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Tuesday, April 11th, 2006
Rehearsal with Aaron and Bill (and Mark, who will be playing lead guitar) went really nicely this evening. I'm starting to understand "Always". I was spot on with two songs, "Used to be" (which I've been working hard on all week) and "Dream" (which I haven't touched since last time), and was doing really well on "If you were mine" until I screwed up massively where I shift to third position. We played a couple of new songs, including one in E flat! Very peculiar key for the violin. I got a copy of their CD (having lost track of the one I bought last year) which should help with learning the songs.
posted evening of April 11th, 2006: Respond
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Friday, April 14th, 2006
Well it looks like the thing that will ultimately give me confidence in playing in third position, is going to be "Sometimes" -- it is in E♭ which is horrendously difficult to play in first position. But I was practicing it tonight in third position and came up with a pretty solo that is all in third position, easy to play and I think it will be easy to remember. So that's great -- I will play it with Aaron and Bob and once I get comfortable with it, I should be able to play up there in G and D as well.
posted evening of April 14th, 2006: Respond
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Monday, April 17th, 2006
Tonight I worked out a really satisfying solo to play with "Always". That's sort of the second song I've done that for since joining 13 Scotland Rd. -- for a couple of the songs nice solos come pretty naturally, but the two that I've really worked on and think of myself as knowing a fiddle part for, are "Used to be" and "Always". I'm particularly happy about "Always" because for the first couple of weeks I was totally in the dark about this song. The process is approximately: figure out what key the song is in, and what note to start the verse and chorus on. Then find a couple-of-note phrase that fits into the music at a couple of key junctures. Then work out how to echo that phrase up a fourth and a fifth and an octave. Then play the melody with the phrase different ways until everything comes together. It is satisfying when it works.
posted evening of April 17th, 2006: Respond
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Thursday, April 20th, 2006
My current project in my fiddle practicing is trying to learn the keys. Right now I'm never sure what key I'm playing in until I get to a resolution, and the key often shifts while I'm playing (if I'm playing by myself) to one of my preferred keys, D or G. I'd like to: branch out a bit, i.e. get comfortable in a wider variety of keys; be able to know what key I'm playing in fairly instinctually; and be able to join in harmoniously when someone tells me they're going to play in a particular key. The path to this seems to be "playing scales" but I'm not totally sure what is meant by this as far as rhythm, timing, etc. What I've been doing for the last couple of days is to play a scale up and down a couple of times starting on a particular note, and then try to play some simple melodies in that key. I'm hoping this will get me where I want to go with enough repetition. I'm also planning to buy a book of études for violin. I'm spending a lot of time listening to the Grappelli tape that Bill loaned me.
posted morning of April 20th, 2006: Respond
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Friday, April 21st, 2006
Today I am going to the music shop after work and buy a book of etudes, or possibly two. Maybe I will also buy some violin sonatas. The question in my mind is, do I want classical etudes or jazz etudes? Or one of each? Hopefully the answer will resolve when I am looking at the actual books. Update: So the resolution was provided by my sister, who is knowledgeable in the ways of music and said she did not think it would make any difference whether I used a jazz or classical exercise book, and recommended a good store for classical music. So I went to Joseph Patelson's and bought Hohmann's Practical Method for the Violin, book III, and Above the First Position by Markwood Holmes and Russell Webber. The first has a lot of work on scales in different keys; the second has exercises for moving up and down the neck. Also I bought 6 Sonatas for Violin and Piano by Handel; I don't know if I will ever get around to learning them but they should be good fun if I do.
posted morning of April 21st, 2006: Respond
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Thursday, April 27th, 2006
Lesson with Lisa this evening -- we spent a lot of time going over ideas for the "If you were mine" solo. Really encouraging -- made me feel like I may actually get it soon. Lisa showed me how to do some stuff in the style of Grappelli and recorded some licks for me to listen to and try. Off to practice...
posted evening of April 27th, 2006: Respond
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Thursday, June 7th, 2007
I just found this page at the Library of Congress' "American Memory" web site -- it links to field recordings of fiddler Henry Reed and sheet music transcriptions of his pieces -- this is just excellent.
posted evening of June 7th, 2007: Respond
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Sunday, August 5th, 2007
So I signed up to play in The Stirling Duo's fall chamber music workshop, which Mike recommended to me -- we'll be playing Corelli's Concerto Grosso Opus 6 #7, pleasant and challenging.
posted evening of August 5th, 2007: Respond
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Saturday, September 29th, 2007
Last week I bought a viola on an impulse. I was at the violin store for supplies and decided whimsically to look at the violas; and it turned out they had a very cheap student model which sounded pretty nice when I played it. And, well, I've been wanting to play viola for a long time now, and it turns out that was a good thing to want -- playing it is absolutely addictive. It seems to have taken me outside the habits I had fallen into on my violin and is allowing me to come up with a lot of interesting improvisational stuff. Bob and Janis came over to practice this afternoon. (How exactly is the viola jarring me out of my melodic habits? Well there is the change in tone obviously; also the finger positions are very slightly wider-spaced, enough so that I need to pay attention to where my fingers are falling. And, I didn't buy a shoulder rest for it; so my head position is a lot different and it rests differently on my shoulder and my wrist. All this together is enough to make it difficult to play just like I'm used to playing.) (What is it that makes it feel so rewarding to produce sound on the viola, makes it so difficult to put the instrument down once I'm playing? Well the instrument is just so damn resonant, notes will ring a long time from a light application of the bow. Of course there is the simple novelty of it, and the feeling of having waited a long time for it. And somehow the feeling of playing in that lower register just makes me want to keep on playing.)
posted evening of September 29th, 2007: Respond
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Sunday, September 30th, 2007
Playing that viola feels like having an organ on your shoulder! (No, not like that, get your mind out of the gutter.) -- Tonight I played all of Farewell to Peter, which I have played bits and pieces of but never the whole thing. My music reading is getting better -- playing "the whole thing" meant being able to distinguish the slight differences in the repetitions of the theme, based on their representation on paper. I was transposing from F down to B♭, because I was reading the music as if I were playing a violin -- i.e. where I read notation for "A", I was playing D. This is way easier than it sounds. I should probably figure out how to read viola music straight at some point. Update: Hmm... apparently learning to read viola music straight is going to involve accustoming myself to a new clef. May possibly never happen. ...and Later: Well, I bought a book of music in alto clef today -- 6 Suites for solo viola, by J.S. Bach. Wonder if this will go anywhere.
posted evening of September 30th, 2007: Respond
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