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sevenhelz at 08:54pm on 06/03/2007 under learning journal
sevenhelz at 08:54pm on 06/03/2007 under learning journalNo lesson this week, so I've been working on what D said last time, especially tonguing and articulation in relation to different dynamics. I've also taken in something he mentioned in reference to the semiquavers in the Marcello piece - if you concentrate on the lower note all the time it's easy to keep in rhythm. I applied this to the sextuplet semiquavers of the lip flexibilities I keep working on, and found that it didn't help my lip move any faster, but it did help me think in time.
I have a fair amount of back pain at the moment, despite the Alexander Technique masterclass and the massage given by a friend. At home I used to have chiropractic treatment every two months or so, and I haven't kept it up since being here, so it's not surprising I'm tense. I think the shape of the euphonium and the way the weight rests means I will always twist around it somewhat, so I will have to go back to chiro.
I also had a heavy cold towards the end of the week, and took three days off playing to help recover. The practice was wearing me out, not just my lip but all of me, and this drained my motivation and enjoyment of playing.
The performance lecture this week was on presenting yourself on stage. I'm lucky in that a teacher/conductor of mine had already addressed me on this, but it was useful to see for myself the effect of someone walking onstage looking at the floor, and it means I will be watching others' stage presentation more closely. I'm interested in the different views on movement whilst performing, as in the masterclass on singing Lynn Dawson said that a singer should not sway - the movement affected their sound and distracted the audience. Ms Dawson implied that movement was bad unless planned as part of the act, as in opera. However many performers, particularly woodwind players and solo violinists, do move in time to the music, and I believe this is essential to small group playing and useful when working with an accompanist.
I have a fair amount of back pain at the moment, despite the Alexander Technique masterclass and the massage given by a friend. At home I used to have chiropractic treatment every two months or so, and I haven't kept it up since being here, so it's not surprising I'm tense. I think the shape of the euphonium and the way the weight rests means I will always twist around it somewhat, so I will have to go back to chiro.
I also had a heavy cold towards the end of the week, and took three days off playing to help recover. The practice was wearing me out, not just my lip but all of me, and this drained my motivation and enjoyment of playing.
The performance lecture this week was on presenting yourself on stage. I'm lucky in that a teacher/conductor of mine had already addressed me on this, but it was useful to see for myself the effect of someone walking onstage looking at the floor, and it means I will be watching others' stage presentation more closely. I'm interested in the different views on movement whilst performing, as in the masterclass on singing Lynn Dawson said that a singer should not sway - the movement affected their sound and distracted the audience. Ms Dawson implied that movement was bad unless planned as part of the act, as in opera. However many performers, particularly woodwind players and solo violinists, do move in time to the music, and I believe this is essential to small group playing and useful when working with an accompanist.