds like a wonderful piece. Cool to know the composer and be able to email her to ask questions about said piece. And have her write back within the hour. Ah the power of twenty-first century communication...
(I didn't record that. Well not yet. Only had the piece for two hours.)
Next up was the Prokofiev's Romeo and Juliet. Prokofiev is very special to me-in fact a talisman. I actually credit Prokofiev with helping me win an important audition.
When I was living in Toronto in the late '90s, I went to play regularly for an orchestra in a city 5 hours away. More than half the orchestra was from out of town so we were all put up in a hotel. Lots of fun and good memories, but not going to write about it here today. Not that type of blog...
We played some really great and often difficult music. One concert had Prokofiev's Third Piano Concerto. And it was difficult for the violas, especially the third movement which has a exposed secondary theme that reaches up to the E-flat above high C. Spent many hours on that for shifting and intonation and am also grateful that it's not an orchestral excerpt. (Conductors-don't get any ideas.)
But the first movement haunted me. The steady rhythm of the continuous sixteenths lived in my head for weeks afterwards. So when I discovered a month later I actually had a tape of this piano concerto (bought five years previously at Sam the Record Man for a dollar), I was thrilled. And then listened to it all the time. Get a little obsessive about pieces sometimes.
A few months later, I was auditioning for NOI, in Ann Arbor. It was about 3 hours from where my husband was finishing grad school. So we decided to go together. Actually I decided since I didn't drive and he did. Well we decided to take a different route- instead of going through Detroit, go through Port Huron and then go south through Michigan. Big. big. mistake.
We got stuck in horrible traffic-worse than I had ever seen in Toronto and there was tons of construction and detours. Getting nervous because the audition time was getting closer and closer. We got to UM a mere 5 minutes before the audition time. Fortunately the audition person and the main administrator (didn't know this at the time) was a nice person and said that I could have an extra 15 minutes to get settled. And I needed it. The list included concerto (Hindemith), Don Juan, Mozart 35, Beethoven 5 etc..
I really needed to calm down so after doing the absolute minimum warm up, I put on my tape machine with the Prokofiev Third Piano Concerto and just listened to the first movement for a few minutes. Calmed me down enough to do the audition. And more than rhythmical enough to make me temporarily rhythmical too. That is to say feel the beat so solidly...for fifteen minutes.
And I did well. Got into the program and it was a turning point just because I learned so much in those three weeks, I am still reaping the benefits today though I still haven't used all the tips yet. (They live in the pedagogy journals on the bookshelf.)
So almost ten years later, finally getting serious about practicing with a metronome. Seems fitting that it's Prokofiev's Romeo and Juliet. The main problem for me is compressing the beat when it's a dotted rhythm. I get ahead of myself. Worked on the main theme of the last movement with the metronome games. Then recorded...it's better but still a slight rushing to each new beat. Back to the drawing board tomorrow. And wonder if I can get a new version of Prokofiev's Third Concerto on the MP3 player...still love the piece.
Showing posts with label repertoire. Show all posts
Showing posts with label repertoire. Show all posts
11.09.2007
11.06.2007
Day 6
Wow...6 days in a row. (Though I'm still not doing the NoMo stuff. A holdout and non-joiner in general.)
I worked more on the Janacek Nursery Rhymes concentrating on co-ordination of the sixteenths (there's many). The thing about this piece is not just the fact that it's difficult, it's a little awkward in fingering as well. Maybe that's the arrangement of the woodwind writing. But many composers write awkward passages...Brahms comes to mind (thinking of the viola parts in the symphonies) and that is great music. And this Janacek is a good piece as well.
One of my teachers insisted that when learning a piece, one has make sure to do two things:
1. Look at and study the score to see how the other parts fit.
2. Become familiar with the other pieces the composer has written. And not just the string repertoire. Listen to the symphonies, operas, art song etc. Learn the composer's language.
As of now, five months before the concert, I have done neither. Shame on me.
Its time to address that.
I also worked on five measures of Campagnoli, working up the tempo to quarter equals 132. In the recording I notice that I still have the tendency to shorten the last note of the four-note pattern, trying to get to the next beat. Have to remind myself that there is lots of time to fit all the notes.
'Til tomorrow!
I worked more on the Janacek Nursery Rhymes concentrating on co-ordination of the sixteenths (there's many). The thing about this piece is not just the fact that it's difficult, it's a little awkward in fingering as well. Maybe that's the arrangement of the woodwind writing. But many composers write awkward passages...Brahms comes to mind (thinking of the viola parts in the symphonies) and that is great music. And this Janacek is a good piece as well.
