1. How do you feel you have progressed with your solo performance skills this semester?
I feel that I have not done as good as I could do with my solo performance skills. I lacked off on my practice and this resulted in me nearly failing unit 1 of music.
2. How will you improve your results in solo performance in Semester 2?
I really need to rethink my routine for practice to something more realistic and put it into action to improve from unit 1 and blitz semester 2 and have the satisfaction of knowing I did the best I can.
3. What aural and theory work do you desperately need help with? (look through your handbook to ensure you remember all the bits you need to know)
I need help with my singing, pitching notes and singing scales etc. For theory I need help with analysis.
4. What strategies are you going to put in place to ensure you improve across all areas in Semester Two?
I am going to rethink my routine for practice and to entwine my aural practice (virtually non-existent) with my solo performance practice etc.
5. What is your practice goal over the next three weeks - give me a daily goal and a weekly goal, e.g. 1 hour per day/6 hours per week.
tc. My daily goal is that I am going to try and do at least half an hour of practice a day. My weekly goal is to have at least the whole first page of tears in heaven known off by heart for my next lesson.
Friday, July 6, 2012
Thursday, April 19, 2012
For the performance workshop in term one I performed Gnossienne no.3 by Erik Satie. When I played it I knew half of it, I could play all of it hands seperate and some of it hands together.
When I played the piece I was a bit nervous and I didn't play it to my full potential. I wasn't happy with the performance because I messed up a lot and I made it a bit too obvious with my reaction to it. I did well with the dynamics though and there were parts that I could play real fluently with the right timing.
Three things I liked about my performance were my pedalling throughout the piece, my dynamics and my finger positioning.
Rowan and Drew told me that my pedal work was good, but I need to work on my left hand in the piece because it leads the piece. They also told me I need to use the pedal less in the harmonic minor run so the notes don't run into each other too much and to let the piece flow more due to its 3/4 time signature.
To improve these areas I'm working on practicing the piece hands seperate and trying different pedalling techniques for the scale runs and getting less hesitant with my left hand.
For the performance workshop on Friday 20th I am going to play the same song as I did in the previous workshop, Gnossienne no.3 by Erik Satie. The 3 main areas I want feedback in are my fluency, my pedalwork during the scale runs, and my balance between my left and right hand.
In our lesson with Mr Sommerville ,he spent most of the class time with us going through intervals and playing the blues. After singing Choctop,he played different intervals on the piano and got us to sing both notes and name the interval. During the double we listened to a 12 bar blues. The pianist and guitarists were to figure out the chords, singers the lyrics and violins the melody line. After a few runs through the the whole song we started to solo over the top of the song.
Over these holidays my practice routine just went haywire due to work and other things. I didn't do as much practice as I would have liked to have done and I haven't progressed that far in my recital pieces as I should have. I regret not sticking to my practice routine because I still need to learn both my recital pieces and if I had stuck to my routine I would probably have finished learning one of my pieces and could focus more on my other piece.
When I played the piece I was a bit nervous and I didn't play it to my full potential. I wasn't happy with the performance because I messed up a lot and I made it a bit too obvious with my reaction to it. I did well with the dynamics though and there were parts that I could play real fluently with the right timing.
Three things I liked about my performance were my pedalling throughout the piece, my dynamics and my finger positioning.
Rowan and Drew told me that my pedal work was good, but I need to work on my left hand in the piece because it leads the piece. They also told me I need to use the pedal less in the harmonic minor run so the notes don't run into each other too much and to let the piece flow more due to its 3/4 time signature.
To improve these areas I'm working on practicing the piece hands seperate and trying different pedalling techniques for the scale runs and getting less hesitant with my left hand.
For the performance workshop on Friday 20th I am going to play the same song as I did in the previous workshop, Gnossienne no.3 by Erik Satie. The 3 main areas I want feedback in are my fluency, my pedalwork during the scale runs, and my balance between my left and right hand.
In our lesson with Mr Sommerville ,he spent most of the class time with us going through intervals and playing the blues. After singing Choctop,he played different intervals on the piano and got us to sing both notes and name the interval. During the double we listened to a 12 bar blues. The pianist and guitarists were to figure out the chords, singers the lyrics and violins the melody line. After a few runs through the the whole song we started to solo over the top of the song.
Over these holidays my practice routine just went haywire due to work and other things. I didn't do as much practice as I would have liked to have done and I haven't progressed that far in my recital pieces as I should have. I regret not sticking to my practice routine because I still need to learn both my recital pieces and if I had stuck to my routine I would probably have finished learning one of my pieces and could focus more on my other piece.
Sunday, March 4, 2012
Weekend Blog Task
The piece I have decided to do is Beethoven's Moonlight Sonata, First Movement.
Composed in 1801, it was published in 1802 and was dedicated to one of Beethovens pupils, 17 year old Countess Giulietta Gucciardi. This sonata is one of the most popular piano sonatas that were composed by Beethoven.
Version 1: Wilhelm Kempff (well known for his interpretations of Beethoven and considered one of the greatest pianists of the 20th century)
Version 2: Vladimir Horowitz (well known for his technique and tone colour, he is also known as one of the best pianists of the 20th century)
Vladimir varies the dynamics in this piece quite a lot, like Wilhelm, but his tone colour gives the piece a better flow and he expresses the piece a bit differently. Wilhelm gives the image of someone maybe, sobbing in a corner, but Vladimir gives the image of someone crying in anguish about someone they love. Vladimir interprets the piece differently, playing different dynamics and using the pedal differently. He ranges his dynamics from pianissimo to fortissimo.
