Fri 10 more min
Bonus 10 min after a couple hours break, just because I felt like it (yay!). Revisited the Squire Tarantella. I started last year with this - would be fun to run at at my first lesson next week. Still need work on the fast scales, but my bow control feels so much better.
Friday, September 10
Fri 45 min
10 min - Bach Prelude #4 m 70-75. V e r y slowly with a variety of drones, as intonation was most tricky, as was deciphering all of the accidentals.
10 min - Mooney TP Bk 1, Pattern 3 daily warmups, The Battle Hymn of the Republic (repeated from yesterday just because I like it - intonation was much better today), Fisher's Hornpipe (fun broken chord barriolage bowing, should work this up to speed), and The Piper of Dundee. This is the last piece in this pattern, and I didn't get to the D.S. before the beeper. I'll probably spend another day on this pattern, just to work a little more on the 2-3 stretch.
10 min - Started reading Suzuki Bk 3 today. Extension and harmonic tonalizations, Schubert Berceuse, Moon Over the Ruined Castle tonalization in 3d pos'n - g minor (didn't realize this piece shows up in so many variations), d minor 2 octave scales, natural, harmonic, and melodic, Lully Gavotte, backward and forward extension exercises, Boccherini Minuet. Reading these a little under tempo and trying out all of the suggested fingerings.
10 min - Switched excerpts today. I found 3 pages of Tchaikovsky Symphony No 6 ('Pathetique') in Rose vol 3. Spent the 10 minutes just slopping through it, noticing the keys - the base is B minor. There are some tricky fast finger patterns, chromatic bits, not too high (for the most part), and the section in B major, which come to think of it, shouldn't be that much more difficult than the rest in B minor - must not get freaked out by the number of sharps in the key signature. A couple of pretty cello melodies to look forward to. Next: I need a recording.
Break: 20 min
5 min - scales. This week I got a new scale book, by Wells Cunningham of YouTube "Impossible Duet" fame. He uses the Galamian scale pattern with accelerations as the basis for his core scale exercise, plus arpeggios andthirds octaves. One scale / 2 pages, and purportedly 30-45 min to thoroughly work 1 scale. It's kind of a dumbed down Yampolsky with more instructions, so I am looking forward to using it to organize my scale practice. Today I started with C MAJ, qu = 40, and did the acceleration exercises through sextuplets. Not ready to do 32nd notes yet. I planned on playing 5 more minutes, but got interrupted. Just as well - don't want to add too much too fast while I'm still building back up.
In case you haven't seen it, Wells Cunningham playing the Handel-Halvorson Passacaglia for cello and violin:
10 min - Bach Prelude #4 m 70-75. V e r y slowly with a variety of drones, as intonation was most tricky, as was deciphering all of the accidentals.
10 min - Mooney TP Bk 1, Pattern 3 daily warmups, The Battle Hymn of the Republic (repeated from yesterday just because I like it - intonation was much better today), Fisher's Hornpipe (fun broken chord barriolage bowing, should work this up to speed), and The Piper of Dundee. This is the last piece in this pattern, and I didn't get to the D.S. before the beeper. I'll probably spend another day on this pattern, just to work a little more on the 2-3 stretch.
10 min - Started reading Suzuki Bk 3 today. Extension and harmonic tonalizations, Schubert Berceuse, Moon Over the Ruined Castle tonalization in 3d pos'n - g minor (didn't realize this piece shows up in so many variations), d minor 2 octave scales, natural, harmonic, and melodic, Lully Gavotte, backward and forward extension exercises, Boccherini Minuet. Reading these a little under tempo and trying out all of the suggested fingerings.
10 min - Switched excerpts today. I found 3 pages of Tchaikovsky Symphony No 6 ('Pathetique') in Rose vol 3. Spent the 10 minutes just slopping through it, noticing the keys - the base is B minor. There are some tricky fast finger patterns, chromatic bits, not too high (for the most part), and the section in B major, which come to think of it, shouldn't be that much more difficult than the rest in B minor - must not get freaked out by the number of sharps in the key signature. A couple of pretty cello melodies to look forward to. Next: I need a recording.
Break: 20 min
5 min - scales. This week I got a new scale book, by Wells Cunningham of YouTube "Impossible Duet" fame. He uses the Galamian scale pattern with accelerations as the basis for his core scale exercise, plus arpeggios and
In case you haven't seen it, Wells Cunningham playing the Handel-Halvorson Passacaglia for cello and violin:
Thursday, September 9
Thu 40 min
10 min - Bach Prelude #4m 76-79 using Howard ed, checking against Rosanoff. Wasn't able to link with yesterday's work, as I'm not sure about the notes in m80. Is that supposed to be a Bbb, or not? Also, what does chantez mean?
10 min - Mooney TP Bk 1, Pattern III warmups, then tunes in Bb: French Folk Song, May Song, Oh Susanna, Cockles and Mussels, Larry O'Gaff, Battle Hymn of the Republic. This W-W-W hand position with 1/2 step between T and 1 is most difficult. I painted my callous with New Skin again today. Placebo? It does seem to be a little less painful. Will be interesting to see what kind of callous forms under it.
10 min - Suzuki 2, the Two Grenadiers, Gossec Gavotte, Handel Bourree, and... only 11 pieces in this book. After I finished the Bourree I worked backward and played the other two again. Cute pieces. I'm really noticing how much more relaxed my bow hand is, and how actual arm weight is contributing to the legato notes. Guess last year wasn't a waste of time, after all. Book 3 tomorrow.
10 min - Beethoven 5, Andante con moto, the last few measures of sixteenth notes in the excerpt book and the arpeggios at Piu moto. I used the metronome at 1/8 = 80 and a drone on Ab, when it became apparent that I had no idea about the tonality of the scale. I think I was disoriented because it started on A natural. Went back and did a quick blow by of the entire excerpt, pleased that I remembered most of the fingerings. Next, I can start working it up to tempo.
Tone is improving. Probably didn't hurt that I put some rosin on my bow yesterday. Funny, I used to be so compulsive about that, but now I just assume that if my cello sounds bad it must be me, and will go for weeks without adding rosin.
10 min - Bach Prelude #4m 76-79 using Howard ed, checking against Rosanoff. Wasn't able to link with yesterday's work, as I'm not sure about the notes in m80. Is that supposed to be a Bbb, or not? Also, what does chantez mean?
10 min - Mooney TP Bk 1, Pattern III warmups, then tunes in Bb: French Folk Song, May Song, Oh Susanna, Cockles and Mussels, Larry O'Gaff, Battle Hymn of the Republic. This W-W-W hand position with 1/2 step between T and 1 is most difficult. I painted my callous with New Skin again today. Placebo? It does seem to be a little less painful. Will be interesting to see what kind of callous forms under it.
10 min - Suzuki 2, the Two Grenadiers, Gossec Gavotte, Handel Bourree, and... only 11 pieces in this book. After I finished the Bourree I worked backward and played the other two again. Cute pieces. I'm really noticing how much more relaxed my bow hand is, and how actual arm weight is contributing to the legato notes. Guess last year wasn't a waste of time, after all. Book 3 tomorrow.
10 min - Beethoven 5, Andante con moto, the last few measures of sixteenth notes in the excerpt book and the arpeggios at Piu moto. I used the metronome at 1/8 = 80 and a drone on Ab, when it became apparent that I had no idea about the tonality of the scale. I think I was disoriented because it started on A natural. Went back and did a quick blow by of the entire excerpt, pleased that I remembered most of the fingerings. Next, I can start working it up to tempo.
Tone is improving. Probably didn't hurt that I put some rosin on my bow yesterday. Funny, I used to be so compulsive about that, but now I just assume that if my cello sounds bad it must be me, and will go for weeks without adding rosin.
Wednesday, September 8
Wed 40 min
10 min - Bach Prelude #4, first half on last 4 measures with varying tempos and slurs, then added the preceding 6 measures of open chord patterns.
10 min - Mooney TP Bk 1, Pattern II daily warmups, Crawdad, The Devil's Dream, The California Traveller. These had some fun arpeggio/broken chord patterns. Today before practicing I painted my thumb callous with New Skin, since I had the bottle out to cover a healing puncture wound (cat claw) at the lateral base of my left index finger (nice bruise on the palm below the mcp crease, BTW). Not sure how effective that was, but this seems to be a good way to work up my thumb position tolerance. More time spent because I'm less bored, with many new pieces to read through.
10 min - Suzuki 2, Chorus from "Judas Maccabaeus", Hunter's Chorus, Musette from English Suite No. 3, March in G, Theme from "Witches' Dance", The Moon Over the Ruined Castle tonalization. 1st - 2nd position shifts and (mostly) backward extensions.
10 min - Beethoven 5. Realized I wrote about sixteenth notes yesterday when I meant 32nds, and edited yesterday's post. Then I noted another brain cramp, having labeled it Mon, so changed that, too. Today I worked on the 2nd half of the 32nd note theme stmt, again with metronome at 80, but went from 32nd notes to 16th notes. I didn't go back to look at the first half to figure out whether today's section seemed easier because it is, or because I was just prepped by yesterday's work.
I was going to add another block or two after a 30 min lunch break, but was feeling some achiness in my right forearm and got distracted by chores. I'll see what I feel like a little later.
10 min - Bach Prelude #4, first half on last 4 measures with varying tempos and slurs, then added the preceding 6 measures of open chord patterns.
10 min - Mooney TP Bk 1, Pattern II daily warmups, Crawdad, The Devil's Dream, The California Traveller. These had some fun arpeggio/broken chord patterns. Today before practicing I painted my thumb callous with New Skin, since I had the bottle out to cover a healing puncture wound (cat claw) at the lateral base of my left index finger (nice bruise on the palm below the mcp crease, BTW). Not sure how effective that was, but this seems to be a good way to work up my thumb position tolerance. More time spent because I'm less bored, with many new pieces to read through.
10 min - Suzuki 2, Chorus from "Judas Maccabaeus", Hunter's Chorus, Musette from English Suite No. 3, March in G, Theme from "Witches' Dance", The Moon Over the Ruined Castle tonalization. 1st - 2nd position shifts and (mostly) backward extensions.
10 min - Beethoven 5. Realized I wrote about sixteenth notes yesterday when I meant 32nds, and edited yesterday's post. Then I noted another brain cramp, having labeled it Mon, so changed that, too. Today I worked on the 2nd half of the 32nd note theme stmt, again with metronome at 80, but went from 32nd notes to 16th notes. I didn't go back to look at the first half to figure out whether today's section seemed easier because it is, or because I was just prepped by yesterday's work.
I was going to add another block or two after a 30 min lunch break, but was feeling some achiness in my right forearm and got distracted by chores. I'll see what I feel like a little later.
Tuesday, September 7
10 min - Bach Prelude #4 using Howard ed'n. Desultory practice of 1st 10 or so measures, and the last run of sixteenth notes. Plan to work measure by measure at lesson, still goofing off at this stage.
10 min - Suzuki Bk 1 last two minuets, Suzuki Bk 2 opening tonalizations, Long, Long Ago in C with variation, May Time, 2nd position etude and tonalization, two Bach minuets. I figured that while I am just reading I will keep playing through the books.
10 min - Mooney TP Bk 1, Pattern 2 warm-ups, French Folk Song, May Sing, Oh Susanna, Old Folks at Home, Blue Bells of Scotland (all in C), accompaniment to Old Folks at home, which included arpeggios and some fun double stops. My thumb position still sounds like crap.
10 min - Beethoven 5, 1st half of the 1st theme in
OK, I admit it. I took all 3 days of the holiday weekend off. For some reason DH hanging around the house always puts my practice schedule off kilter. I sure hope he doesn't decide to retire anytime soon.
Today I checked the orchestra web site to see if by some odd chance the schedule for the next concert had been posted. Surprise! It was! Our November program will consist of Tchaikovsky Symphony No 6 and Piston Symphony No 4. I don't know the latter at all, but think that must be a very odd program. I'm not ready to drop Beethoven from my excerpt practice, but you will also see Tchaik 6 excerpts beginning tomorrow!
Friday, September 3
Fri 35 min
15 min - Bach Prelude #4. Started off by watching a Rostropovich YouTube video.
(I looove YouTube. Do you realize how much learning a piece has changed in the past decade thanks to YouTube?). Went back and forth with my Casals edition and the video in the first few measures. Funny, what feels like a big extension to me looks like nothing for those long fingers.
A bit confused about how to play the 3d chord, so also looked at a couple of other videos:
...and finally pulled out my Behringer/Peter Howard edition. Filled the rest of the time with trying some of those fingerings. I think the most important thing about playing these chords is to decide on fingerings and commit to them.
5 min - Mooney TP 1, from the last song in Pattern I, The Hundred Pipers, thru the first 2 prep exercises in Pattern II. Trying to keep up on my fingertips while keeping my arm on the cello. Better today than yesterday.
5 min - Suzuki Bk 1, C MAJ arp tonalization on p19, 4 octave C MAJ scale in linked quarters, Etude at a variety of tempi and with double note bowing, The Happy Farmer and Minuet in C.
10 min - Beethoven Symphony No 5, Andante con moto, 2nd theme in 1/16 notes.
My intonation is so much better today, and the extensions don't feel nearly as far. Glad I have another week to "goof off" before starting back in earnest.
15 min - Bach Prelude #4. Started off by watching a Rostropovich YouTube video.
(I looove YouTube. Do you realize how much learning a piece has changed in the past decade thanks to YouTube?). Went back and forth with my Casals edition and the video in the first few measures. Funny, what feels like a big extension to me looks like nothing for those long fingers.
A bit confused about how to play the 3d chord, so also looked at a couple of other videos:
...and finally pulled out my Behringer/Peter Howard edition. Filled the rest of the time with trying some of those fingerings. I think the most important thing about playing these chords is to decide on fingerings and commit to them.
5 min - Mooney TP 1, from the last song in Pattern I, The Hundred Pipers, thru the first 2 prep exercises in Pattern II. Trying to keep up on my fingertips while keeping my arm on the cello. Better today than yesterday.
5 min - Suzuki Bk 1, C MAJ arp tonalization on p19, 4 octave C MAJ scale in linked quarters, Etude at a variety of tempi and with double note bowing, The Happy Farmer and Minuet in C.
10 min - Beethoven Symphony No 5, Andante con moto, 2nd theme in 1/16 notes.
My intonation is so much better today, and the extensions don't feel nearly as far. Glad I have another week to "goof off" before starting back in earnest.
Thursday, September 2
Thu 30 min
15 min - Bach Prelude #4. I shall soon have to actually start working on this, as I have reached the point where just playing around feels fruitless. Discovered that I don't appear to be able to reach a major third when extended in half position. Hmmm. Hope this is an intonation issue, but fear my hand may have tightened with the time off. Oh well, it will stretch again. Therefore concentrated on intonation, old finger shifts, and finger substitutions where appropriate.
5 min - Mooney TP 1, 1st pattern, Soldier's Joy, Arkansas Traveller, and first 2/3 of The Hundred Pipers. Put a sticky note in the book to keep my place as I keep reading through. My thumb position sounds really awful, I must say. Remembering to keep my arm on the cello instead of hovering above it, though.
5 min - Suzuki Bk 1, from G Maj tonalization and Perpetual Motion to Rigadoon. Ditto on the sticky note. Having fun playing these as musically as possible. Could stand to work on vibrato.
5 min - Beethoven Symphony No 5, Andante con moto, 1st theme statement. Thanks to Emily for the alterations to Rose's fingerings. (What was he thinking?)
15 min - Bach Prelude #4. I shall soon have to actually start working on this, as I have reached the point where just playing around feels fruitless. Discovered that I don't appear to be able to reach a major third when extended in half position. Hmmm. Hope this is an intonation issue, but fear my hand may have tightened with the time off. Oh well, it will stretch again. Therefore concentrated on intonation, old finger shifts, and finger substitutions where appropriate.
5 min - Mooney TP 1, 1st pattern, Soldier's Joy, Arkansas Traveller, and first 2/3 of The Hundred Pipers. Put a sticky note in the book to keep my place as I keep reading through. My thumb position sounds really awful, I must say. Remembering to keep my arm on the cello instead of hovering above it, though.
5 min - Suzuki Bk 1, from G Maj tonalization and Perpetual Motion to Rigadoon. Ditto on the sticky note. Having fun playing these as musically as possible. Could stand to work on vibrato.
5 min - Beethoven Symphony No 5, Andante con moto, 1st theme statement. Thanks to Emily for the alterations to Rose's fingerings. (What was he thinking?)
Wednesday, September 1
Wed 25 min
15 min - Prelude #4, especially the first 10 measures, with some dabbling in the 16th note runs. Practiced the Casals finferings using old finger shifts. It's starting to sound like something, though I note I'm playing it at half the suggested tempo marking :-).
5 min - Mooney TP 1, 1st 5 songs in Pattern 1: French Folk Song, May Song, Oh Susanna, Are You Sleeping?, and I'll Always Remember You.
5 min - Suzuki Bk 1 thru Perpetual Motion, including "petting the dog" version.
My fingers are starting to feel like they belong to my hand again, and you probably see the trend: 5 minutes more each day. I'm not working very much, but the pace feels just right for getting back into things.
15 min - Prelude #4, especially the first 10 measures, with some dabbling in the 16th note runs. Practiced the Casals finferings using old finger shifts. It's starting to sound like something, though I note I'm playing it at half the suggested tempo marking :-).
5 min - Mooney TP 1, 1st 5 songs in Pattern 1: French Folk Song, May Song, Oh Susanna, Are You Sleeping?, and I'll Always Remember You.
5 min - Suzuki Bk 1 thru Perpetual Motion, including "petting the dog" version.
My fingers are starting to feel like they belong to my hand again, and you probably see the trend: 5 minutes more each day. I'm not working very much, but the pace feels just right for getting back into things.
Tuesday, August 31
Tue 20 min
15 min - Prelude #4, 2nd page of Rosanoff version at a glacial pace. Started again from the beginning using the Casals ed. May be worth a YouTube excursion to look at fingering and bowing choices.
5 min - Mooney Thumb Position Bk 1, position 1 warmups
My fingers are insisting they have never played the cello before, but I have faith. And also 2 more weeks before lessons and orchestra resume.
15 min - Prelude #4, 2nd page of Rosanoff version at a glacial pace. Started again from the beginning using the Casals ed. May be worth a YouTube excursion to look at fingering and bowing choices.
5 min - Mooney Thumb Position Bk 1, position 1 warmups
My fingers are insisting they have never played the cello before, but I have faith. And also 2 more weeks before lessons and orchestra resume.
Monday, August 30
Monday, July 5
Mon 65 min
Looks like I took a loooong holiday weekend.
Slurps, Prelude #1
C MAJ scale, broken 3ds, arps, 3ds and 6ths.
Record slurps video for MT
More Prelude #1
It looks like I'll have more stuff to work on after orchestra rehearsal tomorrow night. This is what is on our summer concert in 2 weeks:
Suppe-Light Calvary Overture
Borodin-Polovitsian Dances
Gliere-Russian Sailor's Dance
Strauss-Wine, Women and Song
Rossini-Overture to the Barber of Seville
Porter-Begin the Beguine
Strauss-Thunder and Lightning Polka
Porter-Night and Day
Gould-American Salute
YIKES!