One of my teachers insisted that when learning a piece, one has make sure to do two things:
1. Look at and study the score to see how the other parts fit.
2. Become familiar with the other pieces the composer has written. And not just the string repertoire. Listen to the symphonies, operas, art song etc. Learn the composer's language.
As of now, five months before the concert, I have done neither. Shame on me.
Its time to address that.
I also worked on five measures of Campagnoli, working up the tempo to quarter equals 132. In the recording I notice that I still have the tendency to shorten the last note of the four-note pattern, trying to get to the next beat. Have to remind myself that there is lots of time to fit all the notes.
'Til tomorrow!
10.01.2007
Recalibrate
Still great weather here.
I'm trying to make a habit of walking for 30-45 minutes every day regardless of my energy level or mood. This is what I used to do about ten years ago in Toronto. In fact, I am attempting to recreate some of the things that made me happy back then and adapt it to life here. Walking is one of them. (Some things may not work so well in the mountains of Vermont...like the attitude chunky black heels and eating great cheap Thai and Vietnamese food at midnight.)
Also getting back to practicing this past month. I have a concert in three weeks, playing new works of Vermont composers. I'm really looking forward to doing this. Going back to what I do best. I promise I will write more about the concert...
So I'm plodding though the pieces using my practice strategy of "divide and conquer" along with much singing of the intervals. Fun. :)
And though no fault of my own, I will have to teach an advancing student the Stamitz concerto. Wait-it is my fault! I gave her the choice of Hoffmeister or Stamitz and she likes the Stamitz better.
Maybe I don't like it so much simply because I played it badly in high school. Nightmares of terrible double stops haunt me. Well it's going to be subjected to practice. Because, I will learn it better this time around. Have to.
Recalibration...start now.
I'm trying to make a habit of walking for 30-45 minutes every day regardless of my energy level or mood. This is what I used to do about ten years ago in Toronto. In fact, I am attempting to recreate some of the things that made me happy back then and adapt it to life here. Walking is one of them. (Some things may not work so well in the mountains of Vermont...like the attitude chunky black heels and eating great cheap Thai and Vietnamese food at midnight.)
Also getting back to practicing this past month. I have a concert in three weeks, playing new works of Vermont composers. I'm really looking forward to doing this. Going back to what I do best. I promise I will write more about the concert...
So I'm plodding though the pieces using my practice strategy of "divide and conquer" along with much singing of the intervals. Fun. :)
And though no fault of my own, I will have to teach an advancing student the Stamitz concerto. Wait-it is my fault! I gave her the choice of Hoffmeister or Stamitz and she likes the Stamitz better.
Maybe I don't like it so much simply because I played it badly in high school. Nightmares of terrible double stops haunt me. Well it's going to be subjected to practice. Because, I will learn it better this time around. Have to.
Recalibration...start now.
8.13.2007
In the dark
I became rather amused when looking at my stat counter today. Yesterday someone had Googled "Penderecki Cadenza" and got my blog. This is strange because I've hardly written anything about it. And I actually don't want to know anything about it at this moment.
In the past when getting a new piece, most of the time I would proceed to research it thoroughly. I would look at the score, look up the history of the piece, listen to recordings of all the famous violists playing the piece. And I would become thoroughly intimidated. Especially when listening to the recordings. I would think that it would be very difficult to learn this piece. And even now there are some pieces for me that still have this stigma attached to them. The Walton concerto and the Hindemith solo sonatas are examples.
So I have been living in a cave and have never heard a Penderecki piece. And all I know about the Cadenza is that it was written in 1984 and was related to the Viola Concerto. That's it. And yes it's hard. Not a problem. I will just use the choice practice techniques that have served me well over the last five years. Singing. Three note overlap. Metronome Games. Divide and Conquer.
Just remembering the pieces I learned first without knowing too much about them. In a way these pieces are more solid and belong more firmly in my repertoire. Pieces like the Britten Lachrymae and the Barnes Lamentations of Jeremiah. Those pieces I learned very quickly and didn't have access the resources or the recordings. I remember the excitement of learning these works. Like reading a great novel that you knew nothing about it.
Maybe the Penderecki Cadenza will be that for me again.
