Welcome to a new month of Chamber Stringing!
The bulk of today's work was from Dance of Iscariot. We began with m38-52 and addressed the huge amount of notation found in the parts (such as: articulation, dynamics, and bowing). Each element of notation contributes to another and makes the general intention of the musical phrase more meaningful and easier to accomplish. Do your best not to become overwhelmed by everything you see on the page. Break it down using this process:
Backing up, we skimmed m29-38. This piece is all about character and atmosphere and ideas, and this is a great passage to think about. Upper strings, while not necessarily playing melody, should be sneaky and smooth. Continue to use broad strokes in the middle of your bow, but release pressure to keep the volume low. Cellos continue the short, half step motive with a sinister sound.
The bulk of today's work was from Dance of Iscariot. We began with m38-52 and addressed the huge amount of notation found in the parts (such as: articulation, dynamics, and bowing). Each element of notation contributes to another and makes the general intention of the musical phrase more meaningful and easier to accomplish. Do your best not to become overwhelmed by everything you see on the page. Break it down using this process:
- Rhythm Be able to chant all rhythms while keeping a steady beat. The rhythms in Dance of Iscariot are not challenging, but they may become confusing when heard with other parts.
- Notes Check out any accidentals that occur. They are not outrageous or irregular, but they are accidentals! Once all notes have been learned, stick 'em alongside your rhythm chanting. Chant and pluck, chant and bow.
- Bowings & Articulations Bow direction concerns are not usually my next recommended step, but they are important for steps to come. Use the breath markings as reminders to lift your bow and control direction. Those down bows should be taken at the frog to avoid any unpleasant sounds. Watch for accents, dots, and other articulation indicators and remember what we discussed about bow location.
- Dynamics Once you've figured out the bowings and articulations, you can start putting them to use. Dynamics are what this passage is all about, and the bowings and articulations serve the greater dynamic purpose. Be careful of the subito changes!
Backing up, we skimmed m29-38. This piece is all about character and atmosphere and ideas, and this is a great passage to think about. Upper strings, while not necessarily playing melody, should be sneaky and smooth. Continue to use broad strokes in the middle of your bow, but release pressure to keep the volume low. Cellos continue the short, half step motive with a sinister sound.
Aaaand then we get to the fugual section! Entrances are broken down like this:
52-59: 2nds and violas
59-67: 1sts
67-76: cellos
Let's aim for more of a capoiera approach instead of the musical fighting we discussed :)
We ended with a bit of "B" Suite for Strings, of which we will only play I. Be-Boppin' Bourree. Cellos, for now, take the dots off those notes. We will do a lot more work on feeling the microbeats so as to keep a steadier pulse. In the meantime, practice without dots and with metronomes so that we can later establish a feeling of carefree, relaxed lightness in that opening.
We ended with a bit of "B" Suite for Strings, of which we will only play I. Be-Boppin' Bourree. Cellos, for now, take the dots off those notes. We will do a lot more work on feeling the microbeats so as to keep a steadier pulse. In the meantime, practice without dots and with metronomes so that we can later establish a feeling of carefree, relaxed lightness in that opening.
Some things to think about when practicing:
- Slurred half steps: slide! gliss between notes! jazz it up!
- Practice taking different endings and repeating
- Use the bowings to help with those picky dynamics!
In attendance were:
Joe Sipzner
Joe Sipzner
Katie Gonick
Alicia Chen
Arianna Barnum
Gretchen Long
William Wang
Bill Dong
Marko Crnkovic
Rachel Swyer
Emma Pearson
Catie Rafferty
Karthik Ramesh
Andrea Long
Naila Brown
Cody Ingraham
We're sorry we missed:
Erin Templeton
Gianluca Russo
Katie Yang