Here's my Introduction to Slurps, assisted by my foster kitten, Brigid.
Looks like I took a loooong holiday weekend.
Slurps, Prelude #1
C MAJ scale, broken 3ds, arps, 3ds and 6ths.
Record slurps video for MT
More Prelude #1
It looks like I'll have more stuff to work on after orchestra rehearsal tomorrow night. This is what is on our summer concert in 2 weeks:
Suppe-Light Calvary Overture
Borodin-Polovitsian Dances
Gliere-Russian Sailor's Dance
Strauss-Wine, Women and Song
Rossini-Overture to the Barber of Seville
Porter-Begin the Beguine
Strauss-Thunder and Lightning Polka
Porter-Night and Day
Gould-American Salute
YIKES!
Here's my Introduction to Slurps, assisted by my foster kitten, Brigid.
Wednesday, June 30
Wed 35 min
C MAJ scale, broken 3ds, I and IV arps, inverted arps, thumb scales.
Slurps on D and G.
Prelude #1 1st 6 measures. Alternating chords with slurps. Checking intonation.
The "not a 1-legged stool" thumb position is starting to feel more comfortable. Still working on forearm initiating downward shifts, "dragging" the shifting finger along.
C MAJ scale, broken 3ds, I and IV arps, inverted arps, thumb scales.
Slurps on D and G.
Prelude #1 1st 6 measures. Alternating chords with slurps. Checking intonation.
The "not a 1-legged stool" thumb position is starting to feel more comfortable. Still working on forearm initiating downward shifts, "dragging" the shifting finger along.
Tuesday, June 29
Thursday, June 24
Thu 30 min
15 min Suzuki Bk 1 and Webster Scherzo
15 min C MAJ scale, broken thirds, ds thirds, and triad inversions. The triads are really coming along well. also seems to help to turn my thumb backward a little more so I am more on the nail really high up.
I wasn't going to practice tonight, but managed to talk myself into "just 15 min" which I managed to turn into "just a half hour." Just like I have been able to keep a daily running schedule of "just 15 min" for the past month. I'm taking the a little bit often is better than a lot occasionally message to heart.
15 min Suzuki Bk 1 and Webster Scherzo
15 min C MAJ scale, broken thirds, ds thirds, and triad inversions. The triads are really coming along well. also seems to help to turn my thumb backward a little more so I am more on the nail really high up.
I wasn't going to practice tonight, but managed to talk myself into "just 15 min" which I managed to turn into "just a half hour." Just like I have been able to keep a daily running schedule of "just 15 min" for the past month. I'm taking the a little bit often is better than a lot occasionally message to heart.
Wednesday, June 23
Wed 40 min
10 min Suzuki Bk 1 and Webster Scherzo
30 min scales, thirds, arps (C MAJ ex 1-7), then TP 1 octave scales and a bit of 10ths.
While not good, every exercise is showing progress, especially the 4 note arpeggio patterns. The key was learning the finger pattern for arps in root position and 1st and 2nd inversions. In addition to strengthening my fingers and improving my coordination, this summer is going to be a nice exercise in theory applied to a strnged instrument tuned in fifths.
10 min Suzuki Bk 1 and Webster Scherzo
30 min scales, thirds, arps (C MAJ ex 1-7), then TP 1 octave scales and a bit of 10ths.
While not good, every exercise is showing progress, especially the 4 note arpeggio patterns. The key was learning the finger pattern for arps in root position and 1st and 2nd inversions. In addition to strengthening my fingers and improving my coordination, this summer is going to be a nice exercise in theory applied to a strnged instrument tuned in fifths.
Thursday, June 17
Wow, it's been almost a month since my last entry. I think my practices just got so repetitive I stopped being interested in writing about them. This mas my routine:
Warm up with Suzuki Book 1, 10-20 minutes
Divide the rest of the time between Webster (Sz Bk 3) and cello quartet music, with a few sessions that included 3-4 measures of Haydn C at a time.
After the quartet recital on 6/4, I spent the rest of the time just reading stuff.
I practiced 4x/week, for 30-60 minutes (usually an hour).
At my lessons we have been focused on the short detache bowing of Webster and Perpetual Motion variations, and last week made another major change in my bow hold. Fascinating how each small change this year has facilitated the next a few weeks later. I finally have a relaxed, curved thumb and a wrist that is more straight than dropped. So far I haven't aggravated my right elbow tendinosis. I'm persisting in spite of the fact that I am not so fond of the big, edgy sound I am getting now. T4- assures me it will grow on me.
Yesterday I decided it was time to jump into my summer Yampolsky project, so I spent an hour on C MAJ scale, ds, and arpeggio variations. I set the timer for 4 min and moved to the next variation at each beep. Most of these I can't actually play, so I am working very slowly, back and forth, paying attention to intonation and shifting. Had enough pain in my left elbow last night that I iced for the first time in awhile. An hour on Day 1 was probably not so smart.
Today I practiced for 1.25 hrs, but I started by warming up with Suzuki for about 15 minutes. Then I did 24 min of 4 min blocks on C MAJ, and used my new 20-sided die to select which variation to play in each block. Started off with 10ths - brutal! For 10ths and octaves I am mostly getting my hand shaped. Each time I landed on an octave variation I played scales in thumb position to establish the shape of the hand and start to build strength.
After a 5 min break I spent the rest of the time reading Popper easy etudes and Suzuki Bk 4. Tomorrow I am playing cello duets with one of my quartet partners at a local winery. Just sight reading. I think if we stick to easy Offenbach, Boismortier, and such we'll be fine, and my arms seem to be in pretty good order.
Warm up with Suzuki Book 1, 10-20 minutes
Divide the rest of the time between Webster (Sz Bk 3) and cello quartet music, with a few sessions that included 3-4 measures of Haydn C at a time.
After the quartet recital on 6/4, I spent the rest of the time just reading stuff.
I practiced 4x/week, for 30-60 minutes (usually an hour).
At my lessons we have been focused on the short detache bowing of Webster and Perpetual Motion variations, and last week made another major change in my bow hold. Fascinating how each small change this year has facilitated the next a few weeks later. I finally have a relaxed, curved thumb and a wrist that is more straight than dropped. So far I haven't aggravated my right elbow tendinosis. I'm persisting in spite of the fact that I am not so fond of the big, edgy sound I am getting now. T4- assures me it will grow on me.
Yesterday I decided it was time to jump into my summer Yampolsky project, so I spent an hour on C MAJ scale, ds, and arpeggio variations. I set the timer for 4 min and moved to the next variation at each beep. Most of these I can't actually play, so I am working very slowly, back and forth, paying attention to intonation and shifting. Had enough pain in my left elbow last night that I iced for the first time in awhile. An hour on Day 1 was probably not so smart.
Today I practiced for 1.25 hrs, but I started by warming up with Suzuki for about 15 minutes. Then I did 24 min of 4 min blocks on C MAJ, and used my new 20-sided die to select which variation to play in each block. Started off with 10ths - brutal! For 10ths and octaves I am mostly getting my hand shaped. Each time I landed on an octave variation I played scales in thumb position to establish the shape of the hand and start to build strength.
After a 5 min break I spent the rest of the time reading Popper easy etudes and Suzuki Bk 4. Tomorrow I am playing cello duets with one of my quartet partners at a local winery. Just sight reading. I think if we stick to easy Offenbach, Boismortier, and such we'll be fine, and my arms seem to be in pretty good order.
Wednesday, May 19
Wed 1:45 (1400-1600)
So I delayed my day off by a day. Had a great lesson on Monday night, discovering what I was missing in my "petting the dog" (freedom at the shoulder) and exploring possible bowings for the Haydn C Adagio. I am happier and happier with my new right arm skills - my cello sounds really great. Next step: keep doing it as the music gets more complicated.
I probably shouldn't count it as "practice," but I spent almost 2 hours this afternoon working out our parts with another of my cello quartet members. By the luck of the draw we have alternating 1st and 2nd cello parts on two of the pieces. I shared my philosophy of how to mark shifts into a part to minimize the amount of rethinking you need to do each time you play it, and helped her decide how to finger her part. Once decisions were made we were able to focus on how just the two parts sound together without the extra racket from the lower parts. A very rewarding practice.
However, since I have a church orchestra rehearsal later tonight, I'm going to take a break instead of practicing Haydn or Suzuki today. The deck is calling, and I think I have time for a small glass of wine with dinner.
So I delayed my day off by a day. Had a great lesson on Monday night, discovering what I was missing in my "petting the dog" (freedom at the shoulder) and exploring possible bowings for the Haydn C Adagio. I am happier and happier with my new right arm skills - my cello sounds really great. Next step: keep doing it as the music gets more complicated.
I probably shouldn't count it as "practice," but I spent almost 2 hours this afternoon working out our parts with another of my cello quartet members. By the luck of the draw we have alternating 1st and 2nd cello parts on two of the pieces. I shared my philosophy of how to mark shifts into a part to minimize the amount of rethinking you need to do each time you play it, and helped her decide how to finger her part. Once decisions were made we were able to focus on how just the two parts sound together without the extra racket from the lower parts. A very rewarding practice.
However, since I have a church orchestra rehearsal later tonight, I'm going to take a break instead of practicing Haydn or Suzuki today. The deck is calling, and I think I have time for a small glass of wine with dinner.
Monday, May 17
Mon 0:30 (~1700)
If I had my druthers, I'd take the day off after a concert. However, I have a cello lesson tonight, so needed to at least get my head back into lesson music, after a day of post-concert Svendsen ear worms.
10 min Suzuki Bk 1 from Perpetual Motion to the end. I think I'll ask to talk about the alternative bowings in PM and Etude (double 1/16th notes) at my lesson. It's the same bowing as in the A section of the Webster Scherzo we were talking about last week. I'll have T4- weigh in on the "petting the dog" analogy.
10 min Haydn C 1st mvmt 2nd theme to beginning of ds. I'm getting to the point that I can visualize the next chunk as I am setting on each held note. It's really conveniently written for that.
10 min Haydn C 2nd mvmt 1st statement. Not sure what bowing to use, so tried several. Checked in with the Wispelwey video to sort out the fingerings. What on earth did we do before YouTube?
You know it's going to be a good practice day when you hear the cello "lock in" with tuning. Does that mean my ear is hearing especially well today, or is the quality of the cello ringing? In any case, it's really ringing, and I love it.
If I had my druthers, I'd take the day off after a concert. However, I have a cello lesson tonight, so needed to at least get my head back into lesson music, after a day of post-concert Svendsen ear worms.
10 min Suzuki Bk 1 from Perpetual Motion to the end. I think I'll ask to talk about the alternative bowings in PM and Etude (double 1/16th notes) at my lesson. It's the same bowing as in the A section of the Webster Scherzo we were talking about last week. I'll have T4- weigh in on the "petting the dog" analogy.
10 min Haydn C 1st mvmt 2nd theme to beginning of ds. I'm getting to the point that I can visualize the next chunk as I am setting on each held note. It's really conveniently written for that.
10 min Haydn C 2nd mvmt 1st statement. Not sure what bowing to use, so tried several. Checked in with the Wispelwey video to sort out the fingerings. What on earth did we do before YouTube?
You know it's going to be a good practice day when you hear the cello "lock in" with tuning. Does that mean my ear is hearing especially well today, or is the quality of the cello ringing? In any case, it's really ringing, and I love it.
Sunday, May 16
Sun 0:40 (1000)
Played one short service at church this morning, so pretty well warmed up. Ran the Sibelius and Svendsen Symphony with the recording. I just want to make sure I have the cues in my ears before the concert this afternoon. Now I'm going to go put my final markings in my practice parts and file them,and clean up my folder to turn in. After the concert this afternoon we are off until the summer concert in July. Yippee! I have an open night each week for 1.5 months!
Played one short service at church this morning, so pretty well warmed up. Ran the Sibelius and Svendsen Symphony with the recording. I just want to make sure I have the cues in my ears before the concert this afternoon. Now I'm going to go put my final markings in my practice parts and file them,and clean up my folder to turn in. After the concert this afternoon we are off until the summer concert in July. Yippee! I have an open night each week for 1.5 months!
Saturday, May 15
Sat 0:45 (1900)
Dress rehearsal went pretty well this morning, so I just "touched up" the tricky bits in all 4 mvmts of Svendsen and reviewed fingerings for the last page or 2, then played the 4th mvmt with the recording. Much better. Also interspersed a few minutes of that up-down-down ricochet Sibelius bowing. I'll want to run that one last time with the recording before performance tomorrow afternoon.
Dress rehearsal went pretty well this morning, so I just "touched up" the tricky bits in all 4 mvmts of Svendsen and reviewed fingerings for the last page or 2, then played the 4th mvmt with the recording. Much better. Also interspersed a few minutes of that up-down-down ricochet Sibelius bowing. I'll want to run that one last time with the recording before performance tomorrow afternoon.
Friday, May 14
Fri 0:20 (1825-1848)
Wanted to jump right in to work on Svendsen, but everything felt too icky so did my 10 min Suzuki Bk 1 warmup, FFS to Rigadoon.
10 min Svendsen 4th mvmt, the funky pattern part then the last page.
After spending all day in a semi-dark room in front of a computer (beginning Flash class) I just don't feel like working. 2 glasses of wine with dinner probably did not help, though were quite nice. I think I'll go watch a movie, then early to bed. I do feel better for having played 20 minutes, though.
Dress rehearsal tomorrow morning. Better to be well-rested than well-prepared.
Wanted to jump right in to work on Svendsen, but everything felt too icky so did my 10 min Suzuki Bk 1 warmup, FFS to Rigadoon.
10 min Svendsen 4th mvmt, the funky pattern part then the last page.
After spending all day in a semi-dark room in front of a computer (beginning Flash class) I just don't feel like working. 2 glasses of wine with dinner probably did not help, though were quite nice. I think I'll go watch a movie, then early to bed. I do feel better for having played 20 minutes, though.
Dress rehearsal tomorrow morning. Better to be well-rested than well-prepared.
Thursday, May 13
Thu 1:30 (1100-1403)
10 min Warm up
Inspired by looking at the bowing for the Webster Scherzo in Suzuki Bk 3 yesterday, and the fact that the book is on my stand, I used it for my warmup today. I started with the Scherzo, then went back to the beginning and played through the tonalizations. Moving forward, I was just beginning the Lully Gavotte when the timer went off. I'm pretty sure I haven't played any of the Bk 3 pieces before. They're quite fun.
10 min Haydn C 1 m27-35
Still focusing on the shifts. Tone is very nice today - bodes well for later practice. I also listened to the Wispelway 2nd mvmt video again this am, but I was multitasking so am not counting it as practice today.
A rather longish break to shower, remove nail polish and shorten fingernails "down to the nub" for optimal cello playing.
30 min Cockles and Mussles and Ash Grove arr. Bissinger
This is my Vc1 part for cello quartet. We're working on a shortened schedule, with a recital planned in June but only two coached sessions remaining, and the other two practices are going to be short personnel. Today was deciding on optimal fingering to support my melodic intentions (sounds grand, doesn't it?). This always takes longer than I expect - I thought 10 minutes would be plenty of time, as it's not that complicated and it's not that high (mid-string harmonic A). But the lovely thing about the fretless 4-stringed cello is that we have so many options about how to finger each note. Lovely! I'm happy with the end result, though, and it should need minimal practice time down the road.
10 min Hanssen Valdresmarsj
Refreshed my memory about fingering for beginning pizz broken chords and thumb position at end of Trio. Wonder whatever happened to my previously marked part?
10 min Haugen An Uncommon Hero
Part is still a bit difficult to read, with 2 cello parts notated on one staff. Watching for downward stems and bow markings underneath. Went through reviewing the tricky bowing parts. This piece was composed in 2006, and I like it more each time we rehearse it - now that I have figured out the rhythms and rapidly changing meters.
20 min Svendsen 1st and 4th Mvmts
Play through with recording. A fun way to end the practice day. The tricky bits I've been practicing are going well, but there are a couple of stretches in the 4th mvmt that still need some closer attention - working out fingerings and reviewing rhythms.
10 min Warm up
Inspired by looking at the bowing for the Webster Scherzo in Suzuki Bk 3 yesterday, and the fact that the book is on my stand, I used it for my warmup today. I started with the Scherzo, then went back to the beginning and played through the tonalizations. Moving forward, I was just beginning the Lully Gavotte when the timer went off. I'm pretty sure I haven't played any of the Bk 3 pieces before. They're quite fun.
10 min Haydn C 1 m27-35
Still focusing on the shifts. Tone is very nice today - bodes well for later practice. I also listened to the Wispelway 2nd mvmt video again this am, but I was multitasking so am not counting it as practice today.
A rather longish break to shower, remove nail polish and shorten fingernails "down to the nub" for optimal cello playing.
30 min Cockles and Mussles and Ash Grove arr. Bissinger
This is my Vc1 part for cello quartet. We're working on a shortened schedule, with a recital planned in June but only two coached sessions remaining, and the other two practices are going to be short personnel. Today was deciding on optimal fingering to support my melodic intentions (sounds grand, doesn't it?). This always takes longer than I expect - I thought 10 minutes would be plenty of time, as it's not that complicated and it's not that high (mid-string harmonic A). But the lovely thing about the fretless 4-stringed cello is that we have so many options about how to finger each note. Lovely! I'm happy with the end result, though, and it should need minimal practice time down the road.
10 min Hanssen Valdresmarsj
Refreshed my memory about fingering for beginning pizz broken chords and thumb position at end of Trio. Wonder whatever happened to my previously marked part?
10 min Haugen An Uncommon Hero
Part is still a bit difficult to read, with 2 cello parts notated on one staff. Watching for downward stems and bow markings underneath. Went through reviewing the tricky bowing parts. This piece was composed in 2006, and I like it more each time we rehearse it - now that I have figured out the rhythms and rapidly changing meters.
20 min Svendsen 1st and 4th Mvmts
Play through with recording. A fun way to end the practice day. The tricky bits I've been practicing are going well, but there are a couple of stretches in the 4th mvmt that still need some closer attention - working out fingerings and reviewing rhythms.
Wednesday, May 12
Wed 1:40 (1115-1350)
15 min Suzuki Bk 1 (all)
Break for breakfast
10 min Haydn C 1 m27-34. F drone. Shift accuracy. Soft 1st mcp in shifts.
20 min Located and watched a video of Pieter Wispelway playing the Haydn C Adagio.
35 min Svendsen
1- broken 3ds and accidentals
2- opening, marked best fingering
3- fast section mm qu=75-115
4- syncopated patterns mm ha=80, 90, 95
Short break to hug kitties.
20 min Sibelius
7 min play through with recording
13 min 16th notes. Revised fingering of 3d measure - less elegant but seems to work better fast. 1-1-1 shift at beginning of 4th measure seems to propel into 1st finger shifts on "ands" in that measure. Brief look at wiggly section as double stops - could stand to do that a couple more times. Also need to learn the cues at reh 8 as I don't trust my counting there.
15 min Suzuki Bk 1 (all)
Break for breakfast
10 min Haydn C 1 m27-34. F drone. Shift accuracy. Soft 1st mcp in shifts.