In the past when getting a new piece, most of the time I would proceed to research it thoroughly. I would look at the score, look up the history of the piece, listen to recordings of all the famous violists playing the piece. And I would become thoroughly intimidated. Especially when listening to the recordings. I would think that it would be very difficult to learn this piece. And even now there are some pieces for me that still have this stigma attached to them. The Walton concerto and the Hindemith solo sonatas are examples.
So I have been living in a cave and have never heard a Penderecki piece. And all I know about the Cadenza is that it was written in 1984 and was related to the Viola Concerto. That's it. And yes it's hard. Not a problem. I will just use the choice practice techniques that have served me well over the last five years. Singing. Three note overlap. Metronome Games. Divide and Conquer.
Just remembering the pieces I learned first without knowing too much about them. In a way these pieces are more solid and belong more firmly in my repertoire. Pieces like the Britten Lachrymae and the Barnes Lamentations of Jeremiah. Those pieces I learned very quickly and didn't have access the resources or the recordings. I remember the excitement of learning these works. Like reading a great novel that you knew nothing about it.
Maybe the Penderecki Cadenza will be that for me again.
8.03.2007
Therapy by Viola
This was also the summer of withdrawal and waiting.
All summer I was expecting an appointment. The one where specialists would diagnose my other two boys with autism.
It finally happened last week. Now I have time to think about it.
Now we are left with working out the logistics of raising three children on the spectrum. Feel like I've struck out on the parenting front.
In all honesty playing the viola seems a lot easier right now. Just stringing one note after another.....
Maybe I need a piece that will reflect my mood of bitterness. Been drawn to the Penderecki Cadenza. That may be the salve I need. As well as a new blog devoted to parenting kids on the spectrum. I will have to soldier on.....
All summer I was expecting an appointment. The one where specialists would diagnose my other two boys with autism.
It finally happened last week. Now I have time to think about it.
Now we are left with working out the logistics of raising three children on the spectrum. Feel like I've struck out on the parenting front.
In all honesty playing the viola seems a lot easier right now. Just stringing one note after another.....
Maybe I need a piece that will reflect my mood of bitterness. Been drawn to the Penderecki Cadenza. That may be the salve I need. As well as a new blog devoted to parenting kids on the spectrum. I will have to soldier on.....
6.05.2007
Learning how to play modern music
I apologize for not posting sooner. Various things happened. The most important one was this:
I was just incredibly tired.
And yes it took two weeks to recover from that concert of the Clearfield premiere.[Also we went to Ottawa for the next weekend and my two-year-old son has turned into sticky tape (well he does love oranges....) due to the fact I went away for three days and three nights.]
But it was a great experience and got me to think about the reasons for that.The main one was that it really was a terrific piece. And terrifying in places. The mood (and hopefully not the playing!).The soloists and conductor were wonderful and you could tell that they loved contemporary music. And I think this is one of the main reasons for the success of the premiere. They were just so skilled and had the openness to work with the composer even to the point of changing articulations and rhythms at the last minute. And nary a grumble from the orchestra which was a nice change.
A thought:
Maybe with contemporary music the reason many musicians grumble is that we are simply not used to the new techniques. In a way we are a generation (or two) behind the composer and we have to be coaxed (or dragged) into the experience. With time the next generations of performers are used to it and have learned the techniques. Audiences maybe need time as well.
And also over the last couple of months, I've seen the result of young performers succeeding in learning and performing an entire concert of music of local women composers. And done with such a good attitude as well. We mid-career players could take a clue from these enthusiastic teenagers.
Of course I don't mind being dragged at all. I do like the challenge of trying new techniques. (I was an admittedly bad improviser in the mid '90s) However sometimes I wonder what if I had learned properly at 15 to do Bartok pizzicato (or a whole bunch of them) in a viola piece. Or a bowed glissando-have seen this in many orchestral pieces written in the last 10 years.Just thinking that we violists (and other string players) need some 21th century etudes so it's not as demanding to learn a contemporary piece every time we're faced with it. Maybe with lots of glissandi, tremolo, artificial harmonics. Wondering who are the Rodes and Kreutzers of 2007? Are there any violin/viola teachers who compose for their students? Anybody interested? Or maybe should I try?.......
I was just incredibly tired.
And yes it took two weeks to recover from that concert of the Clearfield premiere.[Also we went to Ottawa for the next weekend and my two-year-old son has turned into sticky tape (well he does love oranges....) due to the fact I went away for three days and three nights.]
