Now, for three months, I have been hesitant, I can't seem to improve. Sometimes it feels like stuart, my teacher, himself is mocking me, telling me how much I improved and now this long consitent line that neither goes up or down is there...
thanks for stating the obvious, very lovely.
I'm sorry I seem to be using this blog more to rant, but I feel so...
dead
musical wise
I know what I want, I know how to get there...
and yet something about me is scared, and not willing to commit.
am I scared of commiting?
I feel like I cannot grasp greatness the way I did last year, it scares me. My mind, my heart knows my current situation, it knows it so clearly, and I barely barely improve.
I say, "I'm gonna practice for four hours today!"
and yet, I end up practicing for only an hour, in which I get only half my minors learned and sounding like crap.
Maybe I just need stuart to yell at me, I'm gonna ask him to, if he asks me if I practiced, I'll say, I can't seem to commit to practicing, I cannot seem to have that desire to improve as I did last year, but I know I want to, I want to so much. So, maybe if you yelled and said all the horrible things I've been doing musically in the most rudest way possible it may help?
he might as well tell eman I'm going insane.
I truly don't understand whats going on, are there times when musicians cannot be great? I mean, be on the road to greatness? I'm not saying detours, like turning away from it?
Why?
Shouldn't we stay on that road forever?
I don't understand why i'm like this, why I cannot commit. I get to play Poulenc, a completely contrasting piece from Mozart, I could be in the Wind Symphony if I practiced hard enough, even CYMO, even all state, all southern
so why God? So why? why why why? Why to myself? Why can't I do it? Is it because I realized I'm a selfish low life? Is it that? My flaws that keep me from it? Do I not deserve to be a musician who can improve purely on love and dedication to music?
Perhaps God, it is all my flaws, now that I have realized them, is this the way of repentance?
by being so low and failing?
But you wouldn't do that God, I know you wouldn't. So why? Why why why? Is it because of my competitive attitude back in eighth grade? My head I held so high, my pompous talk of how great I was indirectly?
is it because I was selfish as a musician in eighth grade? the praise had gone to my head?
if so, please remind stuart to be overflowing with anger I do not know half my minors, tell me I'll never improve.
Let him yell and torture me with an hour of scales, boring exercises on the poulenc...anything....just let me improve alot within these last four weeks God.
Or perhaps it is because my pompous, big headedness is poisonous to the world? that I am to become worthless because o fit?
thats seriously not nice at all, when the hell with mr. a yell at me? Or stuart? I mean REALLY yell....
if only mr. acciani was whacking me with a chair and yelling at me for interfering with the academy...sometimes I wish that could've happened, I could have gotten fired up.
So why am I walking blind folded God, I know where to go, but I didn't realize there was a wall, can you take that blind fold off?
Tuesday, July 31, 2007
Sunday, July 22, 2007
Pacific Symphony review: Gershwins Greatest Hits and All That Jazz!
Let me say this first; my teacher is the coolest teacher to walk---
no not with funny bone joke...that was downright...weird...:].
But the concert? Let me sum it up in this
jazzy tributes to benny goodman, a pianist whose surperb but looks like he's playing with all his heart sitting on hot rocks, squeakage making the concert perfect [no sarcasm stuart], trumpets speaking in french...
:] unique, interesting, the imperfection I love so much.
Like I say, imperfection is what makes a concert remembered, after that horrible second where you screw up, how you get back up, its memorable, and inspiring, its a musical event that it just beautiful :D.
They started out with Ticheli's famous Blue Shades [I love that song], it was jazzy, contemporary and rather exciting. The clarinet solo, which was a tribute to Benny Goodman [A WONDERFUL jazz clarinetist], was played by my clarinet teacher, Stuart, who in my opinion would make Benny Goodman get all jazzed up :]. I was honestly surprised to see alot of new people, new bassoonists, new flautists, I like old crew! That bassoon guy [when I first saw that young bassoonie guy last year I thought he was cute ;D] isn't there anymore! I liked him...MUSICALLY!! D: it sounded different, oh old crew I miss you!
I saw a couple of faces I knew though, stuart being one of them, Amy Bowers, a trombone instructor from our academy [she was first chair!], ray the trumpet guy [i think he was first?] also from our academy. It was really nice to see them all :).
Anyways, then...the comic relief came. I know, I may sound unproffessional here, but I'm sorry I couldn't help but laugh during the next what? five pieces? The Shellyberg Trio came. They were wonderful...but well...
Mr. Shellyberg? I'm so sorry, I apologize a thousand times, but you looked like you were sitting on hot rocks . =(. you were a great great pianist
but, his movements, were REALLLLY distracting, even me, who respects people even if they are moving like a rocking chair...couldn't help but laugh...but I can understand why you are like that mr. Berg
They played Bernstein's Slava, I really liked the piece, it sounded so fun! And St. Clair being Bernstein's student made it more meaningful :) great job!!
Next was Rhapsody In Blue, the jazzy clarinet solo was played by my teacher Stuart, it was wonderful...a wee bit out of tune...maybe? on the high notes, [i've heard him play it before in the concert hall btw] but I assume its from humidity [he told me his clarinet got sticky and the springs go loose]. Which resulted from the trumpet soloist being out of tune in his trumpet entrance. But all in all? ignoring Mr. Berg's constant mistakes, it was a jazzy, energetic interpretation.
American in Paris, it had a few rough odd parts, I realized this was because atleast 95% of the people weren't the memebers of the PSO, it was the substitutes, so, I forgive them. But It didn't sound the same, pacific symphony, I noticed that, I didn't get that certain feel during american in paris, or maybe i just wasn't playing enough attention?
rating?
its an outside concert, its summer, humidity sucks, but still, there were errors that stuck out in my ears like sore thumbs...so I'm sorry and almost offended myself to say
3.5/5
i'm not experience in critiquing
no not with funny bone joke...that was downright...weird...:].
But the concert? Let me sum it up in this
jazzy tributes to benny goodman, a pianist whose surperb but looks like he's playing with all his heart sitting on hot rocks, squeakage making the concert perfect [no sarcasm stuart], trumpets speaking in french...
:] unique, interesting, the imperfection I love so much.
Like I say, imperfection is what makes a concert remembered, after that horrible second where you screw up, how you get back up, its memorable, and inspiring, its a musical event that it just beautiful :D.
They started out with Ticheli's famous Blue Shades [I love that song], it was jazzy, contemporary and rather exciting. The clarinet solo, which was a tribute to Benny Goodman [A WONDERFUL jazz clarinetist], was played by my clarinet teacher, Stuart, who in my opinion would make Benny Goodman get all jazzed up :]. I was honestly surprised to see alot of new people, new bassoonists, new flautists, I like old crew! That bassoon guy [when I first saw that young bassoonie guy last year I thought he was cute ;D] isn't there anymore! I liked him...MUSICALLY!! D: it sounded different, oh old crew I miss you!
I saw a couple of faces I knew though, stuart being one of them, Amy Bowers, a trombone instructor from our academy [she was first chair!], ray the trumpet guy [i think he was first?] also from our academy. It was really nice to see them all :).
Anyways, then...the comic relief came. I know, I may sound unproffessional here, but I'm sorry I couldn't help but laugh during the next what? five pieces? The Shellyberg Trio came. They were wonderful...but well...
Mr. Shellyberg? I'm so sorry, I apologize a thousand times, but you looked like you were sitting on hot rocks . =(. you were a great great pianist
but, his movements, were REALLLLY distracting, even me, who respects people even if they are moving like a rocking chair...couldn't help but laugh...but I can understand why you are like that mr. Berg
They played Bernstein's Slava, I really liked the piece, it sounded so fun! And St. Clair being Bernstein's student made it more meaningful :) great job!!
Next was Rhapsody In Blue, the jazzy clarinet solo was played by my teacher Stuart, it was wonderful...a wee bit out of tune...maybe? on the high notes, [i've heard him play it before in the concert hall btw] but I assume its from humidity [he told me his clarinet got sticky and the springs go loose]. Which resulted from the trumpet soloist being out of tune in his trumpet entrance. But all in all? ignoring Mr. Berg's constant mistakes, it was a jazzy, energetic interpretation.
American in Paris, it had a few rough odd parts, I realized this was because atleast 95% of the people weren't the memebers of the PSO, it was the substitutes, so, I forgive them. But It didn't sound the same, pacific symphony, I noticed that, I didn't get that certain feel during american in paris, or maybe i just wasn't playing enough attention?
rating?
its an outside concert, its summer, humidity sucks, but still, there were errors that stuck out in my ears like sore thumbs...so I'm sorry and almost offended myself to say
3.5/5
i'm not experience in critiquing
Friday, July 20, 2007
An Academy divided
Dear Mr. Acciani,
I apologize so very much if this letter troubles, or even insults the academy in anyway, but I have found a certain flaw that seems to stick out. I know, the academy just started, I should be giving you time, but when the instrumental division of the academy flourishes, I wonder about the other two divisions; drama and choir.
I'm not saying that you aren't doing a good job with the academy, you are. I know that you are working hard but I worry about the other divisions. I don't feel that the focus is being distributed evenly throughout the Academy.
Yes, the academy has just started, Mr. A, but that doesn’t mean that the academy should start off unbalanced. I have been told by an Academy recommended student that the Choir and Drama divisions may not even start next year. It confuses and bewilders my mind that only the instrumental division is being nurtured and the others ignored.
This flaw causes fear in me a little. My fear is that this problem will create MISCOMMUNICATION between the divisions. In my perspective, by launching the success of the other divisions a year behind our division will only cause hate, division and dysfunction.