20 min Located and watched a video of Pieter Wispelway playing the Haydn C Adagio.
35 min Svendsen
1- broken 3ds and accidentals
2- opening, marked best fingering
3- fast section mm qu=75-115
4- syncopated patterns mm ha=80, 90, 95
Short break to hug kitties.
20 min Sibelius
7 min play through with recording
13 min 16th notes. Revised fingering of 3d measure - less elegant but seems to work better fast. 1-1-1 shift at beginning of 4th measure seems to propel into 1st finger shifts on "ands" in that measure. Brief look at wiggly section as double stops - could stand to do that a couple more times. Also need to learn the cues at reh 8 as I don't trust my counting there.
Tuesday, May 11
Monday, May 10
Saturday, May 8
Sat 0:40 (1800-1900)
10 min Suzuki Bk1 Rigadoon to Minuet 2 then FFS to May Song.
10 min Svendsen Mvmt 3 fast part mm qu = 70-115 then back down to 90. I really only have complete control at 90.
10 min Svendsen Mvmt 1 broken 3ds. Starting to feel comfortable. Need to see how it goes with the recording.
10 min Svendsen Mvmt 4 between F and H. Worked out a better fingering involving 1-1 instead of 2-2 shifts and 2-124 patterns. The pattern is consistent throughout, which helps a lot.
Quit earlier than I had hoped due to general queasiness. Hope I didn't eat something bad at the Mother's Day family potluck.
10 min Suzuki Bk1 Rigadoon to Minuet 2 then FFS to May Song.
10 min Svendsen Mvmt 3 fast part mm qu = 70-115 then back down to 90. I really only have complete control at 90.
10 min Svendsen Mvmt 1 broken 3ds. Starting to feel comfortable. Need to see how it goes with the recording.
10 min Svendsen Mvmt 4 between F and H. Worked out a better fingering involving 1-1 instead of 2-2 shifts and 2-124 patterns. The pattern is consistent throughout, which helps a lot.
Quit earlier than I had hoped due to general queasiness. Hope I didn't eat something bad at the Mother's Day family potluck.
Thursday, May 6
Thu 0:30 (1630-1800)
10 min Suzuki Bk 1 from Rigadoon to Minuet 2
10 min Svendsen Mvmt 3 fast section mm qu = 70-110 (goal is 116, therefore I would like to be able to play 120 comfortably)
10+ min Reading through Vc1 parts of candidate songs for cello quartet. British and American folk songs. It will be nice to play something that will require minimal practice time (not necessarily effort) to make it sound good.
10 min Suzuki Bk 1 from Rigadoon to Minuet 2
10 min Svendsen Mvmt 3 fast section mm qu = 70-110 (goal is 116, therefore I would like to be able to play 120 comfortably)
10+ min Reading through Vc1 parts of candidate songs for cello quartet. British and American folk songs. It will be nice to play something that will require minimal practice time (not necessarily effort) to make it sound good.
Wednesday, May 5
Wed 0:30 (1630-1730)
Thinking that what this blog has evolved into is not really a very good way to maintain a practice log. I did practice last week, probably about 3 hours total, with 2/3 of that yesterday working on orchestra music. But nothing got recorded. Not that there was much to record.
Today I got back to my 10 minute segments.
10 min Suzuki Bk 1, enough to play through Rigadoon. Most rewarding part was spending a few extra minutes with the tonalization instructing the student to listen for the ring. Realize I'm not doing that often enough, and that on Petra I can actually hear the ring as an extra note. I'm sure that exercise helped with intonation for the rest of the session.
10 min Svendsen Mvmt 1 two tricky bits. Used drone to help with shifting accuracy, intonation.
10 min Svendsen Mvmt 3 fast section. Worked with metronome qu = 60, 65, 70, 75, 80, 85, 90, 95, 90, 95. Limit for today. Recognized a couple of new subtle left and right hand patterns.
Not much, but achieved a satisfying amount of progress.
Thinking that what this blog has evolved into is not really a very good way to maintain a practice log. I did practice last week, probably about 3 hours total, with 2/3 of that yesterday working on orchestra music. But nothing got recorded. Not that there was much to record.
Today I got back to my 10 minute segments.
10 min Suzuki Bk 1, enough to play through Rigadoon. Most rewarding part was spending a few extra minutes with the tonalization instructing the student to listen for the ring. Realize I'm not doing that often enough, and that on Petra I can actually hear the ring as an extra note. I'm sure that exercise helped with intonation for the rest of the session.
10 min Svendsen Mvmt 1 two tricky bits. Used drone to help with shifting accuracy, intonation.
10 min Svendsen Mvmt 3 fast section. Worked with metronome qu = 60, 65, 70, 75, 80, 85, 90, 95, 90, 95. Limit for today. Recognized a couple of new subtle left and right hand patterns.
Not much, but achieved a satisfying amount of progress.
Tuesday, April 27
Tue 1:05 (~1120 and 1600-1700)
Started with 10-15 min of Suzuki while waiting for the plumber. This is so exciting - whatever change "happened" at lesson last week seems to be persistent. I finally have a completely tension-free bow hand and am getting a great core cello sound by some mysterious coordination of all my body working together.
Then this afternoon sat down to work on Svendsen. Began with the tricky bits in the 1st mvmt, including the descending broken third patterns we discussed in my lesson yesterday. Piece of cake after recognizing the pattern and reviewing the standard fingering. Thanks, T4-. After about 20 minutes of careful review and reps I played the entire symphony with the recording, marking additional bits in the other mvmts that need practice. Don't think I am going to get to them today, but the piece is coming into focus.
Started with 10-15 min of Suzuki while waiting for the plumber. This is so exciting - whatever change "happened" at lesson last week seems to be persistent. I finally have a completely tension-free bow hand and am getting a great core cello sound by some mysterious coordination of all my body working together.
Then this afternoon sat down to work on Svendsen. Began with the tricky bits in the 1st mvmt, including the descending broken third patterns we discussed in my lesson yesterday. Piece of cake after recognizing the pattern and reviewing the standard fingering. Thanks, T4-. After about 20 minutes of careful review and reps I played the entire symphony with the recording, marking additional bits in the other mvmts that need practice. Don't think I am going to get to them today, but the piece is coming into focus.
Monday, April 26
Mon 0:61 (1510-1611)
Started with Suzuki Bk 1, pieces 2-8. Still not playing from memory, just running through them trying to regain that sense that I am pulling the sound out of the cello with minimal weight, and certainly no pressing. I'm playing Emma as my practice cello, and should probably repeat this with Petra before my lesson to make sure it's transferable. ~15 min
After that nice tonalization warmup, I worked on orchestra music. Since I'm the 2nd chair for this concert I have some exposed parts to cover in the Sibelius violin concerto 3d mvmt. Worked out the rhythms and a few spots of tricky fingering, and wondered if I need to be able to play the solo chromatic runs, just in case. Not today, anyway. Did a run through with Sarah Chang. Needs more work on the alternating bowing, which we are doing because it is easier than the up down down marked. But even the easier bowing takes a lot of balance to maintain with the violin rhythms and changing notes. ~30 min
Finally, worked on tricky bits in the Svendsen symphony 1st mvmt. I think I'm going to ask T4 to go over fingering of descending broken thirds. This would be much easier if I knew the pattern, and I'm sure there must be one.
Started with Suzuki Bk 1, pieces 2-8. Still not playing from memory, just running through them trying to regain that sense that I am pulling the sound out of the cello with minimal weight, and certainly no pressing. I'm playing Emma as my practice cello, and should probably repeat this with Petra before my lesson to make sure it's transferable. ~15 min
After that nice tonalization warmup, I worked on orchestra music. Since I'm the 2nd chair for this concert I have some exposed parts to cover in the Sibelius violin concerto 3d mvmt. Worked out the rhythms and a few spots of tricky fingering, and wondered if I need to be able to play the solo chromatic runs, just in case. Not today, anyway. Did a run through with Sarah Chang. Needs more work on the alternating bowing, which we are doing because it is easier than the up down down marked. But even the easier bowing takes a lot of balance to maintain with the violin rhythms and changing notes. ~30 min
Finally, worked on tricky bits in the Svendsen symphony 1st mvmt. I think I'm going to ask T4 to go over fingering of descending broken thirds. This would be much easier if I knew the pattern, and I'm sure there must be one.
Wednesday, April 21
Monday, April 19
Mon 0:45 (1600-1645)
Sat I had a dress rehearsal and a concert. Sun I played 2 services, which including the pre-service prep time was 5.5 hours at church. I didn't practice either day.
Today I did an Apres Un Reve run through, then listened to a recoding with piano, followed by 3 run thoughs with a piano accompaniment track, the first with music, and the others mostly without. After a tiny bit of shift practice, I...
... opened Suzuki book 1 and played through various pieces with as much nice legato as I could muster, both as written and in thumb position. That was kind of fun.
Then, just for kicks I did a Breval run through from memory.
OK, I don't know how productive that was, but it was fun, anyway.
Sat I had a dress rehearsal and a concert. Sun I played 2 services, which including the pre-service prep time was 5.5 hours at church. I didn't practice either day.
Today I did an Apres Un Reve run through, then listened to a recoding with piano, followed by 3 run thoughs with a piano accompaniment track, the first with music, and the others mostly without. After a tiny bit of shift practice, I...
... opened Suzuki book 1 and played through various pieces with as much nice legato as I could muster, both as written and in thumb position. That was kind of fun.
Then, just for kicks I did a Breval run through from memory.
OK, I don't know how productive that was, but it was fun, anyway.
Friday, April 16
Thursday, April 15
Thu 1:40 (1200-1300, 1950-2035)
Just the facts. 30 min on Apres Un Reve, 15 min on Boismortier in case we played it at quartet rehearsal, the rest on orchestra music. Concert on Saturday. Unexpected evening practice time when I, alone, showed up for quartet rehearsal because I didn't listen to the voice mail telling me that our coach had an appendectomy and rehearsal was canceled.
Just the facts. 30 min on Apres Un Reve, 15 min on Boismortier in case we played it at quartet rehearsal, the rest on orchestra music. Concert on Saturday. Unexpected evening practice time when I, alone, showed up for quartet rehearsal because I didn't listen to the voice mail telling me that our coach had an appendectomy and rehearsal was canceled.
Wednesday, April 14
Wed 0:55 (1204-1259)
I'm finding the @EmilyCello No Tension Challenge to be both fun and rewarding. Love seeing her Dvorak practice tips, and applying a few myself. Today I am working with this recording, and the additional challenges I added today were 1) talking a bit on the video 2) moving while playing, and 3) playing with a cat in the audience.
For practice, I started by warming up with open strings and slurps. First, I made the remarkable discovery that the bow change sound was hidden much better while letting up slightly as I changed direction, allowing the string to continue to vibrate until I caught it going in the other direction. Previously I had been trying all manner of bow change speeds but stopping the string as I changed direction. Cool.
I morphed into 1 note and 2 note string crossings, ala Vivaldi, and lo and behold, I can actually play the impossible string crossing pattern today. WoOt!
Moving on to Faure, I focused on just the two scale patterns, one ascending and the other descending, in the 8th line. I don't think I can even remember all the practice techniques I threw at those: add-a-note, double minting, add-a-note WITH double minting, using the harmonic to check intonation by alternating ringing and stopping. OK, I guess that was all the techniques, but lots of different patterns. I also tried to talk while playing - nope, not ready yet, but I could eventually say some of the fingerings out loud. I also tried to move a lot more, but I think today the movement actually induced more tension. That's OK, it will be better tomorrow.
Here we have 2 takes of the screechy half of Apres Un Reve. You can see on my face that I go in and out of "no tension," using movement to release when needed. I would say that is definite progress.
I'm not sitting on the notes today as well, but I'm not surprised, as between the cat, the talking, and the new movement I've made the task much more complicated. Tomorrow... well, let's see if I can think of a better way to move from distraction to no tension.
I'm finding the @EmilyCello No Tension Challenge to be both fun and rewarding. Love seeing her Dvorak practice tips, and applying a few myself. Today I am working with this recording, and the additional challenges I added today were 1) talking a bit on the video 2) moving while playing, and 3) playing with a cat in the audience.
For practice, I started by warming up with open strings and slurps. First, I made the remarkable discovery that the bow change sound was hidden much better while letting up slightly as I changed direction, allowing the string to continue to vibrate until I caught it going in the other direction. Previously I had been trying all manner of bow change speeds but stopping the string as I changed direction. Cool.
I morphed into 1 note and 2 note string crossings, ala Vivaldi, and lo and behold, I can actually play the impossible string crossing pattern today. WoOt!
Moving on to Faure, I focused on just the two scale patterns, one ascending and the other descending, in the 8th line. I don't think I can even remember all the practice techniques I threw at those: add-a-note, double minting, add-a-note WITH double minting, using the harmonic to check intonation by alternating ringing and stopping. OK, I guess that was all the techniques, but lots of different patterns. I also tried to talk while playing - nope, not ready yet, but I could eventually say some of the fingerings out loud. I also tried to move a lot more, but I think today the movement actually induced more tension. That's OK, it will be better tomorrow.
Here we have 2 takes of the screechy half of Apres Un Reve. You can see on my face that I go in and out of "no tension," using movement to release when needed. I would say that is definite progress.
I'm not sitting on the notes today as well, but I'm not surprised, as between the cat, the talking, and the new movement I've made the task much more complicated. Tomorrow... well, let's see if I can think of a better way to move from distraction to no tension.
Tuesday, April 13
Tue 1:05 (1100-1215)
Warmed up with open strings and slurps, morphing into Vivaldi string crossings. Focused on right elbow motion. Found as the energy need increased with faster crossings it worked better to provide more body support forward from my chest. Funny, I'd never noticed that before.
Started the No Tension part of my practice with a run through Perpetual Motion in G. Continued to feel more relaxed with more body support.
Then Apres Un Reve. At my lesson yesterday we spent a lot of time on just the first two notes: starting the first note, and the shift to the second. Pointers included:
* Can't start with the bow sitting on the string. Must be dynamic.
* Over-supinate, even putting the frog in the hand to start. At about 1/3 bow, normal bow hold, then increase bow speed after the shift.
* The "shift happens" as the first note is played. Think dynamic again - can't sit on the note, then decide to shift.
* The arm motion is akin to the preparation needed to launch a basketball. Remember to "bend the knees."
* Remember to hummmmm. Pressing the string inhibits this.
For practice today, I did a lot of shift double minting, exploring these pointers and releasing tension. I played short phrases over and over, again attempting to release tension before beginning and to maintain relaxation through the phrase. I tried different (irrelevant) head movements and wiggles to monitor my body parts for tension. I also practiced phrases with a neighboring open string double stop to check intonation.
After working through the piece in fragments a couple of times (~45 min), I recorded a run through. What I tried to do on the recorded run through was to sit on the end of each phrase until I remembered the next fragment and released residual tension before proceeding.
There are some trouble spots still in the middle of the screechy section. I had my music to my right, so you will see me squinting at it (forgot my glasses this morning) to check when I can't remember what comes next. One takeaway is that I need to know the piece well enough to be able to think ahead, but I was surprised that what felt like lots of thinking time didn't perturb the rhythm as much as I thought it did.
Making the video at the end of my practice block turns out to be a very useful exercise. Initially I couldn't help but add the layer of nerves that a performance situation "requires." Today, I felt for the first time that I was allowed to practice in front of the camera.
Note: as I was warming up, I realized that I was never going to release tension while I felt cold. Thus, the funny furry scarf and the down vest. Funny-looking, but much more comfortable!
Warmed up with open strings and slurps, morphing into Vivaldi string crossings. Focused on right elbow motion. Found as the energy need increased with faster crossings it worked better to provide more body support forward from my chest. Funny, I'd never noticed that before.
Started the No Tension part of my practice with a run through Perpetual Motion in G. Continued to feel more relaxed with more body support.
Then Apres Un Reve. At my lesson yesterday we spent a lot of time on just the first two notes: starting the first note, and the shift to the second. Pointers included:
* Can't start with the bow sitting on the string. Must be dynamic.
* Over-supinate, even putting the frog in the hand to start. At about 1/3 bow, normal bow hold, then increase bow speed after the shift.
* The "shift happens" as the first note is played. Think dynamic again - can't sit on the note, then decide to shift.
* The arm motion is akin to the preparation needed to launch a basketball. Remember to "bend the knees."
* Remember to hummmmm. Pressing the string inhibits this.
For practice today, I did a lot of shift double minting, exploring these pointers and releasing tension. I played short phrases over and over, again attempting to release tension before beginning and to maintain relaxation through the phrase. I tried different (irrelevant) head movements and wiggles to monitor my body parts for tension. I also practiced phrases with a neighboring open string double stop to check intonation.
After working through the piece in fragments a couple of times (~45 min), I recorded a run through. What I tried to do on the recorded run through was to sit on the end of each phrase until I remembered the next fragment and released residual tension before proceeding.
There are some trouble spots still in the middle of the screechy section. I had my music to my right, so you will see me squinting at it (forgot my glasses this morning) to check when I can't remember what comes next. One takeaway is that I need to know the piece well enough to be able to think ahead, but I was surprised that what felt like lots of thinking time didn't perturb the rhythm as much as I thought it did.
Making the video at the end of my practice block turns out to be a very useful exercise. Initially I couldn't help but add the layer of nerves that a performance situation "requires." Today, I felt for the first time that I was allowed to practice in front of the camera.
Note: as I was warming up, I realized that I was never going to release tension while I felt cold. Thus, the funny furry scarf and the down vest. Funny-looking, but much more comfortable!
Monday, April 12
Mon 0:50 (1545-1635)
Today is the second installment of the @EmilyCello No Tension Challenge. After warming up with open strings, slurps, and a lazy D MAJ galamian scale, I worked on the first half of the screechy part of Apres Un Reve, 25 reps of each of the two phrases. I had planned to do the whole thing, but 25 relaxed reps takes longer than I thought, plus John was absolutely driving me crazy climbing my back while I was trying to play.
There are 4 clips, because each was a failure. Yeah, if there had been a good one I would have just posted it. The first was surprisingly the best. I sat down and realized I couldn't remember how the first phrase went, having just finished 25 reps of the second, LOL! But because I paused for the memory lapses I managed to keep fairly loose until the end, which is actually the beginning of Phrase 3, so I didn't practice it today. Then, oh my, what faces!
The subsequent clips are very telling for where my issues are - before every shift , and at the beginning of every phrase. No problemo!
Tomorrow I will focus specifically on "preparing the relaxation" before shifts and phrases. Knowledge is power.
Today is the second installment of the @EmilyCello No Tension Challenge. After warming up with open strings, slurps, and a lazy D MAJ galamian scale, I worked on the first half of the screechy part of Apres Un Reve, 25 reps of each of the two phrases. I had planned to do the whole thing, but 25 relaxed reps takes longer than I thought, plus John was absolutely driving me crazy climbing my back while I was trying to play.
There are 4 clips, because each was a failure. Yeah, if there had been a good one I would have just posted it. The first was surprisingly the best. I sat down and realized I couldn't remember how the first phrase went, having just finished 25 reps of the second, LOL! But because I paused for the memory lapses I managed to keep fairly loose until the end, which is actually the beginning of Phrase 3, so I didn't practice it today. Then, oh my, what faces!