But it was a great experience and got me to think about the reasons for that.The main one was that it really was a terrific piece. And terrifying in places. The mood (and hopefully not the playing!).The soloists and conductor were wonderful and you could tell that they loved contemporary music. And I think this is one of the main reasons for the success of the premiere. They were just so skilled and had the openness to work with the composer even to the point of changing articulations and rhythms at the last minute. And nary a grumble from the orchestra which was a nice change.
A thought:
Maybe with contemporary music the reason many musicians grumble is that we are simply not used to the new techniques. In a way we are a generation (or two) behind the composer and we have to be coaxed (or dragged) into the experience. With time the next generations of performers are used to it and have learned the techniques. Audiences maybe need time as well.
And also over the last couple of months, I've seen the result of young performers succeeding in learning and performing an entire concert of music of local women composers. And done with such a good attitude as well. We mid-career players could take a clue from these enthusiastic teenagers.
Of course I don't mind being dragged at all. I do like the challenge of trying new techniques. (I was an admittedly bad improviser in the mid '90s) However sometimes I wonder what if I had learned properly at 15 to do Bartok pizzicato (or a whole bunch of them) in a viola piece. Or a bowed glissando-have seen this in many orchestral pieces written in the last 10 years.Just thinking that we violists (and other string players) need some 21th century etudes so it's not as demanding to learn a contemporary piece every time we're faced with it. Maybe with lots of glissandi, tremolo, artificial harmonics. Wondering who are the Rodes and Kreutzers of 2007? Are there any violin/viola teachers who compose for their students? Anybody interested? Or maybe should I try?.......
4.25.2007
The nice thing about viola studies....
is that you don't have to play them in public. :)
(Does that sound like a viola joke?)
Still working on the Mazas' Rapidity and liking it. But I figured I needed *another* study (yes, a sucker for self-punishment). So I went to my storage boxes and looked for something else.
Pulled out the Lillian Fuchs 15 Characteristic Studies. Sight read three of them. Decided I didn't like any of them. And finally realized why. (Short answer...I find them boring...even for studies. Long answer....well maybe later.)
So I went back to the box and pulled out the Gavinnes 24 studies. I had never worked on any of them. Could tell this by the lack of pencil markings. (I had bought the book probably around 1993....I hadn't been to this particular violin shop since then.)
After reading through a couple of them and decided I could benefit from them. First, they're really difficult. For some reason that's a plus for me. Second, there's a lot of fast shifting in the upper register. This is also a plus. So I decided to work on No. 4.
I think teaching violin and viola has changed my view on studies. For many years I thought that studies were something only to endure for the inevitable annual RCM exam. So naturally I balked when my grad school teacher not only wanted me to relearn the first twelve Kreutzer studies, but also analyze them. He believed that every study had a particular left hand and right hand technical focus. Of course I didn't do it-I was a rebellious student. (BTW-now I realize that he was right about everything. Maybe I need to write more about this....hmmm.)
Now fifteen years later after seeing new students come to me for lessons and seeing how they had treated their pieces as studies (with the resulting frustration that comes with that), I realize the true importance of studies. Granted they are boring. But better them than the repertoire the student will be studying. A study is a perfect vehicle to work on a technical focus without worrying about the musical ramifications. It's the bridge between technique and concert repertoire. And you do not have to perform it. Well maybe for your teacher, he he...
Now for something different.
Some enjoyable reading.....
The finale of Charles' audition story.... won't spoil it.
the Heifetz vs. Cher Gershwin contest.
and Jen is an amazing teacher!
Have a great day everyone...
(Does that sound like a viola joke?)
Still working on the Mazas' Rapidity and liking it. But I figured I needed *another* study (yes, a sucker for self-punishment). So I went to my storage boxes and looked for something else.
Pulled out the Lillian Fuchs 15 Characteristic Studies. Sight read three of them. Decided I didn't like any of them. And finally realized why. (Short answer...I find them boring...even for studies. Long answer....well maybe later.)
So I went back to the box and pulled out the Gavinnes 24 studies. I had never worked on any of them. Could tell this by the lack of pencil markings. (I had bought the book probably around 1993....I hadn't been to this particular violin shop since then.)
After reading through a couple of them and decided I could benefit from them. First, they're really difficult. For some reason that's a plus for me. Second, there's a lot of fast shifting in the upper register. This is also a plus. So I decided to work on No. 4.
I think teaching violin and viola has changed my view on studies. For many years I thought that studies were something only to endure for the inevitable annual RCM exam. So naturally I balked when my grad school teacher not only wanted me to relearn the first twelve Kreutzer studies, but also analyze them. He believed that every study had a particular left hand and right hand technical focus. Of course I didn't do it-I was a rebellious student. (BTW-now I realize that he was right about everything. Maybe I need to write more about this....hmmm.)