I still remember what Doug Yeo from the Boston Symphony said to us back in Boston during the clinic, and so many other clinicians have told us, “You kids are the future of music”. We need to preserve not only music but the other fine arts; choir and drama. Mr. A, this isn’t a matter only for the academy but for the future of fine arts. For many years the divisions of the fine arts seemed to be competing with each other rather than working with each other. Isn’t the fine arts a source of communication, if we, the future of the fine arts are divided, how are we preserving the fine arts in the world?
I want our other divisions to flourish just like the music division, I'd be willing to help in this process, in any way. I want the academy to be balanced, after all, don't we all want to prove we're way better than OCHSA or LACHSA anyways? If you find a way to get the Choir and Drama more involved this year, tell me. As a musician I feel that the communication and connection with the other divisions is more important than the communication with our division alone. Why? One doesn't truly know his or her own fine arts unless they can come to understand the other arts around them. Thats my opinion in this argument at least.
if we understand the others around us, and know their problems. Can't it be applied to our division? Its beneficial to us also, by making us better people, to know how to communicate with someone who sees art in a different perspective.
I will be glad to be of help in any circumstance. Also, I have ideas to get them involved currently if you can't exactly ensure their success this year. I want the other divisions involved in the arts academy in someway. However, if the two divisions aren’t able to being this year, I don’t think its best you call it a fine arts academy until we do have all the divisions. Next year, if we do not have all the divisions, then we should call it the Music Academy until the others begin.
Yell at me, do whatever you want, but this letter is for the sake of the fine arts. So I ask of you to please nurture and nourish the other two divisions that are from the same artistic world as us, yet, they see it so differently.
Sincerely, your academy students of the music and drama divisions,
Lea and Melissa
I apologize so very much if this letter troubles, or even insults the academy in anyway, but I have found a certain flaw that seems to stick out. I know, the academy just started, I should be giving you time, but when the instrumental division of the academy flourishes, I wonder about the other two divisions; drama and choir.
I'm not saying that you aren't doing a good job with the academy, you are. I know that you are working hard but I worry about the other divisions. I don't feel that the focus is being distributed evenly throughout the Academy.
Yes, the academy has just started, Mr. A, but that doesn’t mean that the academy should start off unbalanced. I have been told by an Academy recommended student that the Choir and Drama divisions may not even start next year. It confuses and bewilders my mind that only the instrumental division is being nurtured and the others ignored.
This flaw causes fear in me a little. My fear is that this problem will create MISCOMMUNICATION between the divisions. In my perspective, by launching the success of the other divisions a year behind our division will only cause hate, division and dysfunction.
I still remember what Doug Yeo from the Boston Symphony said to us back in Boston during the clinic, and so many other clinicians have told us, “You kids are the future of music”. We need to preserve not only music but the other fine arts; choir and drama. Mr. A, this isn’t a matter only for the academy but for the future of fine arts. For many years the divisions of the fine arts seemed to be competing with each other rather than working with each other. Isn’t the fine arts a source of communication, if we, the future of the fine arts are divided, how are we preserving the fine arts in the world?
I want our other divisions to flourish just like the music division, I'd be willing to help in this process, in any way. I want the academy to be balanced, after all, don't we all want to prove we're way better than OCHSA or LACHSA anyways? If you find a way to get the Choir and Drama more involved this year, tell me. As a musician I feel that the communication and connection with the other divisions is more important than the communication with our division alone. Why? One doesn't truly know his or her own fine arts unless they can come to understand the other arts around them. Thats my opinion in this argument at least.
if we understand the others around us, and know their problems. Can't it be applied to our division? Its beneficial to us also, by making us better people, to know how to communicate with someone who sees art in a different perspective.
I will be glad to be of help in any circumstance. Also, I have ideas to get them involved currently if you can't exactly ensure their success this year. I want the other divisions involved in the arts academy in someway. However, if the two divisions aren’t able to being this year, I don’t think its best you call it a fine arts academy until we do have all the divisions. Next year, if we do not have all the divisions, then we should call it the Music Academy until the others begin.
Yell at me, do whatever you want, but this letter is for the sake of the fine arts. So I ask of you to please nurture and nourish the other two divisions that are from the same artistic world as us, yet, they see it so differently.
Sincerely, your academy students of the music and drama divisions,
Lea and Melissa
Wednesday, July 18, 2007
Failure, low life loser of a loser
in probably 10 minutes stuart is going to break into a rant to EMAN [MY BAND PRESIDENT] about how HORRIBLE I'm doing, how I forgot pretty much ALL my scales, and they will laugh and laugh and make fun of me some more.
I can't believe what I've done this summer as opposed to the summer before!
The summer before? Oh my mozart, I was constantly progressing in the clarinet, I was getting praise, and just progressing...
and heres whats happening this summer;
I can't remember the fingering for high F
I couldn't remember Ab major,...or any major above 3 flats and four sharps
Nicki, probably one of my worst rivals yet...knows ALL majors AND almost all minors...
Stuart is at emans right now, which seems to be his best student, they must be laughing about me
my stupid fingers don't seem to move from the hand
This was the first time in a LONG time [ignoring the weber concerto issue] that I REALLY wanted to cry during lessons, when I said, "I...I can't remember the fingering for high F"
he looked at me like I was the fattest most unhygenic rudest girl in the entire world.
and at that moment I just wanted to start summer all over again...
I mean, I knew I had to improve....I knew that from the start of the summer, I thought I knew what I needed to work on...
but the thing I've been stressing over to people when giving advice was the very thing I should be yelling at myself about, I'm probably the most narcissistic hypocritical clarinetist to walk the earth. SCALES. Whats wrong with me!? always before all southern I forget all my scales
PRACTICE THEM ALL LEA!
If only I had punished myself with these thoughts so much earlier in the summer, I could've been better.
Enough about what could've happened, I still have a month to be best friends with that poulenc piece D:<
never ever ever again do I want my teacher to look at me like I was the most horrible thing to walk the earth.
here is my advice for today
so you don't have enough time to practice, don't look at your piece then, practice long tones and scales and maybe an etude, thats under an hour, you'll have time to do whatever else you want to do...
and most importantly....
to be a great musician?
BE YOUR OWN TEACHER
maybe I won't go to piano lessons today...I dunno....
:(
I can't believe what I've done this summer as opposed to the summer before!
The summer before? Oh my mozart, I was constantly progressing in the clarinet, I was getting praise, and just progressing...
and heres whats happening this summer;
I can't remember the fingering for high F
I couldn't remember Ab major,...or any major above 3 flats and four sharps
Nicki, probably one of my worst rivals yet...knows ALL majors AND almost all minors...
Stuart is at emans right now, which seems to be his best student, they must be laughing about me
my stupid fingers don't seem to move from the hand
This was the first time in a LONG time [ignoring the weber concerto issue] that I REALLY wanted to cry during lessons, when I said, "I...I can't remember the fingering for high F"
he looked at me like I was the fattest most unhygenic rudest girl in the entire world.
and at that moment I just wanted to start summer all over again...
I mean, I knew I had to improve....I knew that from the start of the summer, I thought I knew what I needed to work on...
but the thing I've been stressing over to people when giving advice was the very thing I should be yelling at myself about, I'm probably the most narcissistic hypocritical clarinetist to walk the earth. SCALES. Whats wrong with me!? always before all southern I forget all my scales
PRACTICE THEM ALL LEA!
If only I had punished myself with these thoughts so much earlier in the summer, I could've been better.
Enough about what could've happened, I still have a month to be best friends with that poulenc piece D:<
never ever ever again do I want my teacher to look at me like I was the most horrible thing to walk the earth.
here is my advice for today
so you don't have enough time to practice, don't look at your piece then, practice long tones and scales and maybe an etude, thats under an hour, you'll have time to do whatever else you want to do...
and most importantly....
to be a great musician?
BE YOUR OWN TEACHER
maybe I won't go to piano lessons today...I dunno....
:(
Tuesday, July 17, 2007
Sonata nr 3; Allegro Con Spirito for Chaz :D
HAPPY BIRTHDAY CHAZ
this IS a musical even...why?
Chaz is...
-A GREAT conductor...or so his friendly commenter friendly people say on his myspace
-One of the greatest musicians I have ever met
-A really aesome friend whose way too musical for me...
-psh no way chaz, I'm ten times more musical...jk...you just make me feel less superior in music craziness >0> but you're awesomely awesome for that o_O
Like he'll read this...unless he found out about my blog >_>;...
I'll be posting my blog link on myspace anyways...
I'll do this on blogs, the whole birthday musicalness if you're musical enough :D.
So today he turns 14, I can't believe you're younger than me by like 3 months >_> you're super tall!
Anyways, you all better remember this guy :D he's like gonna be THE bernstein, NOT DUDAMEL D: once chaz goes off debuting he'll be the talk of...
....the musical world
D: and I'll be sad because I won't >.>;.
Chaz, I apologize for not having you're present ready in time, I thought of it while watching the L.A phil x], but I'm consulting in what format it should be in...comic...or just piccer...
But today, I just want to say, you're a realllyyy great clarinetist, musician, guy...person. And a friend =D so let your 14th year be full of...you playing 14 symphones...ten by mahler and four by tchaikovsky...
wow I'm just rambling on, I really dunno what to say :). But I swear there better be a day where EVERYONE is talking about you, orchestras are fighting for you to conduct them :D you'll be remembered most likely. DON'T CHANGE! so you're 14 D:< doesn't mean you have ot be COOOOL...well
you are cool though :). Haha, no matter what, if I'm in an orch you're conducting, I PROMISE i'll stalk you like I did at all southern, try beating you...well in this case making you make us play ravel x). Just watch, the whole orchestra won't come for a rehearsal because you won't play it, don't worry I'll be there thoguh =D even though those losers aren't x). But if you DO decide to play ravel tell me =D I make the COOLEST interpretations so its not boring :). Be better than dudamel some day x)
I feel really stupid but it must be that blueberry muffin, blueberry white iced tea, those 56 RUE LEPIC REEDS [I'd send them to you but they are 3.5 and 4 :)]....