The subsequent clips are very telling for where my issues are - before every shift , and at the beginning of every phrase. No problemo!
Tomorrow I will focus specifically on "preparing the relaxation" before shifts and phrases. Knowledge is power.
Sunday, April 11
Sun 1:20 (1817-1858 and 1932-2011)
There was a half hour break between blocks due to phone calls, so I listed the times separately.
First half hour was spent working out fingerings in Sven* Symphony, 1st mvmt. The relaxed playing from the previous block carried over; very gratifying. The last 10 minutes was dedicated to the icky scale with the rocky pattern in Capriccio Italiene.
The second block was spent on the second half of Apres Un Reve. I didn't feel ready to give it the 25x treatment, but did enough reps to confidently work out the fingerings and bowings. Intermittent focus on relaxation, but not total. I'd say it's 85% memorized. Tomorrow I'll do another block and record it for the @EmilyCello No Tension Challenge.
There was a half hour break between blocks due to phone calls, so I listed the times separately.
First half hour was spent working out fingerings in Sven* Symphony, 1st mvmt. The relaxed playing from the previous block carried over; very gratifying. The last 10 minutes was dedicated to the icky scale with the rocky pattern in Capriccio Italiene.
The second block was spent on the second half of Apres Un Reve. I didn't feel ready to give it the 25x treatment, but did enough reps to confidently work out the fingerings and bowings. Intermittent focus on relaxation, but not total. I'd say it's 85% memorized. Tomorrow I'll do another block and record it for the @EmilyCello No Tension Challenge.
Sun 1:00 (1410-1510)
So, The Thing for today is relaxation. And I don't just mean the putting out the deck furniture and sitting in the sun kind, though that was nice, too. The most dissatisfying part of Thursday night's quartet performance is that as we waited and waited to go on I got more and more chilled and more and more tense, and when we finally played I was unable to release enough tension to play the way that I know I can, and that I did 1.5 hours before, during our warmup. It's not the nerves per se, it's the resulting tension.
I had a nice discussion with @EmilyCello regarding how to practice "not getting tense," looking for the best single thing to focus on while I practice, since I can't really OD on epinephrine and cope with it any time I want to. She suggested focusing on the sensation of relaxation to the exclusion of anything else I was working on for a part of my practice. And she proposed a challenge: video a run through of Apres Un Reve (current project) while focusing on relaxation, and post it. (A little epi-inducing, anyway.)
For today's practice, I divided the opening, pre-screechy part into two, and practiced each phrase 25x, pulling my focus back to relaxation as many times as I lost it, which was frequent. (You can see my counting abacus on the top of the piano.) Then I set up the camera and recorded it once off. That run through was less relaxed than the practice run throughs, but I am not entirely displeased. It definitely shows progress. Watch my face, which shows far fewer ticks than usual. (For some of my practice runs I actually kept my mouth hanging open - easier to feel the minute workings of the jaw that are the beginning of tension.)
Next time I'll do a couple of screechy lines. Be afraid.
So, The Thing for today is relaxation. And I don't just mean the putting out the deck furniture and sitting in the sun kind, though that was nice, too. The most dissatisfying part of Thursday night's quartet performance is that as we waited and waited to go on I got more and more chilled and more and more tense, and when we finally played I was unable to release enough tension to play the way that I know I can, and that I did 1.5 hours before, during our warmup. It's not the nerves per se, it's the resulting tension.
I had a nice discussion with @EmilyCello regarding how to practice "not getting tense," looking for the best single thing to focus on while I practice, since I can't really OD on epinephrine and cope with it any time I want to. She suggested focusing on the sensation of relaxation to the exclusion of anything else I was working on for a part of my practice. And she proposed a challenge: video a run through of Apres Un Reve (current project) while focusing on relaxation, and post it. (A little epi-inducing, anyway.)
For today's practice, I divided the opening, pre-screechy part into two, and practiced each phrase 25x, pulling my focus back to relaxation as many times as I lost it, which was frequent. (You can see my counting abacus on the top of the piano.) Then I set up the camera and recorded it once off. That run through was less relaxed than the practice run throughs, but I am not entirely displeased. It definitely shows progress. Watch my face, which shows far fewer ticks than usual. (For some of my practice runs I actually kept my mouth hanging open - easier to feel the minute workings of the jaw that are the beginning of tension.)
Next time I'll do a couple of screechy lines. Be afraid.
Thursday, April 8
Thu 0:42 (1441-1523)
Warmed up with open strings G C G D A DG then slurps across D and G. Really sitting right down there on the bridge, experimenting with bow speed on the different strings. Explored the sequence bow level change then bow change motion when going to a higher string on up bow. 10 min
Then it was logical to start with the little string crossing section in the Vivaldi (Spring) 1st mvmt. Worked from double stops in correct pulse. Seemed to work "OK" with just a little elbow drop after the pulse. Would be worth discussing this bowing at a lesson.
Next, fingering for soli section in the 3d mvmt. Loving how my bow weight from open strings is still carrying over.
Ran through the Handel, which we will be performing at a little recital tonight. Just took it under tempo, polishing a few shifts, and staying loose.
15 min or so on Apres un Reve, playing it with exaggerated passion and phrasing, big vibrato while, yes, focusing on keeping the right arm relaxed and weighted. Fun.
Back for just a few more minutes of Handel, and that's all for today. Warmup for recital at 6, recital at 7.
Warmed up with open strings G C G D A DG then slurps across D and G. Really sitting right down there on the bridge, experimenting with bow speed on the different strings. Explored the sequence bow level change then bow change motion when going to a higher string on up bow. 10 min
Then it was logical to start with the little string crossing section in the Vivaldi (Spring) 1st mvmt. Worked from double stops in correct pulse. Seemed to work "OK" with just a little elbow drop after the pulse. Would be worth discussing this bowing at a lesson.
Next, fingering for soli section in the 3d mvmt. Loving how my bow weight from open strings is still carrying over.
Ran through the Handel, which we will be performing at a little recital tonight. Just took it under tempo, polishing a few shifts, and staying loose.
15 min or so on Apres un Reve, playing it with exaggerated passion and phrasing, big vibrato while, yes, focusing on keeping the right arm relaxed and weighted. Fun.
Back for just a few more minutes of Handel, and that's all for today. Warmup for recital at 6, recital at 7.
Tuesday, April 6
Tue 0:30 (1238-?)
First half hour
10 min Open G. At the end, was playing with bow speed - fast into change, slow out of it seemed to make the smoothest changes.
10 min Apres Un Reve. Shifts and bow weight.
10 min Handel, slightly under tempo, going for smooth sound.
Then I spent most of the rest of the afternoon with my orchestra music, listening to recordings while following the cello part, getting scared and depressed. Overtures are fun to listen to, but a bear to play, and a "light" program filled with overtures is a nightmare. There, I said it. Now that I've cleared the air, I can get down to work, but first I need to survive rehearsal tonight.
First half hour
10 min Open G. At the end, was playing with bow speed - fast into change, slow out of it seemed to make the smoothest changes.
10 min Apres Un Reve. Shifts and bow weight.
10 min Handel, slightly under tempo, going for smooth sound.
Then I spent most of the rest of the afternoon with my orchestra music, listening to recordings while following the cello part, getting scared and depressed. Overtures are fun to listen to, but a bear to play, and a "light" program filled with overtures is a nightmare. There, I said it. Now that I've cleared the air, I can get down to work, but first I need to survive rehearsal tonight.
Sunday, April 4
Sun 0:35 (1330-1405)
Weird, I think I practiced yesterday, but I can't remember it.
Today I was up at 0545 to play 2 services in church. Practiced ~35 minutes afterward. Warmed up with a few open strings, then E MAJ in a variety of patterns. Worked on Apres Un Reve for about 15 min, and spent the remainder of the time on Handel. OK, not so productive, but I was tired. Still am, evidenced by my loss of yesterday's practice memories.
Interesting morning in church. Turns out T4-'s in-laws attend my church, so T4- was there visiting. While they had hired an extra violin and 2 violas, I was the only cello, and evidently one of the cameramen liked my bright green shirt. It seemed like every time I looked up I had a view of my bow hand. (DH said I had more than bow hand cameos, but I spent most of my time looking at the music, not the screen.) Or, maybe my bow hand just looks especially graceful now, attracting even the attention of the non-musician cameraman? Hah!
Weird, I think I practiced yesterday, but I can't remember it.
Today I was up at 0545 to play 2 services in church. Practiced ~35 minutes afterward. Warmed up with a few open strings, then E MAJ in a variety of patterns. Worked on Apres Un Reve for about 15 min, and spent the remainder of the time on Handel. OK, not so productive, but I was tired. Still am, evidenced by my loss of yesterday's practice memories.
Interesting morning in church. Turns out T4-'s in-laws attend my church, so T4- was there visiting. While they had hired an extra violin and 2 violas, I was the only cello, and evidently one of the cameramen liked my bright green shirt. It seemed like every time I looked up I had a view of my bow hand. (DH said I had more than bow hand cameos, but I spent most of my time looking at the music, not the screen.) Or, maybe my bow hand just looks especially graceful now, attracting even the attention of the non-musician cameraman? Hah!
Friday, April 2
Fri 0:40 (~1600)
10 min Open G, single note C or D on III, a few 2 string slurps
20 min Apres Un Reve, about evenly divided between 1st and 2nd thirds. I'm really not sure which string to finger the last 3d on.
10 min Handel, mostly focusing on the shifts.
I may be deluding myself about sounding better, but the ringing tone I am getting out of the cello is definite incentive to keep playing.
10 min Open G, single note C or D on III, a few 2 string slurps
20 min Apres Un Reve, about evenly divided between 1st and 2nd thirds. I'm really not sure which string to finger the last 3d on.
10 min Handel, mostly focusing on the shifts.
I may be deluding myself about sounding better, but the ringing tone I am getting out of the cello is definite incentive to keep playing.
Thursday, April 1
Thu (~1200)
Yes, I have practiced this week, but not logged it.
Sun - 2 church svcs, decided to take a practice day off
Mon - ~25 min before lesson
Tue - ~30 min, 10 min of open G
Wed - ~40 min, 10 min of open G
Today ~ 30 min
10 min - open G. This is hard to do if focused on the time, so I have been setting the timer. Rotate focus between string contact, hand motion, arm motion. Each day it's different. When my head finally gets into it it is very relaxing, and has already been paying huge dividends, with more ringing sound.
10 min - Handel 1st mvmt
Changed the fingerings for the opening thumb position at lesson. Sounding choked rather than hymn-like was the impetus for my technical changes this week. Now there is much more shifting, and focus on linked legato. Really tells on me if I get tense!
10 min - Handel 2nd mvmt
Again, it's mostly about staying relaxed and balanced. Changed a shift - the ascending into TP scale. Instead of going from 1 in ext to thumb on MSH, I pup the thumb up on E as cart of the ext motion (E F# G#) and shift on the thumb to MSH. Pretty cool - we'll see if I can risk it in rehearsal!
Was planning to practice more after scheduled afternoon activities. Rehearsal went well, though. I scrapped most of my new fingerings - too unreliable under pressure with the performance next week - but the new bowing style worked well. Coach commented that I sounded louder. WoOt!
Yes, I have practiced this week, but not logged it.
Sun - 2 church svcs, decided to take a practice day off
Mon - ~25 min before lesson
Tue - ~30 min, 10 min of open G
Wed - ~40 min, 10 min of open G
Today ~ 30 min
10 min - open G. This is hard to do if focused on the time, so I have been setting the timer. Rotate focus between string contact, hand motion, arm motion. Each day it's different. When my head finally gets into it it is very relaxing, and has already been paying huge dividends, with more ringing sound.
10 min - Handel 1st mvmt
Changed the fingerings for the opening thumb position at lesson. Sounding choked rather than hymn-like was the impetus for my technical changes this week. Now there is much more shifting, and focus on linked legato. Really tells on me if I get tense!
10 min - Handel 2nd mvmt
Again, it's mostly about staying relaxed and balanced. Changed a shift - the ascending into TP scale. Instead of going from 1 in ext to thumb on MSH, I pup the thumb up on E as cart of the ext motion (E F# G#) and shift on the thumb to MSH. Pretty cool - we'll see if I can risk it in rehearsal!
Was planning to practice more after scheduled afternoon activities. Rehearsal went well, though. I scrapped most of my new fingerings - too unreliable under pressure with the performance next week - but the new bowing style worked well. Coach commented that I sounded louder. WoOt!
Saturday, March 27
Friday, March 26
Fri 0:40 (1710-1750)
A short practice today, partly because I am feeling very dispirited, and partly because I got myself into a time crunch and that's all I have had available so far today, and I'm not likely to have any more time later.
Started out with the Faure Apres un Reve, gooey shifts and memorizing the opening. The treble clef section is more problematic, both because of the position and because I am less confident that I am interpreting the fingerings correctly.
Did a short period of actual work on the Handel that we (cello quartet) plan to perform in a couple of weeks. Buffed up two small fingerings, but was otherwise discouraged that I am never going to have the volume and tone the coach wants.
Ah, well. Moving on, warmed down by pfutzing around with a Gabrielli ricercar one of our other quartet members is going to perform at the recital, than a bad run through of the top part of the Canon a Duo.
Some days, the bear eats you.
A short practice today, partly because I am feeling very dispirited, and partly because I got myself into a time crunch and that's all I have had available so far today, and I'm not likely to have any more time later.
Started out with the Faure Apres un Reve, gooey shifts and memorizing the opening. The treble clef section is more problematic, both because of the position and because I am less confident that I am interpreting the fingerings correctly.
Did a short period of actual work on the Handel that we (cello quartet) plan to perform in a couple of weeks. Buffed up two small fingerings, but was otherwise discouraged that I am never going to have the volume and tone the coach wants.
Ah, well. Moving on, warmed down by pfutzing around with a Gabrielli ricercar one of our other quartet members is going to perform at the recital, than a bad run through of the top part of the Canon a Duo.
Some days, the bear eats you.
Thursday, March 25
Thu 2:07 (1103-1310)
Warmed up on the Boismortier a minor 2nd movement, focusing on the Shifting Thing and playing all the shifts and scale patterns at slow, no tempo. Then played through twice at qu =60, stopping the first time to work over trouble spots, Finished by working through all 4 movements under tempo but without the metronome. Focus on keeping the 16th notes relaxed and legato to avoid rushing. Also worked on 4-4 shift patterns in the 4th mvmt. That took 30-35 min.
At our next concert we are playing a contemporary piece by Linda Tutas Haugen called An Uncommon Hero. I didn't do very well at sight reading it at rehearsal, so it's on my first order of practice business this week. First, I wasted 15-20 minutes trying to find a recording of the piece, as it's been performed in public at least twice before. Nada. So I buckled down with my metronome and worked out some of the rhythms, beginning with a recurrent syncopated fanfare motif. I also realized while working through it that a big part of my problem reading was simply that there are 2 cello parts notated on the same staff, with independent bowings marked above and below. This will be good discipline, keeping my eye focused only on the down-going stems and underneath bowings. I finished this block by recording the Vc1 part for the exposition with a metronome, and then practiced the Vc2 part against the recording, a little under tempo. Not quite as good as a complete recording, but helped with the balance issues, playing my rhythms independently while listening to another part. Spent almost 1 hr on these endeavors.
Warmed up on the Boismortier a minor 2nd movement, focusing on the Shifting Thing and playing all the shifts and scale patterns at slow, no tempo. Then played through twice at qu =60, stopping the first time to work over trouble spots, Finished by working through all 4 movements under tempo but without the metronome. Focus on keeping the 16th notes relaxed and legato to avoid rushing. Also worked on 4-4 shift patterns in the 4th mvmt. That took 30-35 min.
At our next concert we are playing a contemporary piece by Linda Tutas Haugen called An Uncommon Hero. I didn't do very well at sight reading it at rehearsal, so it's on my first order of practice business this week. First, I wasted 15-20 minutes trying to find a recording of the piece, as it's been performed in public at least twice before. Nada. So I buckled down with my metronome and worked out some of the rhythms, beginning with a recurrent syncopated fanfare motif. I also realized while working through it that a big part of my problem reading was simply that there are 2 cello parts notated on the same staff, with independent bowings marked above and below. This will be good discipline, keeping my eye focused only on the down-going stems and underneath bowings. I finished this block by recording the Vc1 part for the exposition with a metronome, and then practiced the Vc2 part against the recording, a little under tempo. Not quite as good as a complete recording, but helped with the balance issues, playing my rhythms independently while listening to another part. Spent almost 1 hr on these endeavors.
Wednesday, March 24
Wed 1:19 (1023-1142)
Before beginning, I spent a little over half an hour copying practice parts for the new orchestra music. I don't know why that task always takes so long, but it does. It's quite an eclectic mix, with especially challenging rhythm pieces. Ick.
Started my warmup up with a C MAJ scale, galamian 3 octaves with a variety of bowings. Further warmed up my left hand with a pass through de Swert, then tried some thirds in F. Working with the idea that in the upper octaves the shift is either always to the same interval or the opposite (major or minor third). Still not great success, but it seemed considerably better than in the past.
Did one Breval run through and two Chanson Triste. Thinking it's time to record those again to assess progress. Are they possibly ready to send in as a Suzuki audition?
On to Capriccio Italienne, about 40 minutes of work on the scales and the cello soli section. Sometimes I focused on my shifting Thing, but not enough. I'm afraid I really hate this piece, due to its utter impossibility at tempo.
We don't have orchestra rehearsal next week, so hopefully I can make some significant progress on the rep before the next. I'd hate to spend the rest of the season continuing to worry about getting fired.
Before beginning, I spent a little over half an hour copying practice parts for the new orchestra music. I don't know why that task always takes so long, but it does. It's quite an eclectic mix, with especially challenging rhythm pieces. Ick.
Started my warmup up with a C MAJ scale, galamian 3 octaves with a variety of bowings. Further warmed up my left hand with a pass through de Swert, then tried some thirds in F. Working with the idea that in the upper octaves the shift is either always to the same interval or the opposite (major or minor third). Still not great success, but it seemed considerably better than in the past.
Did one Breval run through and two Chanson Triste. Thinking it's time to record those again to assess progress. Are they possibly ready to send in as a Suzuki audition?
On to Capriccio Italienne, about 40 minutes of work on the scales and the cello soli section. Sometimes I focused on my shifting Thing, but not enough. I'm afraid I really hate this piece, due to its utter impossibility at tempo.
We don't have orchestra rehearsal next week, so hopefully I can make some significant progress on the rep before the next. I'd hate to spend the rest of the season continuing to worry about getting fired.
Tuesday, March 23
Tue 2:33 (1042-1315)
The Thing for this week is all about shifting. Mostly about shifting. And about playing tennis on the fingerboard. Here are my pointers:
* When starting a note from nothing, think of hitting the ball and releasing it. There should be dynamic motion, not a start from a stop.
* Prepare the shift by unweighting the arm as you begin the note before the shift. The tennis analogy is still very apt. It's a bit like watching the ball bounce, curve up and down, and bounce again.
* The hand must be relaxed, and the fingers curved. Periodically monitor for my finger collapsing tendency.