Now fifteen years later after seeing new students come to me for lessons and seeing how they had treated their pieces as studies (with the resulting frustration that comes with that), I realize the true importance of studies. Granted they are boring. But better them than the repertoire the student will be studying. A study is a perfect vehicle to work on a technical focus without worrying about the musical ramifications. It's the bridge between technique and concert repertoire. And you do not have to perform it. Well maybe for your teacher, he he...
Now for something different.
Some enjoyable reading.....
The finale of Charles' audition story.... won't spoil it.
the Heifetz vs. Cher Gershwin contest.
and Jen is an amazing teacher!
Have a great day everyone...
3.26.2007
Which Bach Suite......
to work on next?
Well Spring is kind of here (raining buckets today) and just trying to figure out what to do next musically.
[Got the non-musical things covered: spring cleaning-barely started, pressure cooker-used it twice (feel like I'm living the dangerous life), workout-starting etc. etc. oh yes it's still a toy store in the living room!]
I always keep coming back to the Bach Suites. Love the pieces. When I moved to Vermont and was not allowed to play professionally, I would comfort myself by playing the First and Third Suites over and over. And then started to practice them in great detail. Finally two years later when I could play again for an audience, these two suites were the new cornerstone of my repertoire.
But now it's time to learn something new. Have already played the D- and the C- (this one badly) as well. So it's between no. 4 and no. 6.
Leaning towards the Fourth. Contemplative. Beautiful. But it's in E flat. And almost everything I've done lately has been in this key. Maybe it's the way I'm feeling. Keys have different moods for me. And E flat is very comforting right now.
Then there's the Sixth Suite. Extroverted. Exuberant. Difficult technically. Usually in D often played by violists in G.
Very curious what people think.....
Well Spring is kind of here (raining buckets today) and just trying to figure out what to do next musically.
[Got the non-musical things covered: spring cleaning-barely started, pressure cooker-used it twice (feel like I'm living the dangerous life), workout-starting etc. etc. oh yes it's still a toy store in the living room!]
I always keep coming back to the Bach Suites. Love the pieces. When I moved to Vermont and was not allowed to play professionally, I would comfort myself by playing the First and Third Suites over and over. And then started to practice them in great detail. Finally two years later when I could play again for an audience, these two suites were the new cornerstone of my repertoire.
But now it's time to learn something new. Have already played the D- and the C- (this one badly) as well. So it's between no. 4 and no. 6.
Leaning towards the Fourth. Contemplative. Beautiful. But it's in E flat. And almost everything I've done lately has been in this key. Maybe it's the way I'm feeling. Keys have different moods for me. And E flat is very comforting right now.
Then there's the Sixth Suite. Extroverted. Exuberant. Difficult technically. Usually in D often played by violists in G.
Very curious what people think.....
3.18.2007
Concert
Went well...played at a slightly higher than average level.
60 people there.....would have been higher except for *bad* weather. (ha ha, Jen)
Schumann and I are still on speaking terms.
Brahms on the other hand....well let's just say we've had a good run.
However we will have an "amabile" parting for the next few years.
Hindemith anyone?
60 people there.....would have been higher except for *bad* weather. (ha ha, Jen)
Schumann and I are still on speaking terms.
Brahms on the other hand....well let's just say we've had a good run.
However we will have an "amabile" parting for the next few years.
Hindemith anyone?
3.10.2007
Making Peace with Schumann
So next week I'm playing a concert with some of my friends....
On the program will be:
Brahms E flat sonata
Debussy cello sonata
and
the Schumann piano quartet.
I basically chose a lot of the program. And for some reason for which I don't understand, I chose the Schumann. Which a few years ago would never have done so.
You see until recently I've had a love-hate relationship with this composer. Mostly hate.
It dates all the way back to 1990.....when I was given Marchenbilder to learn in second year at university. Well, I learned the last movement, performed it and then put it away for a year and a half. Dug it out again for my fourth year recital. And then promptly proceeded to destroy it in the performance. My mark reflected this sorry effort.....
[You see dear blog reader(s)-you have to understand that until about seven years ago I was not a good violist. Well maybe sometimes.....I was like the little girl with the curl on her forehead.....how I became a better player-well that's another post.]
Schumann was the mirror that showed all my faults as a player.
Bad intonation, check.
Shifting inadaquacies, check.