SO HAPPY BIRTHDAY! x) I hope you have a wonderful year :] BY GETTING INTO ALL STATE AND ALL SOUTHERN! :D
READ D: Its long but its because I'm listening to american in paris....and just had an intake of alot of sugar [But don't I ALWAYS have that as a reason? well it is]
So happy birthday chaz =) you seriously better read this, I was supposed to break in my new reeds an hour ago! D:! now stuart will eat me alive~
READD D:
REAAAAAAAAAAAAAAAAAAAAAD
or I'll torture you with BOLERO the next time I see you to the point where you'll ask the guy next to you if he wants to switch seats with you....I'm kidding =)
I hope I'm not being mean, the last time I gave my friend Alex a present he got pissed off at me because it was a club of i hate alex asian pigs...o_O;. I was frustrated that day...No one would tell me what mr. awesome i play contrabass clarinetist wanted...so ends the friendship
HAHA
YAY MY REEDS!
I WILL REVIEW 'EM SOOON, THE REEDS!!!!!!!!!!!!!!!
this IS a musical even...why?
Chaz is...
-A GREAT conductor...or so his friendly commenter friendly people say on his myspace
-One of the greatest musicians I have ever met
-A really aesome friend whose way too musical for me...
-psh no way chaz, I'm ten times more musical...jk...you just make me feel less superior in music craziness >0> but you're awesomely awesome for that o_O
Like he'll read this...unless he found out about my blog >_>;...
I'll be posting my blog link on myspace anyways...
I'll do this on blogs, the whole birthday musicalness if you're musical enough :D.
So today he turns 14, I can't believe you're younger than me by like 3 months >_> you're super tall!
Anyways, you all better remember this guy :D he's like gonna be THE bernstein, NOT DUDAMEL D: once chaz goes off debuting he'll be the talk of...
....the musical world
D: and I'll be sad because I won't >.>;.
Chaz, I apologize for not having you're present ready in time, I thought of it while watching the L.A phil x], but I'm consulting in what format it should be in...comic...or just piccer...
But today, I just want to say, you're a realllyyy great clarinetist, musician, guy...person. And a friend =D so let your 14th year be full of...you playing 14 symphones...ten by mahler and four by tchaikovsky...
wow I'm just rambling on, I really dunno what to say :). But I swear there better be a day where EVERYONE is talking about you, orchestras are fighting for you to conduct them :D you'll be remembered most likely. DON'T CHANGE! so you're 14 D:< doesn't mean you have ot be COOOOL...well
you are cool though :). Haha, no matter what, if I'm in an orch you're conducting, I PROMISE i'll stalk you like I did at all southern, try beating you...well in this case making you make us play ravel x). Just watch, the whole orchestra won't come for a rehearsal because you won't play it, don't worry I'll be there thoguh =D even though those losers aren't x). But if you DO decide to play ravel tell me =D I make the COOLEST interpretations so its not boring :). Be better than dudamel some day x)
I feel really stupid but it must be that blueberry muffin, blueberry white iced tea, those 56 RUE LEPIC REEDS [I'd send them to you but they are 3.5 and 4 :)]....
SO HAPPY BIRTHDAY! x) I hope you have a wonderful year :] BY GETTING INTO ALL STATE AND ALL SOUTHERN! :D
READ D: Its long but its because I'm listening to american in paris....and just had an intake of alot of sugar [But don't I ALWAYS have that as a reason? well it is]
So happy birthday chaz =) you seriously better read this, I was supposed to break in my new reeds an hour ago! D:! now stuart will eat me alive~
READD D:
REAAAAAAAAAAAAAAAAAAAAAD
or I'll torture you with BOLERO the next time I see you to the point where you'll ask the guy next to you if he wants to switch seats with you....I'm kidding =)
I hope I'm not being mean, the last time I gave my friend Alex a present he got pissed off at me because it was a club of i hate alex asian pigs...o_O;. I was frustrated that day...No one would tell me what mr. awesome i play contrabass clarinetist wanted...so ends the friendship
HAHA
YAY MY REEDS!
I WILL REVIEW 'EM SOOON, THE REEDS!!!!!!!!!!!!!!!
Promenade no. 1; shopping for reeds, lets all talk about 'em :D
'Ello everyone!
I had decided to make this post with the thought of reed shopping in mind. To be honest, I haven't gone off to the music store for a reed for atleast 3 months, I only have 2...slightly....playable traditional vandoren reeds...
and let me tell you, I have had it with those two lonesome reeds! Horrible, the tone is DISGUSTING. Although as I think about it, it might be my fault for my inconsistent practicing...
I've been wanting to try out the 56 rue lepic vandoren reeds for quite some time...probably more than a year I've been waiting for the day I could. But as this day comes I notice...I realize actually that there is a chance there is a diffrence in strength.
Now, the wonderful rue lepics are supposedly made with...I believe it was thicker cane. I use traditional vandorens, size 4, so I'm debating; should I get size 3.5? Or 4? Perhaps I can always go ahead and get 5 3.5s and 5 4's in individual packs to try them out...plus these people on this clarinet bboard are constantly talking about individual packs...
But I'd rather check online...although people say getting individual packs are better...i like 'em in the box :D.
Now, another I've been noticing is the constant argument about what reed a beginner should start with. I think back to those...horrible...nightmarish days of honking and knowing not a thing about the clarinet...ah...memories <3
so anyways, and I think. I had a rico reed put in my clarinet case by the salesman, but mr.a wrote on the board on likke the third day of Band, "RICO=CRAP" [at first I thought it was spanish for crap O_o;], so...I can't remember what I did with it, I played it until my teacher said something [note, my teacher was not stuart at the time]. He gave me traditional vandoreen reeds, I guess I could play, my tone was very ugly though. His brother, of whom was subbing for him [yeah I know subbing is an odd concept in music for teachers, this was at a music store mind you] gave me mitchell lurie reeds instead, saying they'd work better for me...
they did, the tone was too fuzzy...I know now that its purely because of embouchure, ricos [isn't mitchell and ricos like the same?] work ebtter for beginners supposdely....
but...my vandoren traditionals were a match for me made in heaven, why?
Well, on the day of my first seating test my mitchell lurie reed betrayed me and broke. :[. I am almost surprised at the rude comments traditional vandorens get, I guess I'm just used to them and have never realized that it takes FOREVER to find the perfect reed in a box [I've realized that only recently in the passed couple of months]. But I've turned out fine, if not wonderful in terms of tone [OKAY NOT WONDERFUL! My tone still needs alot of work >_>; sure its dark and sometimes has the virtuoso echoe or something at the end...but...its not there yet =D]. I'm also amazed at the amount of work it took for others to get up to vandorens and move to different sizes...
this is basically my span of sizes so far;
size 2.5; october 2004-july 2005
size 3; july 2005-I think january or february 2006
size 3.5; february 2006[[hey thats when my clarinet lessons with stuart started x) AND when I got my E11]-December 2006 [ =D ahh all southern auditions <3 miss it so much :(]
size 3-3.5 [constant switching, feeling uncomfortable]- february 2006- july 2006
size 4; December 2006 to present [july 2007]
Now I still wonder about it, I think I made the wrong choice moving too fast from 3 to 3.5, but I'm consulting whether or not I had 2.5 until like june or may then 3 until august ish, then changed to 3.5....but...well...
I wonder how I moved that first, was it sense of motivation that drove me? That doesn't even make sense...it could have been constant practicing of video game music, but of course that can't be the reason, that wouldn't really develop my embouchure...but it might have helped with endura--no, I had a horrible embouchure in seventh grade, scratch that.
But the reasons from 3.5 to 4?
-LONG TONES
-E-11
-M30 mouth piece, rovner lig
...I think long tones played the biggest percentage.
for students, I'd suggest starting out with mitchell lurie, I'd prefer them more than rico, but please ocnsider vandoren
because isn't EVERYTHING different for every person, persepctives, whatever!? Like the faces of mouth pieces; I had to try...like well what felt like 20 mouth pieces before I got the right one [consulting between that M30 and M13 gave me a real headache...or were they both M30s?]. Playing everything range involved thing I could think of to compare, mutteirng randomness to my mom, "Hmm, the response is better, but I don't like the high notes", my mom fussing over the mouth pieces not being clean even if they were sterilized---
shows we're all different, whatever mouthpiece we have, its individual, whatever reed, let it be vandoren, rico, xilemna, whatever, will give us purely our tone...
SO! OFF TO GET THOSE 56s! I'll just ask for 'em in individual packs xP.
I'll write a review on them, and a little something to my friend chaz, whose birthday is today :)
guess whats going on today besides chaz' bday? GUSTAVO DUDAMEL IS APPEARING WITH THE LA PHIL FOR ZE FIRST TIME! [i think??? iono -_- might be for thenew season]. Isn't that cool chaz? Its like God's musical gift to you :D
but its not from me, that'd be awesome...I'd be worshipped forever and we can all play ravel's bolero just because I'm worshipped and EVERY command must be listened to ^_^ [oh isn't that unproffessional?]
wish me good luck with shopping
I had decided to make this post with the thought of reed shopping in mind. To be honest, I haven't gone off to the music store for a reed for atleast 3 months, I only have 2...slightly....playable traditional vandoren reeds...
and let me tell you, I have had it with those two lonesome reeds! Horrible, the tone is DISGUSTING. Although as I think about it, it might be my fault for my inconsistent practicing...