T4 suggested that, in addition to working on shifts in scale runs as in Haydn, I add a piece which requires slower shifting. So this morning I dug out an edition of Faure's Apres un Reve - I have a Music Minus One volume called 10 Concert Pieces for Cello - and I spent the first 50 minutes on that. First I read through it roughly, then listened to the recording. Then another pass through at no tempo doing shifts and finger patterns. Finally worked on memorizing the first two phrases, with special attention to the bowings, as I kept getting out of sync. I would have kept going but I have a few other things to do today.
One more tip remembered from last week:
* In thumb position, the elbow weight goes down as the finger number goes up, to shift the weight over the playing finger. Fight my tendency to raise the elbow instead. (This makes such a big difference!)
Next 40 minutes: Haydn C, a little more than half on the exposition, and the remainder on the chord section. Slow, relaxed shifting practice, with special focus on unweighting the note before the shift. I'm not having much luck with getting the chords to ring yet, so today ended up focusing on the hand patterns with a variety of (separate, inegal) bowings.
Spent the last half hour or so revisiting Capriccio Italienne. Back to orchestra tonight, and my assignment is 2nd chair. Oh, terror, under Maestro's eye, or worse, ear. We also got word that the planned Britten's Young Person's Guide to the Orch was scrapped for budgetary reasons (too expensive to rent) so we will be going with Bernstein's Overture to Candide from the last concert (which I didn't play) and possibly the Tchaikovsky from 2 concerts ago, which I did play but not entirely successfully. Plus I'm playing a different part - inside instead of outside. Enough said. Another great piece for shifting practice and hopefully eventually fast scales.
The Thing for this week is all about shifting. Mostly about shifting. And about playing tennis on the fingerboard. Here are my pointers:
* When starting a note from nothing, think of hitting the ball and releasing it. There should be dynamic motion, not a start from a stop.
* Prepare the shift by unweighting the arm as you begin the note before the shift. The tennis analogy is still very apt. It's a bit like watching the ball bounce, curve up and down, and bounce again.
* The hand must be relaxed, and the fingers curved. Periodically monitor for my finger collapsing tendency.
T4 suggested that, in addition to working on shifts in scale runs as in Haydn, I add a piece which requires slower shifting. So this morning I dug out an edition of Faure's Apres un Reve - I have a Music Minus One volume called 10 Concert Pieces for Cello - and I spent the first 50 minutes on that. First I read through it roughly, then listened to the recording. Then another pass through at no tempo doing shifts and finger patterns. Finally worked on memorizing the first two phrases, with special attention to the bowings, as I kept getting out of sync. I would have kept going but I have a few other things to do today.
One more tip remembered from last week:
* In thumb position, the elbow weight goes down as the finger number goes up, to shift the weight over the playing finger. Fight my tendency to raise the elbow instead. (This makes such a big difference!)
Next 40 minutes: Haydn C, a little more than half on the exposition, and the remainder on the chord section. Slow, relaxed shifting practice, with special focus on unweighting the note before the shift. I'm not having much luck with getting the chords to ring yet, so today ended up focusing on the hand patterns with a variety of (separate, inegal) bowings.
Spent the last half hour or so revisiting Capriccio Italienne. Back to orchestra tonight, and my assignment is 2nd chair. Oh, terror, under Maestro's eye, or worse, ear. We also got word that the planned Britten's Young Person's Guide to the Orch was scrapped for budgetary reasons (too expensive to rent) so we will be going with Bernstein's Overture to Candide from the last concert (which I didn't play) and possibly the Tchaikovsky from 2 concerts ago, which I did play but not entirely successfully. Plus I'm playing a different part - inside instead of outside. Enough said. Another great piece for shifting practice and hopefully eventually fast scales.
Monday, March 22
Mon 0:18 (1805-1823)
Just a quick warm up before lesson. E MAJ and a Breval run through. Had 3 days off for travel involving lots of driving, and I'm exhausted. Feeling unmotivated, uninspired, and inadequate. I'm glad I had three good days of practice before the trip, and hope we can come up with something useful to do at my lesson.
Just a quick warm up before lesson. E MAJ and a Breval run through. Had 3 days off for travel involving lots of driving, and I'm exhausted. Feeling unmotivated, uninspired, and inadequate. I'm glad I had three good days of practice before the trip, and hope we can come up with something useful to do at my lesson.
Thursday, March 18
Wednesday, March 17
Wed 2:06 (1314-1520)
The Thing for today: balance over left hand
15 min Warmup
Today's is a Just Do the Thing warmup. Started with a serial 3 note pattern up and down the A string, focusing on shifting the weight of the hand over the played note by lowering and raising the elbow, fighting my (un)natural tendency to raise the elbow as I play higher notes. Then did the same thing using the Morgenstern E scale pattern. Switched to C, 4 8va, and the 3 martele strokes/bow to focus on opening the elbow at the tip. Finished with a Breval play through, attempting to keep both of those actions happening - only partially successful, but well warmed up. A slightly longer typing break than called for because John wants to sit in my lap.
Then took a few more extra minutes to make a new practice copy of my Haydn C Henle edition, and to find T4's fingerings and bowing of same. Forget this trying to work from a different edition.
30 min Haydn C exposition
Starting by reading through slowly, using the "right" fingerings and bowings. Then focused on the scale passages, working slow and fast, paying attention to the shifts and finger patterns. Used a metronome at qu = 52, which makes the melody too slow and the 32nd notes still too fast. but I realized I was getting a warped sense of how things hang together rhythmically because I play everything but the 32nd notes at tempo, and the scales much slower. Started from the beginning to do memorization reps of the phrases with the new bowings. Remembered to work on strong bow, light fingers.
30 min cello quartet
10 min Offenbach exposition
10 min Handel, both mvmts
10 min Boismortier 2nd mvmt
The Thing for today: balance over left hand
15 min Warmup
Today's is a Just Do the Thing warmup. Started with a serial 3 note pattern up and down the A string, focusing on shifting the weight of the hand over the played note by lowering and raising the elbow, fighting my (un)natural tendency to raise the elbow as I play higher notes. Then did the same thing using the Morgenstern E scale pattern. Switched to C, 4 8va, and the 3 martele strokes/bow to focus on opening the elbow at the tip. Finished with a Breval play through, attempting to keep both of those actions happening - only partially successful, but well warmed up. A slightly longer typing break than called for because John wants to sit in my lap.
Then took a few more extra minutes to make a new practice copy of my Haydn C Henle edition, and to find T4's fingerings and bowing of same. Forget this trying to work from a different edition.
30 min Haydn C exposition
Starting by reading through slowly, using the "right" fingerings and bowings. Then focused on the scale passages, working slow and fast, paying attention to the shifts and finger patterns. Used a metronome at qu = 52, which makes the melody too slow and the 32nd notes still too fast. but I realized I was getting a warped sense of how things hang together rhythmically because I play everything but the 32nd notes at tempo, and the scales much slower. Started from the beginning to do memorization reps of the phrases with the new bowings. Remembered to work on strong bow, light fingers.
30 min cello quartet
10 min Offenbach exposition
10 min Handel, both mvmts
10 min Boismortier 2nd mvmt
Tuesday, March 16
Tue 2:00 (1140-1340)
33 min Haydn C exposition
Jumped right into Haydn without an official warmup. Played phrases from music then from memory. Not quite ready to commit, as I noted that now that I have fingerings c/w T4's wishes, the bowings in the Suzuki vs. Henle editions are quite different. I need to double check those before I really get down to memorizing. Will also need more repetitions to cement in that simple fingering change in the first measure, shifting to 1 on D instead of 3 on E. I also need to make a copy of the Henle version (which I have now) and jettison the Suzuki ed, which is more confusing than helpful.
26 min Haydn C passagework section
Spent 5 min on A, 5 min on A+B, and the remainder on B (chords). Worked the chords from the beginning, pizz, linking patterns. Finished with the bow, single bow per note, as much from memory as possible.
40 min Cello Quartet music
Handel - mvmt 2, 1
Offenbach - exposition
Boismortier - mvmt 1-4, 2
Big volume in fortes with relaxed bow hand. Shifts.
33 min Haydn C exposition
Jumped right into Haydn without an official warmup. Played phrases from music then from memory. Not quite ready to commit, as I noted that now that I have fingerings c/w T4's wishes, the bowings in the Suzuki vs. Henle editions are quite different. I need to double check those before I really get down to memorizing. Will also need more repetitions to cement in that simple fingering change in the first measure, shifting to 1 on D instead of 3 on E. I also need to make a copy of the Henle version (which I have now) and jettison the Suzuki ed, which is more confusing than helpful.
26 min Haydn C passagework section
Spent 5 min on A, 5 min on A+B, and the remainder on B (chords). Worked the chords from the beginning, pizz, linking patterns. Finished with the bow, single bow per note, as much from memory as possible.
40 min Cello Quartet music
Handel - mvmt 2, 1
Offenbach - exposition
Boismortier - mvmt 1-4, 2
Big volume in fortes with relaxed bow hand. Shifts.
Monday, March 15
Mon 2:02(1044-1246)
I have a bit of cubital tunnel syndrome acting up round my left elbow, so after 3 days off I am going with the 10 minute practice block schedule today.
10 min - E MAJ
A variety of 3 and 4 octave patterns, with special focus on shifting in the Morgenstern pattern and right elbow extension in 3 martele strokes/bow.
10 min - Haydn C exposition
Once through with mm = 60, note to note, one note per bow. A second time through with 1/8 note = 60. Time to work on the double stops, I think.
10 min - Haydn C, double stops at m40
Started with preparatory exercises: G MAJ scale. Identified my tendency to relax my hand shape as I ascended, and thus my lower fingers were out of place coming down. Drilled note to note, back and forth for awhile. Did double stop patterns, identified the need to "not try so hard," keep hand shapes supple, and use 2 and 3 together whenever 3 was being used. Productive, but hard work, and needed frequent breaks to shake out hand and arm.
10 min - Haydn C, chords at m71
Started with the preparatory exercise in the Suzuki book, which is just the passage written as chords. After reviewing the patterns in broken 2 part chords, began working from the beginning of the passage as written. Using a variety of bowings, focused on the movement from chord to chord - which fingers stay put, which move first, where to relax the hand, etc. Again, productive, but couldn't do this for more than about the 10 minutes.
10 min - Haydn C, 2nd statements
This was a just-for-fun block. Looked at the 2nd statements of: the exposition in m59, Theme 2a in m64, and Theme 2b in m102. Comparison and contrast.
30 min - Boismortier quartet in a
Three congruent 10 min blocks, working sequentially through the movements. Mostly practicing shifts, especially the many 4-4 descending patterns and the leaps or puzzle patterns to get high. Wish I had a recording to check my work against. I like the piece, though - quartet rehearsal should be fun.
I have a bit of cubital tunnel syndrome acting up round my left elbow, so after 3 days off I am going with the 10 minute practice block schedule today.
10 min - E MAJ
A variety of 3 and 4 octave patterns, with special focus on shifting in the Morgenstern pattern and right elbow extension in 3 martele strokes/bow.
10 min - Haydn C exposition
Once through with mm = 60, note to note, one note per bow. A second time through with 1/8 note = 60. Time to work on the double stops, I think.
10 min - Haydn C, double stops at m40
Started with preparatory exercises: G MAJ scale. Identified my tendency to relax my hand shape as I ascended, and thus my lower fingers were out of place coming down. Drilled note to note, back and forth for awhile. Did double stop patterns, identified the need to "not try so hard," keep hand shapes supple, and use 2 and 3 together whenever 3 was being used. Productive, but hard work, and needed frequent breaks to shake out hand and arm.
10 min - Haydn C, chords at m71
Started with the preparatory exercise in the Suzuki book, which is just the passage written as chords. After reviewing the patterns in broken 2 part chords, began working from the beginning of the passage as written. Using a variety of bowings, focused on the movement from chord to chord - which fingers stay put, which move first, where to relax the hand, etc. Again, productive, but couldn't do this for more than about the 10 minutes.
10 min - Haydn C, 2nd statements
This was a just-for-fun block. Looked at the 2nd statements of: the exposition in m59, Theme 2a in m64, and Theme 2b in m102. Comparison and contrast.
30 min - Boismortier quartet in a
Three congruent 10 min blocks, working sequentially through the movements. Mostly practicing shifts, especially the many 4-4 descending patterns and the leaps or puzzle patterns to get high. Wish I had a recording to check my work against. I like the piece, though - quartet rehearsal should be fun.
Thursday, March 11
Thu 2:10 (0918-1128)
46 min Fairly evenly divided between
E MAJ 4 8va and 3 8va patterns, de Swert
Breval
Chanson Triste
The last half was focused on playing freely, without excess tension. I pulled out CT to work specifically on shifts.
(A slightly longer break required to make my first order from LuLu: @EmilyCello's Modern Cello Manual, hot off the press. Actually, since it's LuLu it's not even off the press yet, but hopefully will be rapidly printing in response to thousands of eager orders.)
55 min Boismortier
Took 45 min to finger the 3d and 4th mvmts, mostly the 4th. Lots of neck position and baroque 4-4 shifts. It will be a really good piece to work on shifting math. Last 10 minutes to review the whole piece, and mark in a few omitted fingerings. Next session: actual technical work.
46 min Fairly evenly divided between
E MAJ 4 8va and 3 8va patterns, de Swert
Breval
Chanson Triste
The last half was focused on playing freely, without excess tension. I pulled out CT to work specifically on shifts.
(A slightly longer break required to make my first order from LuLu: @EmilyCello's Modern Cello Manual, hot off the press. Actually, since it's LuLu it's not even off the press yet, but hopefully will be rapidly printing in response to thousands of eager orders.)
55 min Boismortier
Took 45 min to finger the 3d and 4th mvmts, mostly the 4th. Lots of neck position and baroque 4-4 shifts. It will be a really good piece to work on shifting math. Last 10 minutes to review the whole piece, and mark in a few omitted fingerings. Next session: actual technical work.
Wednesday, March 10
Wed 2:04 (1000-1204)
20 min Warmup
C MAJ in a variety of patterns. Single bow, 4 octaves, galamian patterns 3 8va in 4,3,6's. Several passes through Morgenstern's 3 8va pattern at various tempos and slurs, focusing on relaxed hand position, soft mcp in shifts, knowing where I was (shift math). I like this pattern more and more. After 10 min, switched to de Swert. 1 m slurs (16 x 16th notes). First pass at qu = 72 (based on tap). Felt really good, playing lightly with the bow and lightly with the fingers, none of that outer hand burning. Increased the speed to about qu = 110, fighting the tendency to tighten up, a good exercise in itself.
45 min Boismortier cello quartet in a
Got the word that we will be playing this at next rehearsal, not this week, but next. Fingered the first 2 mvmts. I thought it was going to be about 20 min when I looked up at the clock, but no, 45. The second mvmt has some serious scale puzzles, but some interesting finger patterns in the neck positions made easier transition to what looked like might be random leaps into thumb positions. Will need some repetitions later for facility. I think I'll wait until tomorrow to finger the last 2 mvmts. And now I need a full 10 min break.
30 min Haydn C Exposition
OK, 15 min break. Maybe closer to 20. John wanted a hug, so I sat for a few extra minutes. Memorized the first page, then worked on the scales on p2, alternating fasts and slows. Used a metronome the last 10 minutes to be sure I am getting the divisions correctly, as they can be fuzzy when playing the 32nd notes slowly.
20 min Warmup
C MAJ in a variety of patterns. Single bow, 4 octaves, galamian patterns 3 8va in 4,3,6's. Several passes through Morgenstern's 3 8va pattern at various tempos and slurs, focusing on relaxed hand position, soft mcp in shifts, knowing where I was (shift math). I like this pattern more and more. After 10 min, switched to de Swert. 1 m slurs (16 x 16th notes). First pass at qu = 72 (based on tap). Felt really good, playing lightly with the bow and lightly with the fingers, none of that outer hand burning. Increased the speed to about qu = 110, fighting the tendency to tighten up, a good exercise in itself.
45 min Boismortier cello quartet in a
Got the word that we will be playing this at next rehearsal, not this week, but next. Fingered the first 2 mvmts. I thought it was going to be about 20 min when I looked up at the clock, but no, 45. The second mvmt has some serious scale puzzles, but some interesting finger patterns in the neck positions made easier transition to what looked like might be random leaps into thumb positions. Will need some repetitions later for facility. I think I'll wait until tomorrow to finger the last 2 mvmts. And now I need a full 10 min break.
30 min Haydn C Exposition
OK, 15 min break. Maybe closer to 20. John wanted a hug, so I sat for a few extra minutes. Memorized the first page, then worked on the scales on p2, alternating fasts and slows. Used a metronome the last 10 minutes to be sure I am getting the divisions correctly, as they can be fuzzy when playing the 32nd notes slowly.
Tuesday, March 9
Tue 1:54 (0936-1132)
Don't try to do the math. The 10 minute blocks will not add up to total practice time. In order to enforce rest periods I am typing notes in between each block. It makes the notes better, and helps ensure I will nip this incipient overuse thing in the bud while transitioning back to my usual equipment.
10 min Warm up.
Started with de Swert, 1 bow/16 note measure. Focus on left hand finger spacing and keeping 4th finger curved. It's a real work out for the outside of the hand. At the end, began to incorporate some trill/vibrato motion to relieve the muscle burn! Bow hand soft, even bow speed without much sound. After 5 min switched to E MAJ scale, galamian 3 octave, half then quarter notes. Finished with Morgenstern 3 octave scale pattern, really good for concentrating on old finger shifts. Focus on soft MCPs during shifts.
10 min Haydn C Exposition
No tempo practice of first page with focus on shifts. Soft MCP, old finger shifts upwards, intonation (back and forth between notes), arrival in balance, easy bow hold, not forcing the sound.
10 min Haydn C Exposition
Slow tempo practice of second page with focus on scales. Shifts arriving in anticipated hand position. Thumb position without excess tension. Still in familiarization mode, but I think my fingering is now "correct". Now to go for consistency. Did not spend much time on the double stops-that needs to be a block unto itself.
10 min Haydn C Exposition
Another block on the scales on p2. Thumb is getting a bit sore (just the skin, where I need a better callus) so I think that should be all of the thumb position for today, or at least for a few more blocks. Time for the brain to switch gears, anyway.
10 min Boismortier cello quartet in a
Switching gears, starting prep for cello quartet. This is a new piece to me, though the others read it last week in my absence. (I assume - that was the plan.) I have the second cello part, often the most awkward, and this is no exception. For this block I just read through all 4 movements, scoping out where things are going to fall. Next step is to commit to fingerings - much more tedious. It occurs to me I should check to see whether the plan is to play it again this week, or if it has already been retired, before I commit the time.
12 min Offenbach cello quartet Adagio
Oops, forgot to start the timer. Emily worked on this with me at my coached practice lesson, but I am afraid I didn't take enough notes. Worked on the shifts in the exposition, and where I didn't remember exactly what she recommended I just decided on a shift and practiced that. This soft MCP especially on 1st finger shifts is really starting to feel "right" - meaning that I am beginning to become aware when I tighten it instead without having to be directly focused on it. I think I need to make a new copy, so that I can mark it cleanly.
