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So I just got back from a concert in st pauls - I went for the early music ensemble in the first half, but there were 3rd year soloists in the second half. Mental notes I made:
1) acknowledge the audience, particularly when they clap after you play.
2) be in tune
3) bow like you mean it, and work out where your hands are going to go beforehand
4) use the full dynamic range, don't be frightened of it
5) "s" and "t" sounds are particularly noticeable in this venue
6) introducing your pieces is not necessary, but it can make them more interesting to listen to
7) some floorboards creak. try to stand on the ones that don't.
8) too much movement can be distracting, but a little can show how involved you are in the piece. It probably depends on your instrument.
9) I'm so gonna have to have the piano a different way round. <Actually I thought this in performance class the other day, working with an accompanist. It's hard to work with them when the positioning means your bell is in the way of seeing them! But that's something I'll bring up in the workshops perhaps, and certainly in rehearsal time. It qalso affects the point above, since the only way you then have of knowing they will follow is to give huge physical cues. Need an objective view on just how ridiculous I may have looked, methinks.
I would love to have seminars with John Bryan. I'm not at all sure he does them, though I know he lectures. He's such an interesting man, and a first class performer. I will also enjoy working with Ian Buckle in times to come - this year we have Sally-Anne McCleod (or some such spelling) accompanying us and I'm not convinced she's quite his standard. But hey, any experience is good experience.
In choir the other day I asked JB if, next year, we could have an African Drumming ensemble. That would be so cool. Thing is, I'd also like to take advantage of the viol lessons Lisa Colton runs, and I'm not sure I'll have time for everything. Still. I'm a little worried about the course choices as well, as I'm fairly certain the booklets are coming out on the last day of term - the day that I'm getting a train to London. Just hope I can sort stuff out before then; I already know roughly what I want to take, and what to avoid.
I also would love it if, next year and the year after, we had euphonium workshops, and Estill method ones. I mean in a perfect world we'd get an Estill method singing teacher in and even the second study singers could have free lessons, but hey, I'll go for whatever I can get ;)
God I'm such a nerd.
Love and peace!
xx
1) acknowledge the audience, particularly when they clap after you play.
2) be in tune
3) bow like you mean it, and work out where your hands are going to go beforehand
4) use the full dynamic range, don't be frightened of it
5) "s" and "t" sounds are particularly noticeable in this venue
6) introducing your pieces is not necessary, but it can make them more interesting to listen to
7) some floorboards creak. try to stand on the ones that don't.
8) too much movement can be distracting, but a little can show how involved you are in the piece. It probably depends on your instrument.
9) I'm so gonna have to have the piano a different way round. <Actually I thought this in performance class the other day, working with an accompanist. It's hard to work with them when the positioning means your bell is in the way of seeing them! But that's something I'll bring up in the workshops perhaps, and certainly in rehearsal time. It qalso affects the point above, since the only way you then have of knowing they will follow is to give huge physical cues. Need an objective view on just how ridiculous I may have looked, methinks.
I would love to have seminars with John Bryan. I'm not at all sure he does them, though I know he lectures. He's such an interesting man, and a first class performer. I will also enjoy working with Ian Buckle in times to come - this year we have Sally-Anne McCleod (or some such spelling) accompanying us and I'm not convinced she's quite his standard. But hey, any experience is good experience.
In choir the other day I asked JB if, next year, we could have an African Drumming ensemble. That would be so cool. Thing is, I'd also like to take advantage of the viol lessons Lisa Colton runs, and I'm not sure I'll have time for everything. Still. I'm a little worried about the course choices as well, as I'm fairly certain the booklets are coming out on the last day of term - the day that I'm getting a train to London. Just hope I can sort stuff out before then; I already know roughly what I want to take, and what to avoid.
I also would love it if, next year and the year after, we had euphonium workshops, and Estill method ones. I mean in a perfect world we'd get an Estill method singing teacher in and even the second study singers could have free lessons, but hey, I'll go for whatever I can get ;)
God I'm such a nerd.
Love and peace!
xx