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.
Showing posts with label breval. Show all posts
Showing posts with label breval. Show all posts
Monday, April 19
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.
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
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.
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
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
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.
Thursday, February 18
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.
Friday, February 12
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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