Sat 0:16 (1754-1810)
Even shorter. I just wanted to touch the cello today. Played the second half of Haydn C 1st mvmt, note to note. Will need to go over the fingering of the screechiest parts with T4.
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.
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