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peonymusic

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  1. I would like a life "without audible mistakes" in which it looks like someone else did it (the mistakes) on film.... Hee, hee.
  2. Of course we don't know you and we don't know the teacher. What remains is that you must keep your passion. Explain to your teacher or not explain to your teacher, I have no idea which is better. But to keep your passion -- there is the focus. Find a teacher you can work with, even if you have to drive hours and hours, once a month.
  3. Don't! Don't overcome the excitement -- it's a help, an energy booster, if you can learn to use it. Of course, that doesn't always work, but still if you can channel it, it can help you focus and do well. Playing in front of people is a combination of great pleasure and great terror, followed by a small void -- which you'll want to fill again with more music. Good luck to you on the 8th!
  4. Re the fiddlers playing backward -- that really gets to me, too, -- like all those flute figures which have the flutists playing with both hands coming over the flute from the front. And, to continue this rant, how about all the "cute" pictures of stringed instruments without bridges? Duh! There's a difference between representing a cello, for instance, artistically and representing it wrong. I like this thread!
  5. Right! Podger is also FABULOSO!
  6. I believe the incomperable Andrew Manze has done these, and also the Corelli sonatas, including the Corelli Variations. He has inspired me so. How wonderful not to live at a time which still believes in trite, controlled, ultimately boring baroque fiddling. I weep at his mastery.
  7. Thanks, TC, for letting us all know about Connie. For what it's worth, I am sitting here crying. Hers is the page I go to for solid, professional, and amiable guidance. Her dear and special attributes permeate her pages. A message for Connie: know that this semi-agnostic is praying and hoping for your complete and may I add speedy recovery.
  8. Perfection is overrated. Yes, you may be a bit embarrassed but for heaven's sake, make music, not perfection! (Those CDs and DVDs of fabuloso players show virtuosos being nearly perfect. But what excites me and many others is someone like Andrew Manze, who is willing to aim for the sky, and scoop up some stars on the way down if he begins to take a tumble. He himself says that it doesn't always work out. But that is what makes Manze's and Egar's music-making so VITAL.) Accepting only perfection means death to the music, because perfection is cage and a straight jacket. Know the music deeply. Then use your intuition, and if you have to leave out a note, or add a small rest that would sound correct within the time signature, or modify the music slightly, do it. Trust your brain and your hands. If it's a solo, perhaps folks will think you are playing a cadenza of your own making, or a variation! But whether you are soloing or in orchestra, remember to manage your face: no grimaces, to show the audience that you did indeed foul up, and exactly where. (They may just think, Hmmmm....interesting tonality, for that time period.) And, if you play in an orchestra, there is always the option of playing "air violin" for those unsettling micromoments of uncertainty.
  9. Yes, it was interesting, sometimes, to see people's character, interests, and quirks -- but ranting and nastiness is never attractive -- I mean it literally does not attract. All that name-calling got old real quick, and I found myself choosing not to access Maestronet, for that reason. It was aversive. I like Maestronet Fingerboard for the violin stuff. Rudeness and crudeness you can any day from lots of folks, but I'll avoid it wherever I can.
  10. Excellent! And how wonderful to hear that you have been "bitten" again! Enjoy, enjoy!
  11. I like the forum as it is now. Because of some recent comments, I went to check some of the other sites: the Fingerboard is classier! It seldom airs tiresome stuff, like vulgarities and tirades, or general animosity. That makes me grateful to the folks who occasionally edit these pages. What it does well is provide access to good information, sometimes so hard to find. It is a safe place to ask questions and get multiple answers to what seemed a simple question!
  12. I am still chuckling at some of the multiple useful--and funny!!-- replies. To express my gratitude, I am sending you each an imaginary bouquet of roses, liatris, and gentians, with a little baby's breath tucked in there, too.
  13. Everyone, especially the Conductor, says, "Count!" and we all agree it's good to count!! But in performance, and also in rehearsal, something makes it more confusing. For instance, in a rest of 40000, you say, 23/1, 23/2, 23/3, why is she looking at me? 23/what?///!!!!!!!!OOOOOOOOOOOOHHHHHHHH and you've lost it/!!! And since I'm the concertmaster, it means I can't just follow someone else. So how do you get a feeling for the shape of the music? And how sure ARE you when you come in, that you are correct? Or do you just figure the precentages, like in Vegas, and assume that at least 50% of the time you'll be right? Concertmasters, and those in that kind of responsibility, I'd sure appreciate you talkin' to me here. I can get most of the notes. I can get most of the rhythms. I can get most of the dynamics. But the counting? When to come it, after 789 measures? Pray! Here are a few questions. How much do you rely on musical intuition? If you have 4,282 measures to count, do you actually count all of them? How do you keep track? I know about 1/1, 1/2, 1/3. 1//3, etc............. I am interested in long AND short term counting, here.
  14. Thanks to all who replied. I share the characteristic that several folks mentioned, that of semi-random musical distribution, and am heartened to learn that I am not alone in this. As of last night, my boxes and bins are organized into type, then alphabetically by composer, with generic/compilations at the end. And entering it all into a database is a great idea -- which I will not be doing! (smile) Thanks again for the time it took for your replies.
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