10 min Haydn C chords
Time to give the bow arm a rest, so I spent the first 8 min pizzing the chords, just being aware of chord changes and handshapes. Picked up the bow and played slowly, 1 note per bow. My next focus needs to be on smooth hand changes and intonation in double stops, but I think that's it for today.
A good practice, and no pain.
Don't try to do the math. The 10 minute blocks will not add up to total practice time. In order to enforce rest periods I am typing notes in between each block. It makes the notes better, and helps ensure I will nip this incipient overuse thing in the bud while transitioning back to my usual equipment.
10 min Warm up.
Started with de Swert, 1 bow/16 note measure. Focus on left hand finger spacing and keeping 4th finger curved. It's a real work out for the outside of the hand. At the end, began to incorporate some trill/vibrato motion to relieve the muscle burn! Bow hand soft, even bow speed without much sound. After 5 min switched to E MAJ scale, galamian 3 octave, half then quarter notes. Finished with Morgenstern 3 octave scale pattern, really good for concentrating on old finger shifts. Focus on soft MCPs during shifts.
10 min Haydn C Exposition
No tempo practice of first page with focus on shifts. Soft MCP, old finger shifts upwards, intonation (back and forth between notes), arrival in balance, easy bow hold, not forcing the sound.
10 min Haydn C Exposition
Slow tempo practice of second page with focus on scales. Shifts arriving in anticipated hand position. Thumb position without excess tension. Still in familiarization mode, but I think my fingering is now "correct". Now to go for consistency. Did not spend much time on the double stops-that needs to be a block unto itself.
10 min Haydn C Exposition
Another block on the scales on p2. Thumb is getting a bit sore (just the skin, where I need a better callus) so I think that should be all of the thumb position for today, or at least for a few more blocks. Time for the brain to switch gears, anyway.
10 min Boismortier cello quartet in a
Switching gears, starting prep for cello quartet. This is a new piece to me, though the others read it last week in my absence. (I assume - that was the plan.) I have the second cello part, often the most awkward, and this is no exception. For this block I just read through all 4 movements, scoping out where things are going to fall. Next step is to commit to fingerings - much more tedious. It occurs to me I should check to see whether the plan is to play it again this week, or if it has already been retired, before I commit the time.
12 min Offenbach cello quartet Adagio
Oops, forgot to start the timer. Emily worked on this with me at my coached practice lesson, but I am afraid I didn't take enough notes. Worked on the shifts in the exposition, and where I didn't remember exactly what she recommended I just decided on a shift and practiced that. This soft MCP especially on 1st finger shifts is really starting to feel "right" - meaning that I am beginning to become aware when I tighten it instead without having to be directly focused on it. I think I need to make a new copy, so that I can mark it cleanly.
10 min Haydn C chords
Time to give the bow arm a rest, so I spent the first 8 min pizzing the chords, just being aware of chord changes and handshapes. Picked up the bow and played slowly, 1 note per bow. My next focus needs to be on smooth hand changes and intonation in double stops, but I think that's it for today.
A good practice, and no pain.
Monday, March 8
Mon 40 min (1725-1805)
After traveling all day, I reeaalllly did not want to practice, but I had a cello lesson tonight, so I Just Did It. Not very organized. Warmed up by working the chord section (pwB) of the Haydn slowly and in a variety of ways, then Breval, then the Haydn exposition. It is so nice to be back to my good cello. My sound is amazingly good - I may start calling Mini Me my futsal cello.
I shall commence real work on Haydn tomorrow.
After traveling all day, I reeaalllly did not want to practice, but I had a cello lesson tonight, so I Just Did It. Not very organized. Warmed up by working the chord section (pwB) of the Haydn slowly and in a variety of ways, then Breval, then the Haydn exposition. It is so nice to be back to my good cello. My sound is amazingly good - I may start calling Mini Me my futsal cello.
I shall commence real work on Haydn tomorrow.
Sunday, March 7
Sun 1:25 (1145-1310)
I practiced before the concert and am writing this after, so let's see what I remember.
First, this was a long session, and I should have taken a break, but wanted to leave as much time after practice and before the concert as possible, and I started a little later than I wanted to. Also related to that, I needed to play more quietly than usual so as not to waken my sleeping house mates. So this was a very left-hand oriented session. That is also why I was able to go the whole 1:25 without a break.
Started off by warming up with de Swert #25, left hand only. T4- has been working with me to develop a very dynamic left hand finger action, so dynamic that all of the notes are articulated and sound clearly without needing a bow. This involves a combination of stiking notes when moving up a string, and plucking them when moving downward. That's really coming along, and de Swert is a great exercise, having lots of scalar patterns including 3/4 pre-trill patterns. My focus was on keeping my little finger curved and an appropriate distance between 2 and 3. Great warm up.
Next, worked on fast scales in Schumann mvmt 1, again without the bow, and using the metronome. Did the symphony play-through at a much reduced volume, and though using the bow my focus was on keeping a relaxed bow hand and a relaxed me while using very little bow and playing quietly. Another great exercise. Paused after each movement to do a little clean up work.
Finished with some work on the scales in the Beethoven, left hand only, then a run through with the recording. I hadn't done that at all, as it's pretty easy to read at the tempo at which we play it. I am beginning to recognize the fuzzy thinking feeling I have when I can't actually play the bit and have resorted to faking it. That's great progress, as I am such a good faker. As @EmilyCello says, that is my cue to where I need to focus my practice.
I put the CD's back in their cases for the final time, and went off and played the concert. There were just a couple of notes I wish I could take back. I was most pleased that I actually played all the notes in time for the first scale run in the 1st mvmt, and came very close to playing the 2nd run. WoOt! I think that this approach to working with the recording to learn a piece for performance in 1.5 weeks was highly successful, aided by my new Stark Raving practice skills. This week has been amazing: 2 private lessons with Emily, a four hour small group practice seminar, 2 orchestra rehearsals, a concert, and 2 +/- hours of daily practice. This was every bit as good as cello camp! I am also pleased to report that with switching bows my right elbow is pain-free today.
What else did I learn? That it's important to fight the desire to slack off just before the concert, that I won't hurt myself with long practice sessions if I focus on relaxed technique and take appropriate action if things do start to hurt, and that it is far better to practice earlier in the day than later.
But now I have a lesson tomorrow, and have done very little work on Haydn this week. I wonder what I should practice tomorrow afternoon after I get home?
I practiced before the concert and am writing this after, so let's see what I remember.
First, this was a long session, and I should have taken a break, but wanted to leave as much time after practice and before the concert as possible, and I started a little later than I wanted to. Also related to that, I needed to play more quietly than usual so as not to waken my sleeping house mates. So this was a very left-hand oriented session. That is also why I was able to go the whole 1:25 without a break.
Started off by warming up with de Swert #25, left hand only. T4- has been working with me to develop a very dynamic left hand finger action, so dynamic that all of the notes are articulated and sound clearly without needing a bow. This involves a combination of stiking notes when moving up a string, and plucking them when moving downward. That's really coming along, and de Swert is a great exercise, having lots of scalar patterns including 3/4 pre-trill patterns. My focus was on keeping my little finger curved and an appropriate distance between 2 and 3. Great warm up.
Next, worked on fast scales in Schumann mvmt 1, again without the bow, and using the metronome. Did the symphony play-through at a much reduced volume, and though using the bow my focus was on keeping a relaxed bow hand and a relaxed me while using very little bow and playing quietly. Another great exercise. Paused after each movement to do a little clean up work.
Finished with some work on the scales in the Beethoven, left hand only, then a run through with the recording. I hadn't done that at all, as it's pretty easy to read at the tempo at which we play it. I am beginning to recognize the fuzzy thinking feeling I have when I can't actually play the bit and have resorted to faking it. That's great progress, as I am such a good faker. As @EmilyCello says, that is my cue to where I need to focus my practice.
I put the CD's back in their cases for the final time, and went off and played the concert. There were just a couple of notes I wish I could take back. I was most pleased that I actually played all the notes in time for the first scale run in the 1st mvmt, and came very close to playing the 2nd run. WoOt! I think that this approach to working with the recording to learn a piece for performance in 1.5 weeks was highly successful, aided by my new Stark Raving practice skills. This week has been amazing: 2 private lessons with Emily, a four hour small group practice seminar, 2 orchestra rehearsals, a concert, and 2 +/- hours of daily practice. This was every bit as good as cello camp! I am also pleased to report that with switching bows my right elbow is pain-free today.
What else did I learn? That it's important to fight the desire to slack off just before the concert, that I won't hurt myself with long practice sessions if I focus on relaxed technique and take appropriate action if things do start to hurt, and that it is far better to practice earlier in the day than later.
But now I have a lesson tomorrow, and have done very little work on Haydn this week. I wonder what I should practice tomorrow afternoon after I get home?
Saturday, March 6
64 min (2016-2120)
I didn't feel like practicing tonight. Really didn't. I'm tired from being out too late last night, getting up too early, and probably tasting too many good Burgundies with dinner. I'm also still having twinges at my elbow. But I learned my lesson at the last concert, and know I can't slack off completely the day before the performance.
So I switched to a different bow, and practiced an easy hour. Started off with C MAJ warming up right hand, left hand, and releasing unnecessary tension. Then a Breval run trough concentrating on relaxation and trying to ignore the sound. However, as I got warmed up the sound got better and better, a nice side effect.
I decided if nothing else I was going to run the symphony, so I did, again focusing more on staying relaxed than getting the notes. Played through without breaks it is only about 25 min long. Afterward I flipped backwards, doing a little focused work on tricky bits, and reveling in the cello soli in the slow movement.
Feel better after than I did before, so I would call that a pretty good practice. And I think that between the focus on relaxation and changing the bow, and probably the ibuprofen, my elbow feels pretty good. I'm going to go ice it now, anyway.
I didn't feel like practicing tonight. Really didn't. I'm tired from being out too late last night, getting up too early, and probably tasting too many good Burgundies with dinner. I'm also still having twinges at my elbow. But I learned my lesson at the last concert, and know I can't slack off completely the day before the performance.
So I switched to a different bow, and practiced an easy hour. Started off with C MAJ warming up right hand, left hand, and releasing unnecessary tension. Then a Breval run trough concentrating on relaxation and trying to ignore the sound. However, as I got warmed up the sound got better and better, a nice side effect.
I decided if nothing else I was going to run the symphony, so I did, again focusing more on staying relaxed than getting the notes. Played through without breaks it is only about 25 min long. Afterward I flipped backwards, doing a little focused work on tricky bits, and reveling in the cello soli in the slow movement.
Feel better after than I did before, so I would call that a pretty good practice. And I think that between the focus on relaxation and changing the bow, and probably the ibuprofen, my elbow feels pretty good. I'm going to go ice it now, anyway.
Friday, March 5
Start 1008
Another thing I notice about deep practice is that it's hard to capture the details of a session in writing. There are so many minute observations that happen.
Today I started by warming up in C major, 2 octaves. Each little bit I focused on relaxing something else - face first, then elements of bow hand. I did some in 3 stroke martele, releasing between each stroke.
A little over an hour was dedicated to the Schumann 1st mvmt, those sixteen note runs and the little cello solo. After lots of repetitions in rhythms and times, I did my play through with the recording. Almost there at JEG's tempo, which means it should be a piece of cake at our performance tempo. Not so fast! Pulled out the metronome, which helped me to discover that if I am off balance when I reach that part I still resort to faking it. No problem - that's the discomfort, so practice coming in to it with the metronome until I consistently arrive in balance. This is so much fun.
After a 10 min break, worked out a better fingering for the cello soli in the 2nd mvmt and played with the recording. One more 10 min break, and I just did the play throughs of the 3d and 4th movements. Afterward, I decided on a good fake for a couple of fast string crossing patterns in the 4th movement that I am not going to have time to bring up to speed before the concert - we're talking at least a couple of weeks of motor skills here. Don't worry - it will be better this way.
Finally, spent the last 10 minutes on Breval, beginning with a play through focusing on how relaxed I could keep my bow hand. A few minutes of focused work on the broken chords, then some repetitions of that section. I can't tell you everything I worked on there. It was only 10 minutes, but there were so many small things, just a few reps of each to polish them up.
After practice, I iced my right elbow. I do think I am having a little flare of tendinosis, ironic since the primary impetus is decreasing the amount of tension I hold in my bow hand. I think paradoxically that is leading to more motion at my elbow, plus I am using some really suboptimal equipment this week, along with the longer practice time and technical changes. Looking forward to my usual bow and reevaluating next week. In the mean time, ice is my friend.
End 1230
Total time: 2:22
Total practice ~2 hours
Another thing I notice about deep practice is that it's hard to capture the details of a session in writing. There are so many minute observations that happen.
Today I started by warming up in C major, 2 octaves. Each little bit I focused on relaxing something else - face first, then elements of bow hand. I did some in 3 stroke martele, releasing between each stroke.
A little over an hour was dedicated to the Schumann 1st mvmt, those sixteen note runs and the little cello solo. After lots of repetitions in rhythms and times, I did my play through with the recording. Almost there at JEG's tempo, which means it should be a piece of cake at our performance tempo. Not so fast! Pulled out the metronome, which helped me to discover that if I am off balance when I reach that part I still resort to faking it. No problem - that's the discomfort, so practice coming in to it with the metronome until I consistently arrive in balance. This is so much fun.
After a 10 min break, worked out a better fingering for the cello soli in the 2nd mvmt and played with the recording. One more 10 min break, and I just did the play throughs of the 3d and 4th movements. Afterward, I decided on a good fake for a couple of fast string crossing patterns in the 4th movement that I am not going to have time to bring up to speed before the concert - we're talking at least a couple of weeks of motor skills here. Don't worry - it will be better this way.
Finally, spent the last 10 minutes on Breval, beginning with a play through focusing on how relaxed I could keep my bow hand. A few minutes of focused work on the broken chords, then some repetitions of that section. I can't tell you everything I worked on there. It was only 10 minutes, but there were so many small things, just a few reps of each to polish them up.
After practice, I iced my right elbow. I do think I am having a little flare of tendinosis, ironic since the primary impetus is decreasing the amount of tension I hold in my bow hand. I think paradoxically that is leading to more motion at my elbow, plus I am using some really suboptimal equipment this week, along with the longer practice time and technical changes. Looking forward to my usual bow and reevaluating next week. In the mean time, ice is my friend.
End 1230
Total time: 2:22
Total practice ~2 hours
Thursday, March 4
65 min
This morning I had another @EmilyCello lesson, at which she coached me through practicing two sixteenth note runs in the first mvmt of the Schumann and also my melodic solo in Offenbach. I learned more about choosing optimal fingerings, how to apply rhythm variations to working up fast passages, alternating slow and fast, and how to work on old finger shifts. Though, the shifting stuff still feels a little vague. The themes of deep practice are Find Your Discomfort and Just Do the Thing. What a great week it's been.
For practice this evening I brushed up on the Schumann work, and played through with the recording. Pretty basic practice, but I know this symphony so much better after one week of practice than I usually know one after 6 or 8 weeks. Regular play throughs early in the learning process will henceforth be part of my orchestra practice routine. It's fun to feel competent!
This morning I had another @EmilyCello lesson, at which she coached me through practicing two sixteenth note runs in the first mvmt of the Schumann and also my melodic solo in Offenbach. I learned more about choosing optimal fingerings, how to apply rhythm variations to working up fast passages, alternating slow and fast, and how to work on old finger shifts. Though, the shifting stuff still feels a little vague. The themes of deep practice are Find Your Discomfort and Just Do the Thing. What a great week it's been.
For practice this evening I brushed up on the Schumann work, and played through with the recording. Pretty basic practice, but I know this symphony so much better after one week of practice than I usually know one after 6 or 8 weeks. Regular play throughs early in the learning process will henceforth be part of my orchestra practice routine. It's fun to feel competent!
Wednesday, March 3
65 min
An @EmilyCello deep practice session. I almost feel like I was in an altered state of consciousness, and I can't remember everything I did after the fact. I wonder if it would be useful to take notes along the way, or if that would interfere with the motor stuff?
How I divided the time:
C MAJ scale, 3 octaves. Making sure everything was loose and in tune. Then a slow ascending 2 octave C MAJ, 3 gesture martele down and up bow on each note, completely relaxing all bow hand tension before each martele segment. That took forever. At least 5 minutes, for a total of 20 minutes on the warmup.
Breval play through, focusing on gentle bow hold and balance over the strings, ignoring the sound quality as much as possible. ~7 min
Haydn C m71-78. This is the chord bowing exercise in the development that I have labeled "passage work B." We went over a practice approach in my @EC lesson yesterday. I can't remember the order I did things here, but I divided the time between pizz, playing the chords with separate bows, and slurring them. As I focused more deeply on the chord patterns and changes, I stopped playing in the middle to analyze the chords. At some point I had the epiphany that this whole section is about 3 chord progressions divided from each other by the 3 separate stacato "gasping for air" notes. This section now makes intellectual sense to me, and I am making good progress on memorizing it. I love the feeling of the moment that happens, and it's so hard to predict. I leave thinking "How could I have not recognized that before?" and laugh. That part is predictable.
Four hours with Emily on Deep Practice to come this afternoon. Don't you wish you were here today?
An @EmilyCello deep practice session. I almost feel like I was in an altered state of consciousness, and I can't remember everything I did after the fact. I wonder if it would be useful to take notes along the way, or if that would interfere with the motor stuff?
How I divided the time:
C MAJ scale, 3 octaves. Making sure everything was loose and in tune. Then a slow ascending 2 octave C MAJ, 3 gesture martele down and up bow on each note, completely relaxing all bow hand tension before each martele segment. That took forever. At least 5 minutes, for a total of 20 minutes on the warmup.
Breval play through, focusing on gentle bow hold and balance over the strings, ignoring the sound quality as much as possible. ~7 min
Haydn C m71-78. This is the chord bowing exercise in the development that I have labeled "passage work B." We went over a practice approach in my @EC lesson yesterday. I can't remember the order I did things here, but I divided the time between pizz, playing the chords with separate bows, and slurring them. As I focused more deeply on the chord patterns and changes, I stopped playing in the middle to analyze the chords. At some point I had the epiphany that this whole section is about 3 chord progressions divided from each other by the 3 separate stacato "gasping for air" notes. This section now makes intellectual sense to me, and I am making good progress on memorizing it. I love the feeling of the moment that happens, and it's so hard to predict. I leave thinking "How could I have not recognized that before?" and laugh. That part is predictable.
Four hours with Emily on Deep Practice to come this afternoon. Don't you wish you were here today?
Tuesday, March 2
Start 1300
Fudging the clock today. I did my 10 min of Breval after @EmilyCello's inspiring cello lesson, took a break for lunch, and came back for a 2 hour practice block. I actually started at 1310, so the math works out.
Primary item of business was again Schumann Symphony No 1. Today I started from the end, fingered and worked out the rhythms in the 4th movement, then played the entire symphony with the recording. Touched up 4th movement stuff, then took a 15 min break.
Back at work, played the 4th mvmt with the metronome at the orch tempo, then again with the recording. Not sure why, but the recording felt slower. Maybe I am just finally learning it!
