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beetobin

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  1. Hi everyone, I know I haven't posted in a while, but I'm hoping someone can help with my musical dilema. As a high school senior who wants to study music at a conservatory, I'm starting to look at my options in terms of what I want to do next year. My teacher really wants me to take a year off after I graduate to focus on builiding my repetoire. I was wondering if anyone else took a year after high school to practice more, and what were the pros and cons? Any advice would be much appreciated.
  2. Hi everyone. I've been playing a piece for quite some time now, and even though my teacher "passed" me on it a while ago, I've had to keep it up for various competitions coming up this month. These days when I practice, I have trouble finding new things to do with the piece, and often find myself just running through it before I move on to new repetoire. Any suggestions on how to keep a piece fresh and interesting? Perhaps an approach to finding new things to work on?
  3. I agree that some contemporary music is unbearable to listen to at first. However (to play devil's advocate a little bit), I think there is sort of a throw-back to impressionist music in some of it, in that sometimes the composer is going more for creating a mood than to hammer out a solid tune that the listener can follow. That's not to say that contemporary music sounds like Debussy or Ravel, but it's something to think about.
  4. I played in a concert for the Jr. Bach Festival on Bach's B-day, and we too had cake to celebrate his birthday. My group did a performance of Brandenburg 6...great music for the lower register instruments!
  5. Hi Everyone. I play the cello, and I'm currently trying to get more experience in competing, and was wondering if anyone had suggestions for competitions in the bay area (CA), or could direct me to a site where I could find such information. Doesn't matter how "prestigious" the competition it is, I just want the practice. Thanks for your time!
  6. Thank you for the reference. It's already provided me with some of the answers I needed!
  7. I'm currently in my junior year of high school and am starting to think about who I might study with at the conservatory level since I plan to be a proffessional cellist. My teacher would like me to continue studies with her in N.Y. at Mannes, but I would also like to have a little more info on some other teachers before I make any decisions. Does anyone have any previous experience or knowledge on conservatory level cello teachers? Any info would be much appreciated.
  8. I am actually a cellist, so I can't offer any etudes or books you should use to get back into the swing of things, but I did go through a similar situation in which I had to relearn a lot of technique. Last year, I broke my left hand, and was unable to play the cello for about a month and a half. After my cast came off, the instrument felt totally strange in my hands because I hadn't played it at all in so long. My teacher's advice was to start from the basics, meaning scales and etudes. He also told me not to push it until I got my stamina back: if I felt fatigued, he told me to stop and rest. One thing I would be cautious about is jumping back in too fast. When I started practicing again, I was too anxious to get back to the repetoire that I had been doing prior to the accident. As a result, I developed a lot of bad habits that I had to fix later on. I think you'll be surprised how fast some things come back, as long as you make sure to rebuild your technique from the basics on up.
  9. Hi everyone, I'm still a little new to this site, so it's very possible this question has been asked before... I noticed in a lot of old recordings, they seem to be done in one take, which seems appropriate since the recording technology we have now wasn't available. I was wondering what people's general opions are on the difference between a one take recording with a few mistakes, or a doctored recording where the artist is allowed to go back and record over mistakes? Is some of the character of the piece and performance lost in covering up mistakes? It seems to me that certain emotions drawn from playing a piece can only be achieved when considering the piece as a whole, and thus patching it up might lose some of that intsensity that comes with the totality of the work. Also, it seems to me that people say more and more that the "stars" of classical music today have less distinctive sounds, in that you can't tell who is playing on a given recording, whereas with Menuin or Casals you can tell it's them right away. Does this have anything to do with artists attempting to release technically perfect recordings? I just thought I'd open the topic up for discussion. Thanks for your thoughts.
  10. I know this might sound a little gross, but my calusses have started to peal a little bit. Should I be worried, or is this perfectly natural? Is there a cream or something I should be using to preserve them better? Thanks for any advice anyone can offer.
  11. Thank you Connie for your advice. I am a junior in High School, and save 2-3 hours a day for practice. Teaching music at the college level has always appealed to me. It's good to know that there are options open when I reach career decision time and that you find teaching a rewarding experience.
  12. Hi everyone, I'm sort of new to the process, but I'm hoping some of you can help me with my question. As a person who is approaching the time when I must decide on which college to attend, I am wondering if I really have what it takes to become a proffessional musician. I've always dreamed of going to a conservatory to continue my studies on the cello, but am unsure if I really know what it is to be a working musician. Can anyone offer advice on being a proffessional vs. having another career but still maintaining practice of an instrument?
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