I've been wanting to try out the 56 rue lepic vandoren reeds for quite some time...probably more than a year I've been waiting for the day I could. But as this day comes I notice...I realize actually that there is a chance there is a diffrence in strength.
Now, the wonderful rue lepics are supposedly made with...I believe it was thicker cane. I use traditional vandorens, size 4, so I'm debating; should I get size 3.5? Or 4? Perhaps I can always go ahead and get 5 3.5s and 5 4's in individual packs to try them out...plus these people on this clarinet bboard are constantly talking about individual packs...
But I'd rather check online...although people say getting individual packs are better...i like 'em in the box :D.
Now, another I've been noticing is the constant argument about what reed a beginner should start with. I think back to those...horrible...nightmarish days of honking and knowing not a thing about the clarinet...ah...memories <3
so anyways, and I think. I had a rico reed put in my clarinet case by the salesman, but mr.a wrote on the board on likke the third day of Band, "RICO=CRAP" [at first I thought it was spanish for crap O_o;], so...I can't remember what I did with it, I played it until my teacher said something [note, my teacher was not stuart at the time]. He gave me traditional vandoreen reeds, I guess I could play, my tone was very ugly though. His brother, of whom was subbing for him [yeah I know subbing is an odd concept in music for teachers, this was at a music store mind you] gave me mitchell lurie reeds instead, saying they'd work better for me...
they did, the tone was too fuzzy...I know now that its purely because of embouchure, ricos [isn't mitchell and ricos like the same?] work ebtter for beginners supposdely....
but...my vandoren traditionals were a match for me made in heaven, why?
Well, on the day of my first seating test my mitchell lurie reed betrayed me and broke. :[. I am almost surprised at the rude comments traditional vandorens get, I guess I'm just used to them and have never realized that it takes FOREVER to find the perfect reed in a box [I've realized that only recently in the passed couple of months]. But I've turned out fine, if not wonderful in terms of tone [OKAY NOT WONDERFUL! My tone still needs alot of work >_>; sure its dark and sometimes has the virtuoso echoe or something at the end...but...its not there yet =D]. I'm also amazed at the amount of work it took for others to get up to vandorens and move to different sizes...
this is basically my span of sizes so far;
size 2.5; october 2004-july 2005
size 3; july 2005-I think january or february 2006
size 3.5; february 2006[[hey thats when my clarinet lessons with stuart started x) AND when I got my E11]-December 2006 [ =D ahh all southern auditions <3 miss it so much :(]
size 3-3.5 [constant switching, feeling uncomfortable]- february 2006- july 2006
size 4; December 2006 to present [july 2007]
Now I still wonder about it, I think I made the wrong choice moving too fast from 3 to 3.5, but I'm consulting whether or not I had 2.5 until like june or may then 3 until august ish, then changed to 3.5....but...well...
I wonder how I moved that first, was it sense of motivation that drove me? That doesn't even make sense...it could have been constant practicing of video game music, but of course that can't be the reason, that wouldn't really develop my embouchure...but it might have helped with endura--no, I had a horrible embouchure in seventh grade, scratch that.
But the reasons from 3.5 to 4?
-LONG TONES
-E-11
-M30 mouth piece, rovner lig
...I think long tones played the biggest percentage.
for students, I'd suggest starting out with mitchell lurie, I'd prefer them more than rico, but please ocnsider vandoren
because isn't EVERYTHING different for every person, persepctives, whatever!? Like the faces of mouth pieces; I had to try...like well what felt like 20 mouth pieces before I got the right one [consulting between that M30 and M13 gave me a real headache...or were they both M30s?]. Playing everything range involved thing I could think of to compare, mutteirng randomness to my mom, "Hmm, the response is better, but I don't like the high notes", my mom fussing over the mouth pieces not being clean even if they were sterilized---
shows we're all different, whatever mouthpiece we have, its individual, whatever reed, let it be vandoren, rico, xilemna, whatever, will give us purely our tone...
SO! OFF TO GET THOSE 56s! I'll just ask for 'em in individual packs xP.
I'll write a review on them, and a little something to my friend chaz, whose birthday is today :)
guess whats going on today besides chaz' bday? GUSTAVO DUDAMEL IS APPEARING WITH THE LA PHIL FOR ZE FIRST TIME! [i think??? iono -_- might be for thenew season]. Isn't that cool chaz? Its like God's musical gift to you :D
but its not from me, that'd be awesome...I'd be worshipped forever and we can all play ravel's bolero just because I'm worshipped and EVERY command must be listened to ^_^ [oh isn't that unproffessional?]
wish me good luck with shopping
Sunday, July 15, 2007
Concertino in D; Getting to the top.
Okay, its final, youtube makes me depressed with all the talented clarinetist, but I'm so addicted!
I think I'm crazy, honestly? I really do, I'm CRAZY when it comes to competition. I have desire, determination, to get to the top. but sometimes watching those clarinetist...they make me wonder, "What am I doing!?". For example...
miss ecesu Sertesen, a fellow clarinetist on youtube.
Let me just say this, I admire her ALOT, she has this virtuoso tone, her style is graceful but its so strong. And her recovery from that squeak, I can never recover from that! On top of that, she's played with SABINE MEYER [oh my mozart I admire her so much!].
^her and her student [I think?] Julian Bliss. I absolutely love this :] I might get their CD soon <33 GOD i love how they are absolutely in tune!
I think its people like this that help us get to the top, the people better then us. Well...if they are willing to turn around and help us out, and inspire us. I think its these people. I wish one day to have people talking about me, more so than they did with Benny Goodman.
I know, its wrong to let my dreams go wild like that, but as musicians, isn't anything possible?
So for all those musicians out there, don't get discouraged, I wish just a minute ago XD! The people infront of you have people who are even better than them, don't fall down that huge mountain, let them help you :).
What I'm saying is, having someone to admire is a great thing, because of them, you can get to the top.
Yes, this blog is in some way pointless, but just to tell you all, I'm a VERY whimsical musician, I do what I feel...and thats why I have technical difficulties...:P..I seriously need to get a neckstrap >.>;.
Now, everyone, listen to alot of clarinetist, I advise so, and find someone who you can aspire to be like
omg...wait this DOES have a point
aspiring to be like someone
ah, but don't be them,, or you'll be marked as a copy, I ask you all this; aspiring to reach their level, to have a piece of them in you, to aspire to get a piece of their tone into yours.
listening to a variety of musicians, and having lessons, master classes, I think one will find a tone that is completely their own, like sabines...
I wanna have a beautiful dark round tone, but one that can inspire
:) so aspire to follow a clarinetist's footsteps, or anyones for that matter <3
I hope you all are doing well with your practicing!
I think I'm crazy, honestly? I really do, I'm CRAZY when it comes to competition. I have desire, determination, to get to the top. but sometimes watching those clarinetist...they make me wonder, "What am I doing!?". For example...
miss ecesu Sertesen, a fellow clarinetist on youtube.
Let me just say this, I admire her ALOT, she has this virtuoso tone, her style is graceful but its so strong. And her recovery from that squeak, I can never recover from that! On top of that, she's played with SABINE MEYER [oh my mozart I admire her so much!].
^her and her student [I think?] Julian Bliss. I absolutely love this :] I might get their CD soon <33 GOD i love how they are absolutely in tune!
I think its people like this that help us get to the top, the people better then us. Well...if they are willing to turn around and help us out, and inspire us. I think its these people. I wish one day to have people talking about me, more so than they did with Benny Goodman.
I know, its wrong to let my dreams go wild like that, but as musicians, isn't anything possible?
So for all those musicians out there, don't get discouraged, I wish just a minute ago XD! The people infront of you have people who are even better than them, don't fall down that huge mountain, let them help you :).
What I'm saying is, having someone to admire is a great thing, because of them, you can get to the top.
Yes, this blog is in some way pointless, but just to tell you all, I'm a VERY whimsical musician, I do what I feel...and thats why I have technical difficulties...:P..I seriously need to get a neckstrap >.>;.
Now, everyone, listen to alot of clarinetist, I advise so, and find someone who you can aspire to be like
omg...wait this DOES have a point
aspiring to be like someone
ah, but don't be them,, or you'll be marked as a copy, I ask you all this; aspiring to reach their level, to have a piece of them in you, to aspire to get a piece of their tone into yours.
listening to a variety of musicians, and having lessons, master classes, I think one will find a tone that is completely their own, like sabines...
I wanna have a beautiful dark round tone, but one that can inspire
:) so aspire to follow a clarinetist's footsteps, or anyones for that matter <3
I hope you all are doing well with your practicing!
Thursday, July 12, 2007
The Cadenza marked 'interpretation'
Interpretation
The aspect of music arising from the difference between notation, which preserves a written record of the music, and performance, which brings the musical experience into renewed existence. While traditionally, since the Romantic era, interpretation has been seen as dependent on a performer's view of the work and his capacity for presenting a plausible view of it to an audience, more recently it has also been taken to embrace an understanding of the composer's own aural vision of the work as affected by the conventions of notation and performance of his time (as embraced by the concept of Performing practice). While there is no substitute for a knowledge of performing practice, the insights brought by intuitive musicianship and trained imagination to the expression of a work are central to its interpretation.