Out of the two, my choice would have to be Vladimir. He interprets the piece in the same way, but his dynamics and pedal give it more of an emotional feel and, in my opinion, has more of an impact on the audience.
Composed in 1801, it was published in 1802 and was dedicated to one of Beethovens pupils, 17 year old Countess Giulietta Gucciardi. This sonata is one of the most popular piano sonatas that were composed by Beethoven.
Version 1: Wilhelm Kempff (well known for his interpretations of Beethoven and considered one of the greatest pianists of the 20th century)
Wilhelm varies the dynamics in the piece really well, giving the piece a deep and sad feel. He interprets the music precisely and adds pedal to make it flow nicely. He starts off with legato but plays naturally at the middle of the piece and ends with legato. He starts the piece off with pianissimo and builds up at certain parts before coming back down to pianissimo. He builds up to forte at around the middle of the piece where it starts to sound "exciting" and like it's "on a journey" but it finally comes "home".
Version 2: Vladimir Horowitz (well known for his technique and tone colour, he is also known as one of the best pianists of the 20th century)
Vladimir varies the dynamics in this piece quite a lot, like Wilhelm, but his tone colour gives the piece a better flow and he expresses the piece a bit differently. Wilhelm gives the image of someone maybe, sobbing in a corner, but Vladimir gives the image of someone crying in anguish about someone they love. Vladimir interprets the piece differently, playing different dynamics and using the pedal differently. He ranges his dynamics from pianissimo to fortissimo.
Out of the two, my choice would have to be Vladimir. He interprets the piece in the same way, but his dynamics and pedal give it more of an emotional feel and, in my opinion, has more of an impact on the audience.
Wheatbelt
Kevin Gillam
Kevin conductor , cellist and music educator from Western Australia. He graduated with a Bachelor of Music in performing with the Cello. He then worked in the WA Symphony and Arts Orchestra. Kevin has also had two books of poetry published. One in 2003, and the other in 2007
Iain Grandage
Iain is a composer of Scores for Theater, Dance and Concert Hall. He is in residence with the Young Orchestras of Australia. In 1996 and 1998 Iain was a musical director and arranger for the National Tours of Jimmy Chi's multi award winning Corrugation Road.
Words I don't know
Balustrade: a railing at the side of a stair case or balcony to prevent people from falling
Tuarts: a type of eucalyptus tree that is native to the Southwest of Western Australia
What I see
When I read this poem, I see an old rusted house with a tin roof, with a porch facing towards the sun in a dusty field, with trees dotted around the place. I see an old fence that is falling apart in some places surrounding the house, which seperates it from the trees. The sky is a vivid blue, and there are birds circling in the sky. I see fields of wheat and grass in the distance, swaying in a gentle breeze.
Kevin conductor , cellist and music educator from Western Australia. He graduated with a Bachelor of Music in performing with the Cello. He then worked in the WA Symphony and Arts Orchestra. Kevin has also had two books of poetry published. One in 2003, and the other in 2007
Iain Grandage
Iain is a composer of Scores for Theater, Dance and Concert Hall. He is in residence with the Young Orchestras of Australia. In 1996 and 1998 Iain was a musical director and arranger for the National Tours of Jimmy Chi's multi award winning Corrugation Road.
Words I don't know
Balustrade: a railing at the side of a stair case or balcony to prevent people from falling
Tuarts: a type of eucalyptus tree that is native to the Southwest of Western Australia
What I see
When I read this poem, I see an old rusted house with a tin roof, with a porch facing towards the sun in a dusty field, with trees dotted around the place. I see an old fence that is falling apart in some places surrounding the house, which seperates it from the trees. The sky is a vivid blue, and there are birds circling in the sky. I see fields of wheat and grass in the distance, swaying in a gentle breeze.
Wednesday, February 15, 2012
This week I didn't do as well as I hoped in going with my practice timetable due to study I have needed to do for my upcoming english sac and my physics test, as well as getting called into fill in for someone at work on Tuesday.
I succeeded in doing my short term goals, acquiring 4 songs that I want to do for my recital and choosing 2 songs that I will definitely be doing for my recital; "Moonlight Sonata (mvt.1)" by Beethoven and "My Immortal" by Evanescence.
I succeeded in doing my short term goals, acquiring 4 songs that I want to do for my recital and choosing 2 songs that I will definitely be doing for my recital; "Moonlight Sonata (mvt.1)" by Beethoven and "My Immortal" by Evanescence.
Wednesday, February 8, 2012
Over the holidays my practice routine was pretty much all over the place. I forgot about my practice routine I'd written up, but on the days that I practiced, I did the scales and the warm-ups etc that I'd outlined in my warm-up routine.
My goals were kind of realistic, but I worked a fair bit during the holidays, so there were some days that I didn't manage to do any practice.
I probably practiced for about an hour each day that I practiced, and altogether up to 4 weeks of practice.
My goals were kind of realistic, but I worked a fair bit during the holidays, so there were some days that I didn't manage to do any practice.
I probably practiced for about an hour each day that I practiced, and altogether up to 4 weeks of practice.
Wednesday, December 7, 2011
My Practise Routine
1. Warm Up
3. Strategies for practicing recital pieces
- scales ( as fast as possible, 2 octaves up and back, both hands, seperate and contrary motion)
- scales (slow tempo, crotchet = 80 , 1 octave up and back, both hands, seperate and contrary motion)
- scales and exercises related to my recital pieces, at the same tempo of the pieces.
3. Strategies for practicing recital pieces
- Listen to a recording of the piece
- Play through once to get a feel for it.
- Go back to the start and work on it bar by bar.
- Practice slowly, at about crotchet = 60
- spend 10 minutes on each piece
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