Turned to the 3d mvmt, and repeated the process - fingerings, rhythms, play with metronome, play with recording. This time the recording was definitely slower than the marked tempo. Either the conductor is dreaming, or there was a transcription error in that metronome marking!
Rehearsal tonight, so I'll see how my work is paying off.
End 1516
Total time: 2:15
Total practice ~2 hours
Fudging the clock today. I did my 10 min of Breval after @EmilyCello's inspiring cello lesson, took a break for lunch, and came back for a 2 hour practice block. I actually started at 1310, so the math works out.
Primary item of business was again Schumann Symphony No 1. Today I started from the end, fingered and worked out the rhythms in the 4th movement, then played the entire symphony with the recording. Touched up 4th movement stuff, then took a 15 min break.
Back at work, played the 4th mvmt with the metronome at the orch tempo, then again with the recording. Not sure why, but the recording felt slower. Maybe I am just finally learning it!
Turned to the 3d mvmt, and repeated the process - fingerings, rhythms, play with metronome, play with recording. This time the recording was definitely slower than the marked tempo. Either the conductor is dreaming, or there was a transcription error in that metronome marking!
Rehearsal tonight, so I'll see how my work is paying off.
End 1516
Total time: 2:15
Total practice ~2 hours
Monday, March 1
Start 1812
I don't have a timer here, so I took 2 10-15 min breaks in one 2.5 hour practice block. The time was distributed as follows:
Breval run through. I need some more work on those trills, but the chords are coming along nicely.
Played Schumann Symphony No 1 with John Eliot Gardner and the Revolutionary and Romantic Orchestra, or whatever it is in English. My favorite Schumann recording. Too speedy to play all the notes, but I got a good feel for things. That took ~40 min.
After a short break, I fingered the first movement, and did some metronome work on the rhythms. I guess that took another 40 min or so.
After the last break I played through the first movement with the recording again. No way I'm going to get those tricky little sixteenth note scale fragments at this tempo, but the rest went pretty well.
I need to get in another good afternoon of work on the rest of the symphony tomorrow afternoon before rehearsal, but it should go faster - fewer tricky bits.
End 2036
Total time: 2:24
Total practice ~2 hrs
I don't have a timer here, so I took 2 10-15 min breaks in one 2.5 hour practice block. The time was distributed as follows:
Breval run through. I need some more work on those trills, but the chords are coming along nicely.
Played Schumann Symphony No 1 with John Eliot Gardner and the Revolutionary and Romantic Orchestra, or whatever it is in English. My favorite Schumann recording. Too speedy to play all the notes, but I got a good feel for things. That took ~40 min.
After a short break, I fingered the first movement, and did some metronome work on the rhythms. I guess that took another 40 min or so.
After the last break I played through the first movement with the recording again. No way I'm going to get those tricky little sixteenth note scale fragments at this tempo, but the rest went pretty well.
I need to get in another good afternoon of work on the rest of the symphony tomorrow afternoon before rehearsal, but it should go faster - fewer tricky bits.
End 2036
Total time: 2:24
Total practice ~2 hrs
Ouch. I missed three whole days of practice.
On Day 1 I spent my practice time getting an MRI of my ankle. I seem to have bunged up (medical term) my posterior tibial tendon. Fortunately, it's not ruptured, so I was able to continue on to...
Day 2, which I (we) dedicated entirely to getting my (our) taxes done enough to be delivered to the tax preparer guy. Yes, all day, but I think that's a record, and we didn't even kill each other. And then...
Day 3 was a travel day, on my way to see what the lovely @EmilyCello can teach this dunderhead. And yes, I suppose I could have practiced in the evening, but I had a party to go to. Rats.
On Day 1 I spent my practice time getting an MRI of my ankle. I seem to have bunged up (medical term) my posterior tibial tendon. Fortunately, it's not ruptured, so I was able to continue on to...
Day 2, which I (we) dedicated entirely to getting my (our) taxes done enough to be delivered to the tax preparer guy. Yes, all day, but I think that's a record, and we didn't even kill each other. And then...
Day 3 was a travel day, on my way to see what the lovely @EmilyCello can teach this dunderhead. And yes, I suppose I could have practiced in the evening, but I had a party to go to. Rats.
Thursday, February 25
Start 1743
10 min - Breval
The usual, warm up run through, then focus on 2 string chords and trills. Also a little intonation. The chords were not a speed bump today - I think it's working.
10 min - orchestra
Finished reading King Stephan, then 1.5 pages of Schumann 1. Stumbled a bit, then the rhythms kicked in. Ah, yes, this is Schumann!
10 min - Offenbach
Soft fingers in the melody, intonation of the first mini cadenza, still working on the timing of the cadenza. Intonation of the double stops ending the screechy section.
10 min - Handel
Esp. the thumb position parts.
End: 1840
Total time: 57 min
Total practice: 40 min
10 min - Breval
The usual, warm up run through, then focus on 2 string chords and trills. Also a little intonation. The chords were not a speed bump today - I think it's working.
10 min - orchestra
Finished reading King Stephan, then 1.5 pages of Schumann 1. Stumbled a bit, then the rhythms kicked in. Ah, yes, this is Schumann!
10 min - Offenbach
Soft fingers in the melody, intonation of the first mini cadenza, still working on the timing of the cadenza. Intonation of the double stops ending the screechy section.
10 min - Handel
Esp. the thumb position parts.
End: 1840
Total time: 57 min
Total practice: 40 min
Wednesday, February 24
Start 1240
10 min Breval
Run through to warm up (that takes just under 4 minutes) then several minutes of focused repetitions plucking the 2-string chord pattern over and over. When that seemed comfortable close to tempo, added the bow, then a couple more reps of "Phrase 5" which includes those measures plus the variable G quarter vs eighth note to ascending scales.
10 min Haydn prep
Using Feuillard chords. Spent first 5 minutes with 2 note chords up lower/down upper string focusing on bow circles and elbow circles. These are some of the elementary motions I will need for the development A patterns. Then moved to 3 note chords with bow patterns I will need for B patterns, slur down three, sep up down up and slur down 3, slur up 3, then finally the measure pattern combining those 4 patterns. Fun to work this way.
10 min Schumann Symphony No 1 mvmt 1
Fingerings first 2 pages.
End 1230
Total time: 50 min
Practice time: 30 min
10 min Breval
Run through to warm up (that takes just under 4 minutes) then several minutes of focused repetitions plucking the 2-string chord pattern over and over. When that seemed comfortable close to tempo, added the bow, then a couple more reps of "Phrase 5" which includes those measures plus the variable G quarter vs eighth note to ascending scales.
10 min Haydn prep
Using Feuillard chords. Spent first 5 minutes with 2 note chords up lower/down upper string focusing on bow circles and elbow circles. These are some of the elementary motions I will need for the development A patterns. Then moved to 3 note chords with bow patterns I will need for B patterns, slur down three, sep up down up and slur down 3, slur up 3, then finally the measure pattern combining those 4 patterns. Fun to work this way.
10 min Schumann Symphony No 1 mvmt 1
Fingerings first 2 pages.
End 1230
Total time: 50 min
Practice time: 30 min
Monday, February 22
Start 1317
30 min Breval
Switching gears, Russian orchestra music is all filed away. Started with an easy run through to warm up, then pulled out the Suzuki CD. I think this is the order I did things:
* Play through from memory with the recorded accompaniment
* Play through from memory as the CD played on, so "nonsense" surrounding noise
Then without accompaniment
* With the music, practicing contralateral body/bow motion. Had to slow down the tempo. That is backward to my natural instinct
* Repetitions focusing on the last note in the phrase, which I am tending to chop off.
There is so much that could still be improved - wish I could figure out how to do it.
30 min Haydn C
Three 10 minute blocks, working from my excerpt sheets. First the exposition and its very similar 3d statement (not the higher 2nd), then through Theme 2A, B and half of C, primarily working out the rhythmic variations as none of these are very high. I am still in familiarization mode with this concerto. Probably my biggest technical focus is releasing tension and allowing the bow to be in the string at the start of each stroke. Need to get advice about how to start learning the chord bowing variations in the development section.
Stop 1434
Total time: 1:17
Practice time: 60 min
I had planned to go another 45 min but there were too many interruptions. Not sure if I will get back to things for another round, or consider that sufficient for today, as I do have a lesson tonight.
30 min Breval
Switching gears, Russian orchestra music is all filed away. Started with an easy run through to warm up, then pulled out the Suzuki CD. I think this is the order I did things:
* Play through from memory with the recorded accompaniment
* Play through from memory as the CD played on, so "nonsense" surrounding noise
Then without accompaniment
* With the music, practicing contralateral body/bow motion. Had to slow down the tempo. That is backward to my natural instinct
* Repetitions focusing on the last note in the phrase, which I am tending to chop off.
There is so much that could still be improved - wish I could figure out how to do it.
30 min Haydn C
Three 10 minute blocks, working from my excerpt sheets. First the exposition and its very similar 3d statement (not the higher 2nd), then through Theme 2A, B and half of C, primarily working out the rhythmic variations as none of these are very high. I am still in familiarization mode with this concerto. Probably my biggest technical focus is releasing tension and allowing the bow to be in the string at the start of each stroke. Need to get advice about how to start learning the chord bowing variations in the development section.
Stop 1434
Total time: 1:17
Practice time: 60 min
I had planned to go another 45 min but there were too many interruptions. Not sure if I will get back to things for another round, or consider that sufficient for today, as I do have a lesson tonight.
Friday, February 19
Start 1426
I had hoped to start earlier, but morning appointments and errands happened, and now it's mid afternoon.
60 min - Tchaikovsky
Always good to start with knowing what you are doing, so before I launched into cello work I reconciled the fingerings marked into my practice part with the performance part. That took 21 minutes.
Then instead of an official warm up I launched into the part, from the back forward. Since I was mostly making sure I had the shifts marked where I want them, with a few repetitions, I just kept resetting the timer in 10 minute blocks. I stopped after finishing the Andante beginning at m 255. I have reached my nemesis from Tuesday, the little scale fragments at 241. That's next, but since I went for a whole hour I'm taking a more substantial block break - maybe a whole 10 minutes!
40 min -Tchaikovsky
Launched right in where I left off, using mm qu = 60 to work out the notes, shifts, and bow changes. It was the little rocker bows that kept getting me off balance. After working up to qu = 80, added in the preceding pizzs. Little fingering glitch in 237 turned out to be a simple extension (were they all so easily solved). Needed to focus on the transition from pizz to scales as tempo increased, up to qu=96. Also marked some beat lines to keep things organized. This passage is not going to throw me tomorrow.
Reviewed the little triplet scale at the bottom of p3 at tempo, then spent the last 10 minutes on the melody at reh D. Corrected a couple of marked fingerings, then played a few reps at qu=80, just to make sure there were no mental transition glitches. Could stand to do a few more reps up tempo, but I'm out of time.
Stop 1630
Total time: 2:04
Total practice time: 100 min
Obviously, fewer breaks means more practice time. I am most happy that I have increased my daily practice time significantly this week with nary a tendon twinge. Also, by using the 10 minute timer to keep my focus I find I can work a longer block now with good concentration. I would count this as a highly successful practice week. I only hope the concert reflects that.
I had hoped to start earlier, but morning appointments and errands happened, and now it's mid afternoon.
60 min - Tchaikovsky
Always good to start with knowing what you are doing, so before I launched into cello work I reconciled the fingerings marked into my practice part with the performance part. That took 21 minutes.
Then instead of an official warm up I launched into the part, from the back forward. Since I was mostly making sure I had the shifts marked where I want them, with a few repetitions, I just kept resetting the timer in 10 minute blocks. I stopped after finishing the Andante beginning at m 255. I have reached my nemesis from Tuesday, the little scale fragments at 241. That's next, but since I went for a whole hour I'm taking a more substantial block break - maybe a whole 10 minutes!
40 min -Tchaikovsky
Launched right in where I left off, using mm qu = 60 to work out the notes, shifts, and bow changes. It was the little rocker bows that kept getting me off balance. After working up to qu = 80, added in the preceding pizzs. Little fingering glitch in 237 turned out to be a simple extension (were they all so easily solved). Needed to focus on the transition from pizz to scales as tempo increased, up to qu=96. Also marked some beat lines to keep things organized. This passage is not going to throw me tomorrow.
Reviewed the little triplet scale at the bottom of p3 at tempo, then spent the last 10 minutes on the melody at reh D. Corrected a couple of marked fingerings, then played a few reps at qu=80, just to make sure there were no mental transition glitches. Could stand to do a few more reps up tempo, but I'm out of time.
Stop 1630
Total time: 2:04
Total practice time: 100 min
Obviously, fewer breaks means more practice time. I am most happy that I have increased my daily practice time significantly this week with nary a tendon twinge. Also, by using the 10 minute timer to keep my focus I find I can work a longer block now with good concentration. I would count this as a highly successful practice week. I only hope the concert reflects that.
Thursday, February 18
10 min
Went to cello quartet rehearsal a little early to finish some course registration paperwork and scored an extra practice block when I found our room opened and empty. So I got 10 minutes of Tchaikovsky today, afterall. Spent it on the Db melody. Still need to address the fast scales that got me in trouble on Tuesday night tomorrow. I think that is entirely enough cello for today.
Went to cello quartet rehearsal a little early to finish some course registration paperwork and scored an extra practice block when I found our room opened and empty. So I got 10 minutes of Tchaikovsky today, afterall. Spent it on the Db melody. Still need to address the fast scales that got me in trouble on Tuesday night tomorrow. I think that is entirely enough cello for today.
Start 1805
I am not a fan of more than one contiguous practice time in a day. However, I feel like I need to do at least a mental brush up before quartet tonight. But before I start, I need to run upstairs and turn off the curling coverage (and check who is calling, but decide not to answer the phone).
10 min - Handel 2nd mvmt
At a variety of speeds, attention to shifts, intonation in the passage work. Producing volume with bow speed.
10 min - Handel 1st mvmt
Twice as many repetitions of the opening section in thumb position as the following section, with only once through of the end. Intonation, left arm balance, releasing tension.
10 min - Offenbach
A couple of passes through the melody and reviewing the squeaky high section, then spent most of the time on the cadenza. I think my choice for the timing today is a little better. We'll see.
End 1846
Total time: 41 min
Practice time: 30 min
I am not a fan of more than one contiguous practice time in a day. However, I feel like I need to do at least a mental brush up before quartet tonight. But before I start, I need to run upstairs and turn off the curling coverage (and check who is calling, but decide not to answer the phone).
10 min - Handel 2nd mvmt
At a variety of speeds, attention to shifts, intonation in the passage work. Producing volume with bow speed.
10 min - Handel 1st mvmt
Twice as many repetitions of the opening section in thumb position as the following section, with only once through of the end. Intonation, left arm balance, releasing tension.
10 min - Offenbach
A couple of passes through the melody and reviewing the squeaky high section, then spent most of the time on the cadenza. I think my choice for the timing today is a little better. We'll see.
End 1846
Total time: 41 min
Practice time: 30 min
Start 1023
10 min - warmup
Breval run through, cold. Read the basso part, then had time for one more 1/2 run through before time was up. I want to make a recording on the 2nd part to practice against - maybe after the concert.
10 min - Khatchaturian mvmt 1
Reviewed the fingerings for the accident prone scale fragments at the beginning, then focused on the cello soli at reh 7. Principal suggested playing it in thumb position, but I think that's crazy. It's just an octave D# shift, and the little portamento is what makes the phrase. My biggest worry is that the bowing is going to change again and through me off balance. I don't like the way it ends up bow on a whole+ note.
10 min - Khatchaturian mvmt 1, 2nd half
reh 8 better fingerings
reh 10 reviewed, but didn't mark fingerings. Not critical.
reh 12 unison melody. Better fingerings. Still need to decide how to do triplet measure at the end of that phrase - ran out of time.
10 min - Khatchaturian mvmt 2
Agh! Still not quite enough time in a 10 min block to finish all the housekeeping in one mvmt. Chose more optimal fingerings for the broken scale fragments before reh 2 and 6 based on yesterdays discoveries. Jettisoned the upper positions and used extensions and fast 4-4 shifts. Works a charm, but I have to be careful to take quick forearm stretch breaks in the middle of the block. Need to solidify fingering at reh 15 - first 2 measures are the complicated ones. Ran out of time. Also worked bowing at reh 2 - do-own up down u-up down up is more complicated at this very fast tempo.
(End of 1st hour)
10 min - Khatchaturian mvmt 3
I wish I could do this kind of work early in the piece, but it seems I need to have enough rehearsal experiences before I recognize the individual problems - until it differentiates from being one big fuzzy problem. Quickly decided on optimal fingering for opening phrases. Worked the rhythm at Allegro vivace with a metronome. Deciphered the fingering puzzle for the chords at reh 4 - much easier than I thought it was. Fingering for unison before reh 6, but I don't know what bowing we'll finally settle on. No indication, and as it comes ends up backwards. Need to look again at chromatic fingerings reh 6.5 -12, then the cello soli at reh 12.
10 min - Khatchaturian mvmt 3, 2nd half
Decided to spend another block on the 3d mvmt, since I need a couple of cracks at the soli section before Sat am, and the 4th mvmt is short and less complicated. Alas, I didn't make it to the soli because p 12 was more complicated than I thought! Worked the section from reh 6-8 with a metronome, ei=100 to work out fingerings, up to qu=140, about tempo. Good fingerings for speed, though, and I practiced the off beats with the metronome.
10 min - Khatchaturian mvmt 3, last quarter
After a little typing and a good stretch. It might have been 12 minutes, as I forgot to set the timer. Oops. It was enough time to finish the chromatic "3 in 2" passage at reh 10 and before 12, easy after the last block. Practiced off beat transitions with mm qu=100, transition to soli, then soli at tempo. In rehearsal, it was the transition that screwed us up, then the tendency to play it at half time, probably because we were all practicing it more slowly. Used alternating Bb and E drones. A couple of reps at qu=140 and it feels pretty good.
15 min - Khatchaturian mvmt 4
Forgot the timer again, but turned it on after about 5 min. I think that's a sign of fatigue. Just enough time to work out the kinks in the 4th mvmt. The patterns weren't so hard with optimal (in this case fewest) shifts. I don't know who fingered this part before - probably just as well. mm qu=100 to 132.
End 1230
Total time: 2:07
Practice time: 85 min
I dallied less between blocks than yesterday, so squeezed one more in, plus ran slightly over the 2 hours. Didn't get to Tchaikovsky yet, but need a longer break. I'd like to get to that plus a quick look see at the quartet music before rehearsal tonight. I should probably go a little easier on the weights this afternoon than I had planned. It's a CrossFit "Linda" workout.
10 min - warmup
Breval run through, cold. Read the basso part, then had time for one more 1/2 run through before time was up. I want to make a recording on the 2nd part to practice against - maybe after the concert.
10 min - Khatchaturian mvmt 1
Reviewed the fingerings for the accident prone scale fragments at the beginning, then focused on the cello soli at reh 7. Principal suggested playing it in thumb position, but I think that's crazy. It's just an octave D# shift, and the little portamento is what makes the phrase. My biggest worry is that the bowing is going to change again and through me off balance. I don't like the way it ends up bow on a whole+ note.