^thank you answers.com
mm...I sit here eating pan de sal [a dinner roll for all you non educated non fillipinos D:] and drinking berry juice....and just decided to FINALLY type this blog. [by the way, I apologize so much for my stupidity in my previous blog]
I've been wanting to type what I feel interpretation is, how I feel that my weird way of interpretation connects music, definitions don't cut it, its actually hard to explain interpretation, for one thing, there are two types of interpretations;
[1] Technical interpretation. It serves as 90 % of the worlds interpretation, yes I use it too, I feel that it draws out the OTHER interpretation we have in mind. Technical interpretation is a matter of how short a note is played, what dynamic, what kind of style, tempo. In a nutshell, thats what technical interpretation to me is.
[2] Musical interpretation Now, I feel that this is what really lets the emotions out, captures the audience's breath, people may have the counter argument that I am wrong. The technical aspect is what captures their breath. In my opinion its true and not true. now, the interpretation we give is what helps us with the technical one, its what makes us have OUR reasons to play notes the way we want to. Its the one that summons the story, or experience or statement. Or it replies to questions the crowd has, it saves lives even...:).
Now, what IS so important about interpretaiton??
Well...its the music
ITS MUSIC, interpretation is music, in a musical aspect.
Its the treasure we hide in the treasure box [the music is the box] its secrets, moments only we can unlock, statements, our PERSPECTIVE, we wish people to see. Interpretation is what makes a musician move [does it make lang lang move O_o] its what makes a performance unforgettable, every concert unique.
I think by interpretation music into our lives it helps us become closer with others, ourselves, music, and helps personality too :) it also gives us different perspectives on things.
I'll post an example of my kind of interpretations later on. But I hope you understand how important it is. I mean, I think music would be boring, if it was played in its steretypical genre.
Why should one play beethoven's fifth symphony ever so angrily when he never really was angry writing it...ignoring he was mad and deaf, he interprets it as something else. Music is the key to what opens up the box we walk in, it releases us into life....
so just because his fifth symphony is in a minor, does one have to be sad?
When the P.A.A auditioners were having a meeting back in eighth grade about the audition, mr. a turned on beethoven's fifth symphony, the answers were stereotypcal, "Its angry, its in minor, its not very happy...". Thats not the only feeling forceful notes can give, immediately as the song started I thought, "determination, its forceful, and yet such a beautiful thing to have...". I was so scared to raise my hand, but after mr. a talked a bit in response to their response on beethoven's fifth, I raised my hand, to be honest, I put my hand down atleast ten times, it was shaking like mad, mr. a noticed me and I said these words silencing the room [DID IT!?]
"Why does his symphony have to be sad? Can't it be interpretated into the feeling of being determined?"
why did I say this?
Because it was a while before that I realized this; you're the HAPPIEST person in the world, you're playing the world's most DEPRESSING symphony/concerto/w/e [ex mozart's requeim]. WHY SHOULD WE FORCE OURSELVES TO BE SAD?! I feel it adds even more stress, why can't we interpret a sad piece into a piece of hope? I know, Mozart died, this was his funeral piece [reffering to his requiem] but like my view on historic deaths, shouldn't we respect them by carrying on their music? By celebrating their works?
at the same time, this is WRONG, I realize that now. I would say to people, "Oh think of something sad, a sad experience", talk about being a hypocrite! But, well...man my head hurts...um. I know we should interpret the way the music sounds as well, what images, what thoughts it may strike up...but what will you do if your mind is in happy mode? sad mode? I think one way to preserve classical music is to present it differently, to change what people hear, to make every concert remembered in ones life, to make it unique....
Of course, theres the problem of working with an orchestra, its too diverse if not everyone is happy...of course it depends on communication...conductors? do you job here! :) [COUGHH CHAZ!!!! ^_^]
so when I ask you to interpret...listen to the song and what feelings does it strike up, before you play it, what feeling does it strike? Whatever it does, at any moment before every concert...do it, make every concert unique...so I ask you this
what message do you wish to give out?
this is my introduction into interpretation <3
The aspect of music arising from the difference between notation, which preserves a written record of the music, and performance, which brings the musical experience into renewed existence. While traditionally, since the Romantic era, interpretation has been seen as dependent on a performer's view of the work and his capacity for presenting a plausible view of it to an audience, more recently it has also been taken to embrace an understanding of the composer's own aural vision of the work as affected by the conventions of notation and performance of his time (as embraced by the concept of Performing practice). While there is no substitute for a knowledge of performing practice, the insights brought by intuitive musicianship and trained imagination to the expression of a work are central to its interpretation.
^thank you answers.com
mm...I sit here eating pan de sal [a dinner roll for all you non educated non fillipinos D:] and drinking berry juice....and just decided to FINALLY type this blog. [by the way, I apologize so much for my stupidity in my previous blog]
I've been wanting to type what I feel interpretation is, how I feel that my weird way of interpretation connects music, definitions don't cut it, its actually hard to explain interpretation, for one thing, there are two types of interpretations;
[1] Technical interpretation. It serves as 90 % of the worlds interpretation, yes I use it too, I feel that it draws out the OTHER interpretation we have in mind. Technical interpretation is a matter of how short a note is played, what dynamic, what kind of style, tempo. In a nutshell, thats what technical interpretation to me is.
[2] Musical interpretation Now, I feel that this is what really lets the emotions out, captures the audience's breath, people may have the counter argument that I am wrong. The technical aspect is what captures their breath. In my opinion its true and not true. now, the interpretation we give is what helps us with the technical one, its what makes us have OUR reasons to play notes the way we want to. Its the one that summons the story, or experience or statement. Or it replies to questions the crowd has, it saves lives even...:).
Now, what IS so important about interpretaiton??
Well...its the music
ITS MUSIC, interpretation is music, in a musical aspect.
Its the treasure we hide in the treasure box [the music is the box] its secrets, moments only we can unlock, statements, our PERSPECTIVE, we wish people to see. Interpretation is what makes a musician move [does it make lang lang move O_o] its what makes a performance unforgettable, every concert unique.
I think by interpretation music into our lives it helps us become closer with others, ourselves, music, and helps personality too :) it also gives us different perspectives on things.
I'll post an example of my kind of interpretations later on. But I hope you understand how important it is. I mean, I think music would be boring, if it was played in its steretypical genre.
Why should one play beethoven's fifth symphony ever so angrily when he never really was angry writing it...ignoring he was mad and deaf, he interprets it as something else. Music is the key to what opens up the box we walk in, it releases us into life....
so just because his fifth symphony is in a minor, does one have to be sad?
When the P.A.A auditioners were having a meeting back in eighth grade about the audition, mr. a turned on beethoven's fifth symphony, the answers were stereotypcal, "Its angry, its in minor, its not very happy...". Thats not the only feeling forceful notes can give, immediately as the song started I thought, "determination, its forceful, and yet such a beautiful thing to have...". I was so scared to raise my hand, but after mr. a talked a bit in response to their response on beethoven's fifth, I raised my hand, to be honest, I put my hand down atleast ten times, it was shaking like mad, mr. a noticed me and I said these words silencing the room [DID IT!?]
"Why does his symphony have to be sad? Can't it be interpretated into the feeling of being determined?"
why did I say this?
Because it was a while before that I realized this; you're the HAPPIEST person in the world, you're playing the world's most DEPRESSING symphony/concerto/w/e [ex mozart's requeim]. WHY SHOULD WE FORCE OURSELVES TO BE SAD?! I feel it adds even more stress, why can't we interpret a sad piece into a piece of hope? I know, Mozart died, this was his funeral piece [reffering to his requiem] but like my view on historic deaths, shouldn't we respect them by carrying on their music? By celebrating their works?
at the same time, this is WRONG, I realize that now. I would say to people, "Oh think of something sad, a sad experience", talk about being a hypocrite! But, well...man my head hurts...um. I know we should interpret the way the music sounds as well, what images, what thoughts it may strike up...but what will you do if your mind is in happy mode? sad mode? I think one way to preserve classical music is to present it differently, to change what people hear, to make every concert remembered in ones life, to make it unique....
Of course, theres the problem of working with an orchestra, its too diverse if not everyone is happy...of course it depends on communication...conductors? do you job here! :) [COUGHH CHAZ!!!! ^_^]
so when I ask you to interpret...listen to the song and what feelings does it strike up, before you play it, what feeling does it strike? Whatever it does, at any moment before every concert...do it, make every concert unique...so I ask you this
what message do you wish to give out?
this is my introduction into interpretation <3
Wednesday, July 11, 2007
adagio symphony no. 1; A little feeling of hate
I know...another post...in only 5 minutes...
but I forgot what songs PYSO was playing this year....not that it matters to me...i'm not gonna be in it -_-...
and HUGE bolded words appear, as though mocking me for not being ready for PYSO...
"PYSO IN EUROPE!!!
yes...this year, the first time ever...
they are going to europe
not that it matters, i mean, my academy is going to europe in our sophmore year...maybe...damn bombings!
but still...It jsut seems to always be like that, when its there, I can't get it.
I remember the dead heavy voice i heard last year, "I'm sorry Lea, you're not ready for any youth orchestras yet"
it surely, truly, was a promise I had made to myself to be ready in a year, I guess I wasn't so crushed when Stuart had told me I couldn't try out for PYSO yet, merely because he was letting me try out for CYMO.
But I feell like that orchestra, PYSO, is a silk ribbon...or water....I grab it...and it slips through my hands...
When I look at the future I always wonder if all my musical expectations are going to be met...will I be the top no matter what? Will a crowd hold their breath as they hear me? Can I ever make one cry by one dramatic cresendo made not by the air but truly by my heart and words? Can I got to Juilliard? Go to study music in London and France?
It feels like I can't catch it..
I know, you'll all be mad i'm all giving you advice, and look at me!