Strange tone colour, check.
And so on....
It was the beginning of a very difficult three years culminating the near end of my relationship with the viola-well that's another story too.
The other problem was that Schumann did not affect me emotionally like other composers. Like Brahms and Bach. Just didn't get it.
Fast forward 7 years to 1999, Berkeley.
Working in a violin shop, just looking for something to listen to for background music. Discovered two recordings.
Janos Starker's recording of the Fantasy Pieces
Horszowski 's recording of the Kinderszenen, Op. 15
The latter held my attention for months. Started to like Schumann just a little.
2000, NOI, Maryland.
Schumann's Symphony No. 3
After playing this piece, not so fond......difficult to play in many ways. (Disclaimer-maybe I just was tired because the same concert included Rachmaninov's Symphonic Dances the *hardest* piece I ever played probably always will be)
Okay-all done with Schumann. I'll stick with Brahms, thank you....
Fall 2006, Central Vermont.
Driving around with the kids listening to the radio. And then the Schumann Third comes on. Should be home in 5 minutes. Drive around for 30 to hear the whole piece. I couldn't believe it...Schumann is now one of my favorites. And now I get it.......
Back to work!
On the program will be:
Brahms E flat sonata
Debussy cello sonata
and
the Schumann piano quartet.
I basically chose a lot of the program. And for some reason for which I don't understand, I chose the Schumann. Which a few years ago would never have done so.
You see until recently I've had a love-hate relationship with this composer. Mostly hate.
It dates all the way back to 1990.....when I was given Marchenbilder to learn in second year at university. Well, I learned the last movement, performed it and then put it away for a year and a half. Dug it out again for my fourth year recital. And then promptly proceeded to destroy it in the performance. My mark reflected this sorry effort.....
[You see dear blog reader(s)-you have to understand that until about seven years ago I was not a good violist. Well maybe sometimes.....I was like the little girl with the curl on her forehead.....how I became a better player-well that's another post.]
Schumann was the mirror that showed all my faults as a player.
Bad intonation, check.
Shifting inadaquacies, check.
Strange tone colour, check.
And so on....
It was the beginning of a very difficult three years culminating the near end of my relationship with the viola-well that's another story too.
The other problem was that Schumann did not affect me emotionally like other composers. Like Brahms and Bach. Just didn't get it.
Fast forward 7 years to 1999, Berkeley.
Working in a violin shop, just looking for something to listen to for background music. Discovered two recordings.
Janos Starker's recording of the Fantasy Pieces
Horszowski 's recording of the Kinderszenen, Op. 15
The latter held my attention for months. Started to like Schumann just a little.
2000, NOI, Maryland.
Schumann's Symphony No. 3
After playing this piece, not so fond......difficult to play in many ways. (Disclaimer-maybe I just was tired because the same concert included Rachmaninov's Symphonic Dances the *hardest* piece I ever played probably always will be)
Okay-all done with Schumann. I'll stick with Brahms, thank you....
Fall 2006, Central Vermont.
Driving around with the kids listening to the radio. And then the Schumann Third comes on. Should be home in 5 minutes. Drive around for 30 to hear the whole piece. I couldn't believe it...Schumann is now one of my favorites. And now I get it.......
Back to work!
12.01.2006
I'm sounding wretched....
and that's a *good* thing.
I feel like I'm too much in a comfortable zone so just found a new study to work on.
Rode #6 in e minor (not E-flat)
Figure it's a good way to get some scale practice in too...
I feel like I'm too much in a comfortable zone so just found a new study to work on.
Rode #6 in e minor (not E-flat)
Figure it's a good way to get some scale practice in too...
11.28.2006
Too Much E-flat
What's wrong with this picture?
Brahms Sonata no.2
Bach Suite no. 4
Mozart Sinfonia Concertante
Schumann Piano Quartet
They're all in *E-flat major*. And I'm currently working on them
for future concerts and for fun.
I do want to work on these pieces-but maybe I should throw in a piece in a different key like Walton (a minor) or anything by Hindemith (What's the key?)
Stay tuned for the "shifting chart"......
Brahms Sonata no.2
Bach Suite no. 4
Mozart Sinfonia Concertante
Schumann Piano Quartet
They're all in *E-flat major*. And I'm currently working on them
for future concerts and for fun.
I do want to work on these pieces-but maybe I should throw in a piece in a different key like Walton (a minor) or anything by Hindemith (What's the key?)
Stay tuned for the "shifting chart"......
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