10 min - Khatchaturian mvmt 1, 2nd half
reh 8 better fingerings
reh 10 reviewed, but didn't mark fingerings. Not critical.
reh 12 unison melody. Better fingerings. Still need to decide how to do triplet measure at the end of that phrase - ran out of time.
10 min - Khatchaturian mvmt 2
Agh! Still not quite enough time in a 10 min block to finish all the housekeeping in one mvmt. Chose more optimal fingerings for the broken scale fragments before reh 2 and 6 based on yesterdays discoveries. Jettisoned the upper positions and used extensions and fast 4-4 shifts. Works a charm, but I have to be careful to take quick forearm stretch breaks in the middle of the block. Need to solidify fingering at reh 15 - first 2 measures are the complicated ones. Ran out of time. Also worked bowing at reh 2 - do-own up down u-up down up is more complicated at this very fast tempo.
(End of 1st hour)
10 min - Khatchaturian mvmt 3
I wish I could do this kind of work early in the piece, but it seems I need to have enough rehearsal experiences before I recognize the individual problems - until it differentiates from being one big fuzzy problem. Quickly decided on optimal fingering for opening phrases. Worked the rhythm at Allegro vivace with a metronome. Deciphered the fingering puzzle for the chords at reh 4 - much easier than I thought it was. Fingering for unison before reh 6, but I don't know what bowing we'll finally settle on. No indication, and as it comes ends up backwards. Need to look again at chromatic fingerings reh 6.5 -12, then the cello soli at reh 12.
10 min - Khatchaturian mvmt 3, 2nd half
Decided to spend another block on the 3d mvmt, since I need a couple of cracks at the soli section before Sat am, and the 4th mvmt is short and less complicated. Alas, I didn't make it to the soli because p 12 was more complicated than I thought! Worked the section from reh 6-8 with a metronome, ei=100 to work out fingerings, up to qu=140, about tempo. Good fingerings for speed, though, and I practiced the off beats with the metronome.
10 min - Khatchaturian mvmt 3, last quarter
After a little typing and a good stretch. It might have been 12 minutes, as I forgot to set the timer. Oops. It was enough time to finish the chromatic "3 in 2" passage at reh 10 and before 12, easy after the last block. Practiced off beat transitions with mm qu=100, transition to soli, then soli at tempo. In rehearsal, it was the transition that screwed us up, then the tendency to play it at half time, probably because we were all practicing it more slowly. Used alternating Bb and E drones. A couple of reps at qu=140 and it feels pretty good.
15 min - Khatchaturian mvmt 4
Forgot the timer again, but turned it on after about 5 min. I think that's a sign of fatigue. Just enough time to work out the kinks in the 4th mvmt. The patterns weren't so hard with optimal (in this case fewest) shifts. I don't know who fingered this part before - probably just as well. mm qu=100 to 132.
End 1230
Total time: 2:07
Practice time: 85 min
I dallied less between blocks than yesterday, so squeezed one more in, plus ran slightly over the 2 hours. Didn't get to Tchaikovsky yet, but need a longer break. I'd like to get to that plus a quick look see at the quartet music before rehearsal tonight. I should probably go a little easier on the weights this afternoon than I had planned. It's a CrossFit "Linda" workout.
Wednesday, February 17
70 min
Time to balance the need for immersing myself in this orchestra music prior to the concert this weekend, and avoiding overuse. Taking a page from my workout schedules, I decided to practice in 10 minute blocks, dedicating "rest" time in between blocks to summarizing my notes on the block, finding materials for the next block, and brief walks around and stretches.
Start 1245
10 min - Warmup
C MAJ, 4 octaves, slurred 2 and 4 to bow. Forward at the hips, feet in good contact. Parallel and contralateral body motion. Breval run through, focusing on maintaining forward position and resulting arm weight. Chanson Triste, first phrase or two, from memory so the fingerings were random, but same focus.
10 min - Tchaikovsky Capriccio Italienne
32nd note scales at reh 156. Last night at rehearsal I realized just how fast that goes - it's like a tremolo with notes. Today I started by getting the bow moving at the right groupings (4x4 + 1) and speed. Then I added the scale, starting with a simple A maj fingering in 1st position. That worked surprisingly well. The breakthrough came when I realized that my nice fingerings into higher positions worked fine at a slower tempo, but not this one. Instead, I looked for where I could do a half-step shift up and down on the same finger, and sort of "shook" it into place while tremolo bowing. Eureka! Next point was that it's G# on the G string in A maj (duh!), but fortunately that little half-step shake on the 1st finger works fine there, too. Next block on this piece, I need to figure out how to apply this to the last 2 runs, starting on F# and B, but with added A#s.
10 min - Shosty 5 1st mvmt
Worked on 4 m phrase leading into reh 22. This section also surprised me as faster than I expects. Started at mm qu = 80 and just did repetitions, focusing alternating between shifts, finger groupings, and body ease. After lots of reps (prob 20-30) it felt pretty easy and I increased mm to 90 for several reps, then 104 just at the end of my time. 90 is easy, 104 felt rushed but mostly clean. There are several other sections in this mvmt that need the same treatment.
10 min - Shosty 5 mvmt 2
That block flew by, probably because I tried to do two things. First, the martele opening. Simple repetitions, focusing on clean string crossings and shifts, and quarter note lengths in 7th and 8th measures. Seems simple, but I really need to know which string I am playing on to keep it clean. Then moved on to the major motif in this mvmt, the little Boccherini descending thirds or so. I had fingerings that required shifts under the slurs, because that was the fewest number needed and I thought it would be easier. But it's hard to play the line - the shifts need to be between the slurs. Working out a better fingering. I'll resume there next block on this mvmt.
20 min - Shosty 5 mvmt 3
Notes in this mvmt are pretty well under control, so for this block I played with a recording of the NY Phil under Leonard Bernstein. The copious amount of rubato made it particularly challenging, but I used my time in the long rests to mark extra cues. Had a short pause in the middle to change batteries in the CD player. The recording was 16 or so minutes, so I continued into a second block. The last 3 or 4 minutes were spent on repetitions of the little cello soli near the end against a D drone. I tried a fingering crossing to the A string, which it seems like most others are doing, but really like it better sul D until it goes too low and crosses to the G string. Therefore, I figure I had better darn well be able to play it in tune!
10 min - Shosty 5 mvmt 4
Most of the time on working motifs at reh 102 up to speed, primarily using gestures, adding one finger pattern + shift at a time. A couple reps at reh 104 for intonation, then finished on 106-108. Next time on this block, start with intonation in 2nd measure of 107. That shift isn't quite working.
Finish 1440
Total time: ~2 hrs
Total practice: 70 min
I had hoped to do block of Khatchaturian as well, but after two hours my fingers are feeling it, and I'm mentally tired. I have a CrossFit tabata workout scheduled for today, so I think I'll do that now, and see if I can eke out any more practice time a little later, before church rehearsal.
Time to balance the need for immersing myself in this orchestra music prior to the concert this weekend, and avoiding overuse. Taking a page from my workout schedules, I decided to practice in 10 minute blocks, dedicating "rest" time in between blocks to summarizing my notes on the block, finding materials for the next block, and brief walks around and stretches.
Start 1245
10 min - Warmup
C MAJ, 4 octaves, slurred 2 and 4 to bow. Forward at the hips, feet in good contact. Parallel and contralateral body motion. Breval run through, focusing on maintaining forward position and resulting arm weight. Chanson Triste, first phrase or two, from memory so the fingerings were random, but same focus.
10 min - Tchaikovsky Capriccio Italienne
32nd note scales at reh 156. Last night at rehearsal I realized just how fast that goes - it's like a tremolo with notes. Today I started by getting the bow moving at the right groupings (4x4 + 1) and speed. Then I added the scale, starting with a simple A maj fingering in 1st position. That worked surprisingly well. The breakthrough came when I realized that my nice fingerings into higher positions worked fine at a slower tempo, but not this one. Instead, I looked for where I could do a half-step shift up and down on the same finger, and sort of "shook" it into place while tremolo bowing. Eureka! Next point was that it's G# on the G string in A maj (duh!), but fortunately that little half-step shake on the 1st finger works fine there, too. Next block on this piece, I need to figure out how to apply this to the last 2 runs, starting on F# and B, but with added A#s.
10 min - Shosty 5 1st mvmt
Worked on 4 m phrase leading into reh 22. This section also surprised me as faster than I expects. Started at mm qu = 80 and just did repetitions, focusing alternating between shifts, finger groupings, and body ease. After lots of reps (prob 20-30) it felt pretty easy and I increased mm to 90 for several reps, then 104 just at the end of my time. 90 is easy, 104 felt rushed but mostly clean. There are several other sections in this mvmt that need the same treatment.
10 min - Shosty 5 mvmt 2
That block flew by, probably because I tried to do two things. First, the martele opening. Simple repetitions, focusing on clean string crossings and shifts, and quarter note lengths in 7th and 8th measures. Seems simple, but I really need to know which string I am playing on to keep it clean. Then moved on to the major motif in this mvmt, the little Boccherini descending thirds or so. I had fingerings that required shifts under the slurs, because that was the fewest number needed and I thought it would be easier. But it's hard to play the line - the shifts need to be between the slurs. Working out a better fingering. I'll resume there next block on this mvmt.
20 min - Shosty 5 mvmt 3
Notes in this mvmt are pretty well under control, so for this block I played with a recording of the NY Phil under Leonard Bernstein. The copious amount of rubato made it particularly challenging, but I used my time in the long rests to mark extra cues. Had a short pause in the middle to change batteries in the CD player. The recording was 16 or so minutes, so I continued into a second block. The last 3 or 4 minutes were spent on repetitions of the little cello soli near the end against a D drone. I tried a fingering crossing to the A string, which it seems like most others are doing, but really like it better sul D until it goes too low and crosses to the G string. Therefore, I figure I had better darn well be able to play it in tune!
10 min - Shosty 5 mvmt 4
Most of the time on working motifs at reh 102 up to speed, primarily using gestures, adding one finger pattern + shift at a time. A couple reps at reh 104 for intonation, then finished on 106-108. Next time on this block, start with intonation in 2nd measure of 107. That shift isn't quite working.
Finish 1440
Total time: ~2 hrs
Total practice: 70 min
I had hoped to do block of Khatchaturian as well, but after two hours my fingers are feeling it, and I'm mentally tired. I have a CrossFit tabata workout scheduled for today, so I think I'll do that now, and see if I can eke out any more practice time a little later, before church rehearsal.
Tuesday, February 16
Monday, February 15
30 min
Back on the practicing bandwagon. I have a lesson this evening, and our orchestra concert is this coming weekend.
This block I began with 10 minutes of Breval, a play through followed by some work on the trills. A 2 octave D trill exercise went far to improve the timing. Then a little focused work in making sure my bow was in the string at the beginning of strokes, and feeling left hand balance.
That was in preparation for the last 20 minutes, spent looking at Haydn C, the exposition and other Theme 1 sections. The 1st and 3d are very similar, just varying in what they lead into. The 2nd goes back and forth into 5th position. I think I will be ready to discuss bow distribution, shifting, and practice approaches tonight, along with reviewing my organization work from last week.
I have one more thing to do with my cut-out pages - write the road map on top of each page and circle where the excerpts lie. That is to help with learning sequence while working from the excerpt pages.
Back on the practicing bandwagon. I have a lesson this evening, and our orchestra concert is this coming weekend.
This block I began with 10 minutes of Breval, a play through followed by some work on the trills. A 2 octave D trill exercise went far to improve the timing. Then a little focused work in making sure my bow was in the string at the beginning of strokes, and feeling left hand balance.
That was in preparation for the last 20 minutes, spent looking at Haydn C, the exposition and other Theme 1 sections. The 1st and 3d are very similar, just varying in what they lead into. The 2nd goes back and forth into 5th position. I think I will be ready to discuss bow distribution, shifting, and practice approaches tonight, along with reviewing my organization work from last week.
I have one more thing to do with my cut-out pages - write the road map on top of each page and circle where the excerpts lie. That is to help with learning sequence while working from the excerpt pages.
No I did not practice this weekend, but I "touched my cello" both days.
On Saturday we had the (only) rehearsal with choir for a memorial service to be played on Sunday. It's a rather nice idea, a choral concert in memory of the chorus members who have died in the past number of years. My orchestra rehearses at the church, and in return for free use of the space during the year we contribute to the church music needs a couple of times a year.
The two pieces: Lux Aeterna, by Morten Lauridsen, a modern requiem in the traditional format, and O Light of Life! by Mac Wilberg. I believe it's the second mvmt of the Lauridsen that has a beautiful cello solo in treble clef, up to violin position, as I call it. I was glad I didn't have to play it, but our fill-in principal did a beautiful job.
Sunday morning I played one service in church, just congregational accompaniment, and then the memorial service in the afternoon.
On Saturday we had the (only) rehearsal with choir for a memorial service to be played on Sunday. It's a rather nice idea, a choral concert in memory of the chorus members who have died in the past number of years. My orchestra rehearses at the church, and in return for free use of the space during the year we contribute to the church music needs a couple of times a year.
The two pieces: Lux Aeterna, by Morten Lauridsen, a modern requiem in the traditional format, and O Light of Life! by Mac Wilberg. I believe it's the second mvmt of the Lauridsen that has a beautiful cello solo in treble clef, up to violin position, as I call it. I was glad I didn't have to play it, but our fill-in principal did a beautiful job.
Sunday morning I played one service in church, just congregational accompaniment, and then the memorial service in the afternoon.
Friday, February 12
Thursday, February 11
30 min
Handel 2nd mvmt. mm = 60, 80, 100, 120, 132. I meant to use this as a warmup only, but quickly got into a productive work zone and just stayed with it.
20 min
Divided between Handel mvmt 1 and Offenbach.
Feedback after quartet rehearsal: still can't hit that octave Bb shift under stress. Sigh. More forte in Handel 2nd mvmt, but achieve it with bow speed rather than pressure. Even more phrase shaping in Offenbach.
Handel 2nd mvmt. mm = 60, 80, 100, 120, 132. I meant to use this as a warmup only, but quickly got into a productive work zone and just stayed with it.
20 min
Divided between Handel mvmt 1 and Offenbach.
Feedback after quartet rehearsal: still can't hit that octave Bb shift under stress. Sigh. More forte in Handel 2nd mvmt, but achieve it with bow speed rather than pressure. Even more phrase shaping in Offenbach.
Wednesday, February 10
Today I spent 2 hours analyzing the first mvmt of Haydn C. I resorted to brute force, making an extra copy then dissecting it with a pair of scissors. That forced me to identify the motifs in order to categorize each appropriately. As I tweeted earlier, here are my results:
By section
Theme 1 x3; Theme 2A x2, 2B x2, 2C x5, 2D x3, 2E x4; double stop Interlude x3; passage work A, B, A+B x1@
In order
1,2A,2B,2C,2D,ds,2C,2E,2C,1,2A,pwA,pwB,2D,ds,2E,1,2B,2C,pwA+B,2E,2C,2D,ds,2E,cad
It was a good day's work, but with the extra driving to take Magoo to and from the vet for his cryptorchidectomy I ran out of time to actually practice. I had church orchestra rehearsal in the evening though, so an hour of "touched my cello" time.
By section
Theme 1 x3; Theme 2A x2, 2B x2, 2C x5, 2D x3, 2E x4; double stop Interlude x3; passage work A, B, A+B x1@
In order
1,2A,2B,2C,2D,ds,2C,2E,2C,1,2A,pwA,pwB,2D,ds,2E,1,2B,2C,pwA+B,2E,2C,2D,ds,2E,cad
It was a good day's work, but with the extra driving to take Magoo to and from the vet for his cryptorchidectomy I ran out of time to actually practice. I had church orchestra rehearsal in the evening though, so an hour of "touched my cello" time.
Tuesday, February 9
48 min
I think I'm over my jet lag; finally felt like practicing.
Started with the Breval run through and a couple of spot checks, then decided it was time for some Haydn. Began with the chord bowing pattern at 71 (down 3, 3 sep) on Feuillard 35 (3 note chords), then looked at the chords in the music. The pattern isn't as vanilla, as there are also slurred up chords in lieu of the 3 seps. A couple of fingering issues I need to check on. Spent the last couple of minutes on the exposition.
When the 18 min beeper went off (leftover from last night) I switched to Shosty 5. Worked the trouble spots in the 1st mvmt according to Principal's notes, plus one extra of mine. It's coming along, but of course the test will be at tempo at rehearsal later.
I think I'm over my jet lag; finally felt like practicing.
Started with the Breval run through and a couple of spot checks, then decided it was time for some Haydn. Began with the chord bowing pattern at 71 (down 3, 3 sep) on Feuillard 35 (3 note chords), then looked at the chords in the music. The pattern isn't as vanilla, as there are also slurred up chords in lieu of the 3 seps. A couple of fingering issues I need to check on. Spent the last couple of minutes on the exposition.
When the 18 min beeper went off (leftover from last night) I switched to Shosty 5. Worked the trouble spots in the 1st mvmt according to Principal's notes, plus one extra of mine. It's coming along, but of course the test will be at tempo at rehearsal later.
Monday, February 8
30 min
I was going to practice for 45 min, but ran out of gas. Left it for too late.
Warmed up with a Breval run through. Sounds amazingly good on a real cello, having played for a week on the Prakticello with no sound to speak of.
Got a note from our Principal Cellist upon my return, listing trouble spots to pay extra attention to. That was very helpful! A little worried that she says cellos are doing well - hope that still holds true when I get back to rehearsal tomorrow! Spent about 20 minutes on Tchaikovsky Capricio Italienne (I hope that is spelled somewhere near correctly). I guess we are going to play this at the concert - first mention since Day 1. As she says, not hard, but fast. Just familiarizing myself with the scale passages.
Last 5 minutes on the soli section of Spartacus, 3d movement, reh 13. Only 6 or 8 measures. Intonation is the tricky part.
Tomorrow I'll focus on the highlighted sections of Shosty 5. I would also like to spend a little time looking at Haydn C, which I forgot to take to Hawai'i, to start preparing for next week's lesson. (I canceled tonight due to continuing snow and very bad roads. Discretion, valor, and all that.)
I was going to practice for 45 min, but ran out of gas. Left it for too late.
Warmed up with a Breval run through. Sounds amazingly good on a real cello, having played for a week on the Prakticello with no sound to speak of.
Got a note from our Principal Cellist upon my return, listing trouble spots to pay extra attention to. That was very helpful! A little worried that she says cellos are doing well - hope that still holds true when I get back to rehearsal tomorrow! Spent about 20 minutes on Tchaikovsky Capricio Italienne (I hope that is spelled somewhere near correctly). I guess we are going to play this at the concert - first mention since Day 1. As she says, not hard, but fast. Just familiarizing myself with the scale passages.
Last 5 minutes on the soli section of Spartacus, 3d movement, reh 13. Only 6 or 8 measures. Intonation is the tricky part.
Tomorrow I'll focus on the highlighted sections of Shosty 5. I would also like to spend a little time looking at Haydn C, which I forgot to take to Hawai'i, to start preparing for next week's lesson. (I canceled tonight due to continuing snow and very bad roads. Discretion, valor, and all that.)
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