But the truth of it is, I can't listen to myself all the time.
Well, off to piano
this blog certainly wasn't all inspiring...
it makes me a little mad...I think I'll practice when I get home...I'll finish hw later...
maybe I'll get first chair in CYMO...
that'd be impossible...
well who knows...
maybe if I won the concerto competition my teacher will be all like omg and let me try out...
sorry D: ignore moi....
off to piano...wait i sad that...
-_-
but I forgot what songs PYSO was playing this year....not that it matters to me...i'm not gonna be in it -_-...
and HUGE bolded words appear, as though mocking me for not being ready for PYSO...
"PYSO IN EUROPE!!!
yes...this year, the first time ever...
they are going to europe
not that it matters, i mean, my academy is going to europe in our sophmore year...maybe...damn bombings!
but still...It jsut seems to always be like that, when its there, I can't get it.
I remember the dead heavy voice i heard last year, "I'm sorry Lea, you're not ready for any youth orchestras yet"
it surely, truly, was a promise I had made to myself to be ready in a year, I guess I wasn't so crushed when Stuart had told me I couldn't try out for PYSO yet, merely because he was letting me try out for CYMO.
But I feell like that orchestra, PYSO, is a silk ribbon...or water....I grab it...and it slips through my hands...
When I look at the future I always wonder if all my musical expectations are going to be met...will I be the top no matter what? Will a crowd hold their breath as they hear me? Can I ever make one cry by one dramatic cresendo made not by the air but truly by my heart and words? Can I got to Juilliard? Go to study music in London and France?
It feels like I can't catch it..
I know, you'll all be mad i'm all giving you advice, and look at me!
But the truth of it is, I can't listen to myself all the time.
Well, off to piano
this blog certainly wasn't all inspiring...
it makes me a little mad...I think I'll practice when I get home...I'll finish hw later...
maybe I'll get first chair in CYMO...
that'd be impossible...
well who knows...
maybe if I won the concerto competition my teacher will be all like omg and let me try out...
sorry D: ignore moi....
off to piano...wait i sad that...
-_-
Concerto in F: 'In Memory of Gershwin'
Today, July 11th, 70 years ago, Gershwin died in Beverly Hills :[.
The first time I had ever heard Gershwin was in 2006, I'm a little ashamed to say I had NEVER known who gershwin was up until only last year, but let me say, i'm infatuated with his wonderful music.
He revolutionized music, in my opinion? One of the BEST composers who ever set foot on earth.
I remember watching fantasia 2000, Oh my mozart! It was the most wonderful thing I had ever heard, this clarinet solo that sprang up into the air...I fell in love with his music from the first note...
The second time I heard it I had not even REALIZED that it was Gershwin, ironically, I had the song on my first ever Gershwin CD...[pity it wasn't bernstein with the ny phil, best recording one can get of gershwin] . Unfortunately, I seemed to keep myself in a closed box, only listening to rhapsody in blue. Bernsteins pupil Carl St. Clair, conductor of the Pacific Symphony Orchestra had lead this performance in brea, playing American In Paris.
Gershwin truly was an innovative composer, he collaborated two completely seperated eras, he brought in new sounds [ex: american in paris, they actually use blow horns], he was absolutely unique
This is a composer, 'classical' music lover or non classical music lover would love. His music surely IS NOT some boring thing, it is different. :]
so all, please remember Gershwin today, his works are to die for, to never be forgotten, to never get sick of :]
~~~~~~~~~~~~~~~~~~~~~~~~
Now, as for my musical life, what is going on?
Well...
I'm going to the Hollywood Bowl with the P.A.A
I'm trying out for CYMO, despite the fact that PYSO is so much more awesomer [i mean come on, they are playing mahler and rimsky-koraskov's SCHEREHEZENDE! ANDD Sibelius's Finlandia]
I'm gonna see the PSO play Gershwin at irvine next sat...:] wanna come anyone? margarets already coming...oh yes and its for FREE, thanks to my awesome teacher
My lessons were canceled this week
I can't practice because of hw overload...
I hope my teacher is sitting first chair for this, he does a FINE clarinet intro into rhapsody in blue, dear god please let him be first chair that day :).
wtf am I rambling about by the way?
Well, my teacher had auditioned for the THIRD TIME, in TEN YEARS for PSO, I don't get it because he's at 80% of the performances anyways, and he's been working SO hard for this, even had a hiatus on lessons from him for two whole months, he played for michele zukovksy, the two people who were retiring and leaving their positions vacant [and if he got help from the best clarinetist in cali, zukovsky...surely it meant he'd be like ZE BEST!]. ANDD he's pretty much a member at PSO..and two damn new clarinetist from...WTF! some...state...i forgot...but,...IT WAS LIKE KENTUCKY I THINK! BEAT HIM TO IT!
this wasn't because he sucked though, he was put on the second day of auditions, and the conductor, st. clair, originally wanted only 6 people to get in the final round, by the second day, they had 15 people in the final round, by the time they got to him? he couldn't get in the round :[
I personally think they were trying to get him into the round, notice they added 15 more people...he soo deserves to get in -0-; but he seemed fine...but a little ticked about the new clarinetists, he said, "eh they are a little green..so maybe they might not stay too long"
:) rofl
yeah er OKAY! BYEE <3
and thanks chelsea :)
The first time I had ever heard Gershwin was in 2006, I'm a little ashamed to say I had NEVER known who gershwin was up until only last year, but let me say, i'm infatuated with his wonderful music.
He revolutionized music, in my opinion? One of the BEST composers who ever set foot on earth.
I remember watching fantasia 2000, Oh my mozart! It was the most wonderful thing I had ever heard, this clarinet solo that sprang up into the air...I fell in love with his music from the first note...
The second time I heard it I had not even REALIZED that it was Gershwin, ironically, I had the song on my first ever Gershwin CD...[pity it wasn't bernstein with the ny phil, best recording one can get of gershwin] . Unfortunately, I seemed to keep myself in a closed box, only listening to rhapsody in blue. Bernsteins pupil Carl St. Clair, conductor of the Pacific Symphony Orchestra had lead this performance in brea, playing American In Paris.
Gershwin truly was an innovative composer, he collaborated two completely seperated eras, he brought in new sounds [ex: american in paris, they actually use blow horns], he was absolutely unique
This is a composer, 'classical' music lover or non classical music lover would love. His music surely IS NOT some boring thing, it is different. :]
so all, please remember Gershwin today, his works are to die for, to never be forgotten, to never get sick of :]
~~~~~~~~~~~~~~~~~~~~~~~~
Now, as for my musical life, what is going on?
Well...
I'm going to the Hollywood Bowl with the P.A.A
I'm trying out for CYMO, despite the fact that PYSO is so much more awesomer [i mean come on, they are playing mahler and rimsky-koraskov's SCHEREHEZENDE! ANDD Sibelius's Finlandia]
I'm gonna see the PSO play Gershwin at irvine next sat...:] wanna come anyone? margarets already coming...oh yes and its for FREE, thanks to my awesome teacher
My lessons were canceled this week
I can't practice because of hw overload...
I hope my teacher is sitting first chair for this, he does a FINE clarinet intro into rhapsody in blue, dear god please let him be first chair that day :).
wtf am I rambling about by the way?
Well, my teacher had auditioned for the THIRD TIME, in TEN YEARS for PSO, I don't get it because he's at 80% of the performances anyways, and he's been working SO hard for this, even had a hiatus on lessons from him for two whole months, he played for michele zukovksy, the two people who were retiring and leaving their positions vacant [and if he got help from the best clarinetist in cali, zukovsky...surely it meant he'd be like ZE BEST!]. ANDD he's pretty much a member at PSO..and two damn new clarinetist from...WTF! some...state...i forgot...but,...IT WAS LIKE KENTUCKY I THINK! BEAT HIM TO IT!
this wasn't because he sucked though, he was put on the second day of auditions, and the conductor, st. clair, originally wanted only 6 people to get in the final round, by the second day, they had 15 people in the final round, by the time they got to him? he couldn't get in the round :[
I personally think they were trying to get him into the round, notice they added 15 more people...he soo deserves to get in -0-; but he seemed fine...but a little ticked about the new clarinetists, he said, "eh they are a little green..so maybe they might not stay too long"
:) rofl
yeah er OKAY! BYEE <3
and thanks chelsea :)
Tuesday, July 10, 2007
Symphony no. 3 'Simplicity is elegance, elegance is a complex thing' for chelsea
Ello everyone <3 [is there even ANYONE?? O_o]
I've had the experience of being oddly challenged by simple, easy pieces, etudes, whatever, just like you all do. Even NOW I have problems...of course this occurs because I'm too cocky and don't seem to realize the complexity of a simple piece [Like Mozart's Adagio...or and adagio for that matter...]. My dear wonderful friend, one of my 'rays' of sun shine, Chelsea, is having the current problem...
So...well...why not make a blog on it? =D? I mean everyone runs into this problem a the time.
First off, no matter who we are, when we see anything simple, nothing too complex, no high notes, not too many accidentals...or any signs in the key signature, no funny time sig---------none of that...we think this;
its such a simple piece.
But simple pieces have the reputation, in my opinion for being hard psychologically. We dismiss them as easy, we can do them, piece of cake...and its because of that our mind gets LAZY. Don't deny it everyone, I know its good that we get confidence...but we actually get blind. It goes for boring pieces too, our concentration wanders.
It relaxes us, to see easy pieces, thus making us lazy...but when we try to get it right...
we all get frustrated.
Why? We looked over the fact that its NOT EASY! no piece is ever easy, it has its complex nature, its odd interpretations. I'd like to think of pieces like friends, odd...friends...with many personalities....and these friends? Well, you're being rather mean to your friends, you're not caring enough for these friends D: you're not paying as much attention to their details...
and so here is a solution to that.
Actually, there are MANY solutions, I'm just trying to think of the ones that my teacher has shown me.
Now, the MOST common way is practicing it slowly, I think everyone knows this way.
But, we shouldn't look at the big picture yet, its like judging someone on first appearance, you SCREW UP!
i HATE practicing it slowly....all together...GOD thats way too complex, its like...writing a story backwards or something...
speaking of backwards..I find this a good way;
practicing backwards
When I say this I don't mean to play this: backwards...not like this;
o_O PLEASE DON'T DO THAT DX might as well turn dyslexic...
When I say backwards, I mean start from the last group [READING THOSE NOTES FROM LEFT TO RIGHT MIND YOU! don't go all manga crazy on me =P....how do orchestras in asia read their notes...O_O hmm...huh...interesting...]
Practice it slowly, this is the only time I actually play slowly when playing fast pieces...erm anyways. Add one note on from there, USE YOUR METRONOME! YOU SHOULD BE USING YOUR METRONOME 100 PERCENT OF THE TIME [stuart lectures me on the metronome ALL the time]--80 % IF YOU'RE TIMING IS WAY BETTER THAN MINES.
What I'm about to say mixes in wiht the previous method, which is practicing different rhythms, use that method along with this, like I said, doing it 5 times mixing the rhythm up...IN TIME, USING ONE RHYTHM EACH TIME, and keep on adding a note, I'd suggest a 6th time, but the 6th time I'd say would be playing the exact rhythm [I think my teacher makes me do that...whatever..it works =D]. Sometimes you have to even repeat this boring proccess many times, believe me, I remember sitting on my butt for 3 hours playing etudes...or maybe it was the all southern scales..no...it was all twelve scales....and i forgot them...
OKAY! and then practice the whole passage and or group together, it usually comes together. I'd suggest starting at a slow tempo, repeating the proccess adding 10 more beats.
Now, this all is frustrating, yes I know, so once you feel frustrated, go on to playing something else..taking a break basically. then come back to it :].
When you do this you should use the exact dynamics, articulation adn all...these are the two best methods for ANY piece, it unravels the simpleness of any piece and makes anything, even the 'simple' things easier to play.
A method that comes not from practicing, is interpreting the piece, both as how you want it sound and what you think the piece says--this is one way of defining perspective, we should look at pieces with different perspectives, change them, you know?
In addition, motivation [again] is really what gets us to actually think of the pieces in a new perspective, we should never take it for granted.
I know this belongs for a time when one is frustrated with a hard piece, I think not. LIke I said about the 'friends' theory, you should treat every piece the same, don't get frustrated over it, try enjoying the piece before actually getting to the technical aspect of it...only once though...NEVER go off playing it without a metronome besides that time...
and now, no matter how unorganized this blog was, I hope that you understand what to do...I just did this right off the bat, I did think while I did my hw...but thats about it...:];.
If you have questions tell me! ^_^ I'll even try helping if I can...somehow =P.
I've had the experience of being oddly challenged by simple, easy pieces, etudes, whatever, just like you all do. Even NOW I have problems...of course this occurs because I'm too cocky and don't seem to realize the complexity of a simple piece [Like Mozart's Adagio...or and adagio for that matter...]. My dear wonderful friend, one of my 'rays' of sun shine, Chelsea, is having the current problem...
So...well...why not make a blog on it? =D? I mean everyone runs into this problem a the time.
First off, no matter who we are, when we see anything simple, nothing too complex, no high notes, not too many accidentals...or any signs in the key signature, no funny time sig---------none of that...we think this;
its such a simple piece.
But simple pieces have the reputation, in my opinion for being hard psychologically. We dismiss them as easy, we can do them, piece of cake...and its because of that our mind gets LAZY. Don't deny it everyone, I know its good that we get confidence...but we actually get blind. It goes for boring pieces too, our concentration wanders.
It relaxes us, to see easy pieces, thus making us lazy...but when we try to get it right...
we all get frustrated.
Why? We looked over the fact that its NOT EASY! no piece is ever easy, it has its complex nature, its odd interpretations. I'd like to think of pieces like friends, odd...friends...with many personalities....and these friends? Well, you're being rather mean to your friends, you're not caring enough for these friends D: you're not paying as much attention to their details...
and so here is a solution to that.
Actually, there are MANY solutions, I'm just trying to think of the ones that my teacher has shown me.
Now, the MOST common way is practicing it slowly, I think everyone knows this way.
But, we shouldn't look at the big picture yet, its like judging someone on first appearance, you SCREW UP!
i HATE practicing it slowly....all together...GOD thats way too complex, its like...writing a story backwards or something...
speaking of backwards..I find this a good way;
practicing backwards
When I say this I don't mean to play this: backwards...not like this;
o_O PLEASE DON'T DO THAT DX might as well turn dyslexic...
When I say backwards, I mean start from the last group [READING THOSE NOTES FROM LEFT TO RIGHT MIND YOU! don't go all manga crazy on me =P....how do orchestras in asia read their notes...O_O hmm...huh...interesting...]
Practice it slowly, this is the only time I actually play slowly when playing fast pieces...erm anyways. Add one note on from there, USE YOUR METRONOME! YOU SHOULD BE USING YOUR METRONOME 100 PERCENT OF THE TIME [stuart lectures me on the metronome ALL the time]--80 % IF YOU'RE TIMING IS WAY BETTER THAN MINES.
What I'm about to say mixes in wiht the previous method, which is practicing different rhythms, use that method along with this, like I said, doing it 5 times mixing the rhythm up...IN TIME, USING ONE RHYTHM EACH TIME, and keep on adding a note, I'd suggest a 6th time, but the 6th time I'd say would be playing the exact rhythm [I think my teacher makes me do that...whatever..it works =D]. Sometimes you have to even repeat this boring proccess many times, believe me, I remember sitting on my butt for 3 hours playing etudes...or maybe it was the all southern scales..no...it was all twelve scales....and i forgot them...
OKAY! and then practice the whole passage and or group together, it usually comes together. I'd suggest starting at a slow tempo, repeating the proccess adding 10 more beats.
Now, this all is frustrating, yes I know, so once you feel frustrated, go on to playing something else..taking a break basically. then come back to it :].
When you do this you should use the exact dynamics, articulation adn all...these are the two best methods for ANY piece, it unravels the simpleness of any piece and makes anything, even the 'simple' things easier to play.
A method that comes not from practicing, is interpreting the piece, both as how you want it sound and what you think the piece says--this is one way of defining perspective, we should look at pieces with different perspectives, change them, you know?
In addition, motivation [again] is really what gets us to actually think of the pieces in a new perspective, we should never take it for granted.
I know this belongs for a time when one is frustrated with a hard piece, I think not. LIke I said about the 'friends' theory, you should treat every piece the same, don't get frustrated over it, try enjoying the piece before actually getting to the technical aspect of it...only once though...NEVER go off playing it without a metronome besides that time...
and now, no matter how unorganized this blog was, I hope that you understand what to do...I just did this right off the bat, I did think while I did my hw...but thats about it...:];.
If you have questions tell me! ^_^ I'll even try helping if I can...somehow =P.
Sunday, July 8, 2007
Adagio Mov; The wilting 'Musician' tree
First off, I'd like to thank Margaret and Chelsea for being the first readers of this blog =]! Thank you guys <3
Okay, I know, you're jumping up and down and running in circles thinking, "WHAT IN THE WORLD!? A TREE!?". Well You'll understand in some other blog...right now I just want to focus on the biggest thing that concerns us musicians.
Well, its not the biggest, probably, but I feel its important, a big key as a musician in any case. Now what is this 'big key' thing I'm rambling about anyways?
It is merely inspiration, dedication, motivation
okay so perhaps its not THE BIG KEY, but....its KEYS! Don't go on being some awesome smart musician correcting my grammar >0>;
But I feel like these are the three things that really get anyone anywhere...as I look at this, I see three words...and to be honest, I just got an epiphany [HA! I REMEMBER IT NOW CHELSEA]. These three wonderful keys to music? Are movements...to a concerto O_O!
Now, you're in for a fresh out of ze oven interpretation! Seriously it just came at 12: 39...
movement 1: Inspiration
From all the concertos I've heard...and even symphonies...mozart [the first clarinet concerto I've EVER heard...in fact the first clarinet solo thing...:D I was so happy I jumped up and down screaming mozart is a prodigy], Weber, Copland, Sphor [actually I've never heard sphor, I have yet to listen to Sabine Meyer and Julian Bliss on the Gramophone C.D for it =) ], Mahler, Beethoven, EVERY SINGLE FIRST MOVEMENT! Has seemed to have a feeling of inspiration.
I think I certainly can end up mixing this with my musician interpretation of concertos but I'm going to try not to. Inspiration is really what gets us to doing what we are doing, it is the introductionm, the entrance. The note, no matter whether its major or minor that is struck in that great hall, or on a radio, your ipod or anything, is like striking INSPIRATION. Within inspiration, we have something or someone who inspires us to do what we do, as it comes to the climax, that is where we find inspiration, before it, everything else was so hard, we didn't know what we were doing, why are we doing this...and as for the resolution, we rejoice...but there are times, for example in Weber's Clarinet Concerto No. 1, where things are sad, we realize our inspiration when it has left, the something, the person, when they leave, the sad feeling of that thing not being there, perhaps its what makes some endings so minor, even if it is inspiration, a positive thing. Beethoven's first movement of his fifth symphony WAS NOT a happy thing at all, in peoples opinions, or was it merely the struggle to get to major, to get to the inspiration? Chelsea? =D? ANSWER ME D:<
2nd Movement: Dedication
Now, people are touched when you put dedication to something,, it means you are passionate, I feel that more than anything, thats what grabs an audiences attention. Dedication is a sacrificial thing, to dedicate yourself to something is to give up doing other things...its really a sad thing. But the question is...is it? I find rays of light in those second movements, we just don't see it because we are so blind dwelling, but to be dedicated, is really to have hope isn't it?
3rd Movement: Motivation
The final movement, the final key, sure one can have all the dedication and inspiration they want in life. But even if you're dedicated what if you had no dreams? Even if you're dedicated what difference does it make if you have nothing set for you? its a essential element to be motivated, it really gets you to practice. Motivation, it is a third movement. The roundness of the third movement, its continuous and moving, it seems persistant to be IN YOUR FACE! Third movements are pompous crazy, loud, self centered, controlling things...er motivation? its what makes you crazy, creates a self centered...somehow...person...and controls what you do, which is going towards your dreams :]
woah okay dammit with my damn head that literally SPINS with interpretations...just yesterday I made FIVE interpretations in the car o_O; while listening to beethoven :P
anyways...
I think that we do have the right to rant, dwell around if we are lost, its good to take a break sometimes...but in some cases we lose the passion
therefore, we need inspiration. It never comes like that for anyone, it took me two years to TRULY get motivated as a musician,
one thing we have to do is always think positive, yes we can give ourselves constructive criticism., but putting ourselves down? Why not dig a hole? I may sound like a hypocrite but I only realized this all yesterday.
TO THOSE WHO ARE LOST AS MUSICIANS!
This is one of the most climatic times in your life, its like making a squeak during a concert...and this is one of the lessons I keep with me from my teacher
"During auditions, I'd so much rather hear a squeak and just getting back from it as opposed to squeaking and not knowing what to do...or even being perfect"
we musicians certainly are NOT consistant with anything, thats what makes us unique, we have dynamics in life, every single bad thing must be respected for it helps, now
when you're feeling down:
-find the thing that inspired you, or something new
-even getting competitive can get one to be inspired
-THINK POSITIVE
-talk to other musicians about it
-practice everyday, so you suck, don't play a piece then, do etudes or something
-SCRATCH THAT play a piece you love...
I think what can get any musician going is playing in a BEAUTIFUL concert hall in europe, where everyone's eyes are on them as they play their concerto, and the orchestra is there behind you.....besides that to inspire you when you're playing that concerto in your mind...
is because there is the conductor...or anyone who inspires you...standing at that podium...who will not let you be alone...he/she is someone who will lead you and get you out of tight spots
your inspiration
is really the most important thing, it created everything else that happens from then on
:) so musicians I say to you, just communicate with an audience, save a life, do all you can to feel the music
because its the most wonderful thing that will ever happen to you, no matter how stressful it gets =]
i wish you all good luck!
Okay, I know, you're jumping up and down and running in circles thinking, "WHAT IN THE WORLD!? A TREE!?". Well You'll understand in some other blog...right now I just want to focus on the biggest thing that concerns us musicians.
Well, its not the biggest, probably, but I feel its important, a big key as a musician in any case. Now what is this 'big key' thing I'm rambling about anyways?
It is merely inspiration, dedication, motivation
okay so perhaps its not THE BIG KEY, but....its KEYS! Don't go on being some awesome smart musician correcting my grammar >0>;
But I feel like these are the three things that really get anyone anywhere...as I look at this, I see three words...and to be honest, I just got an epiphany [HA! I REMEMBER IT NOW CHELSEA]. These three wonderful keys to music? Are movements...to a concerto O_O!
Now, you're in for a fresh out of ze oven interpretation! Seriously it just came at 12: 39...
movement 1: Inspiration
From all the concertos I've heard...and even symphonies...mozart [the first clarinet concerto I've EVER heard...in fact the first clarinet solo thing...:D I was so happy I jumped up and down screaming mozart is a prodigy], Weber, Copland, Sphor [actually I've never heard sphor, I have yet to listen to Sabine Meyer and Julian Bliss on the Gramophone C.D for it =) ], Mahler, Beethoven, EVERY SINGLE FIRST MOVEMENT! Has seemed to have a feeling of inspiration.
I think I certainly can end up mixing this with my musician interpretation of concertos but I'm going to try not to. Inspiration is really what gets us to doing what we are doing, it is the introductionm, the entrance. The note, no matter whether its major or minor that is struck in that great hall, or on a radio, your ipod or anything, is like striking INSPIRATION. Within inspiration, we have something or someone who inspires us to do what we do, as it comes to the climax, that is where we find inspiration, before it, everything else was so hard, we didn't know what we were doing, why are we doing this...and as for the resolution, we rejoice...but there are times, for example in Weber's Clarinet Concerto No. 1, where things are sad, we realize our inspiration when it has left, the something, the person, when they leave, the sad feeling of that thing not being there, perhaps its what makes some endings so minor, even if it is inspiration, a positive thing. Beethoven's first movement of his fifth symphony WAS NOT a happy thing at all, in peoples opinions, or was it merely the struggle to get to major, to get to the inspiration? Chelsea? =D? ANSWER ME D:<
2nd Movement: Dedication
Now, people are touched when you put dedication to something,, it means you are passionate, I feel that more than anything, thats what grabs an audiences attention. Dedication is a sacrificial thing, to dedicate yourself to something is to give up doing other things...its really a sad thing. But the question is...is it? I find rays of light in those second movements, we just don't see it because we are so blind dwelling, but to be dedicated, is really to have hope isn't it?
3rd Movement: Motivation
The final movement, the final key, sure one can have all the dedication and inspiration they want in life. But even if you're dedicated what if you had no dreams? Even if you're dedicated what difference does it make if you have nothing set for you? its a essential element to be motivated, it really gets you to practice. Motivation, it is a third movement. The roundness of the third movement, its continuous and moving, it seems persistant to be IN YOUR FACE! Third movements are pompous crazy, loud, self centered, controlling things...er motivation? its what makes you crazy, creates a self centered...somehow...person...and controls what you do, which is going towards your dreams :]
woah okay dammit with my damn head that literally SPINS with interpretations...just yesterday I made FIVE interpretations in the car o_O; while listening to beethoven :P
anyways...
I think that we do have the right to rant, dwell around if we are lost, its good to take a break sometimes...but in some cases we lose the passion
therefore, we need inspiration. It never comes like that for anyone, it took me two years to TRULY get motivated as a musician,
one thing we have to do is always think positive, yes we can give ourselves constructive criticism., but putting ourselves down? Why not dig a hole? I may sound like a hypocrite but I only realized this all yesterday.
TO THOSE WHO ARE LOST AS MUSICIANS!
This is one of the most climatic times in your life, its like making a squeak during a concert...and this is one of the lessons I keep with me from my teacher
"During auditions, I'd so much rather hear a squeak and just getting back from it as opposed to squeaking and not knowing what to do...or even being perfect"
we musicians certainly are NOT consistant with anything, thats what makes us unique, we have dynamics in life, every single bad thing must be respected for it helps, now
when you're feeling down:
-find the thing that inspired you, or something new
-even getting competitive can get one to be inspired
-THINK POSITIVE
-talk to other musicians about it
-practice everyday, so you suck, don't play a piece then, do etudes or something
-SCRATCH THAT play a piece you love...
I think what can get any musician going is playing in a BEAUTIFUL concert hall in europe, where everyone's eyes are on them as they play their concerto, and the orchestra is there behind you.....besides that to inspire you when you're playing that concerto in your mind...
is because there is the conductor...or anyone who inspires you...standing at that podium...who will not let you be alone...he/she is someone who will lead you and get you out of tight spots
your inspiration
is really the most important thing, it created everything else that happens from then on
:) so musicians I say to you, just communicate with an audience, save a life, do all you can to feel the music
because its the most wonderful thing that will ever happen to you, no matter how stressful it gets =]
i wish you all good luck!
Saturday, July 7, 2007
symphony no. 1; 'creation'
'Ello there everyone...if there even is anyone who would dare to read my rants and what not...:]
Now, I made this blog to help musicians. I may not be proffessional, but I've experienced and learned many things with a hope to share my craziness with the world! In this blog of musical craziness you'll find a range of blogs helping you in:
-Technique
-rhythm
-tone
-musicality
-interpretation
but to add to it all, really my experiences as a musician will be marked in here, my perspective on music, my view as a musician on many things, rants about rehearsals, reviews on pieces [perhaps it'd just end up in 'interpretation'], reviews on musicians and orchestras.
But who knows, I have so many ideas flowing in my head, :D. I know it may sound boring but since when were musicians black and white anyways? Ignoring their concert attire and all....they are crazy weird unique people
so read on <3 I'll do all I can to help you all...if you need any help xP.
Now, I made this blog to help musicians. I may not be proffessional, but I've experienced and learned many things with a hope to share my craziness with the world! In this blog of musical craziness you'll find a range of blogs helping you in:
-Technique
-rhythm
-tone
-musicality
-interpretation
but to add to it all, really my experiences as a musician will be marked in here, my perspective on music, my view as a musician on many things, rants about rehearsals, reviews on pieces [perhaps it'd just end up in 'interpretation'], reviews on musicians and orchestras.
But who knows, I have so many ideas flowing in my head, :D. I know it may sound boring but since when were musicians black and white anyways? Ignoring their concert attire and all....they are crazy weird unique people
so read on <3 I'll do all I can to help you all...if you need any help xP.
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