This will be due by MIDNIGHT on Friday, April 19th. Please remember that late submissions will not be accepted. If you have technology trouble, you may hand-write your submission and turn it in to me Friday during class (or print out a screenshot of your submission and give it to me).
Tuesday, April 16, 2013
SYMPHONIA LISTENING ASSIGNMENT
Blargh. Here are the three rehearsal recordings today during class. Listen to all three of them and give me a list of 3-4 spots that you will practice in each one (so 9-12 spots total). Be specific with measure numbers and what elements you're going to rehearse on your own....rhythm? Intonation? Style? Dynamics? etc.
This will be due by MIDNIGHT on Friday, April 19th. Please remember that late submissions will not be accepted. If you have technology trouble, you may hand-write your submission and turn it in to me Friday during class (or print out a screenshot of your submission and give it to me).
This will be due by MIDNIGHT on Friday, April 19th. Please remember that late submissions will not be accepted. If you have technology trouble, you may hand-write your submission and turn it in to me Friday during class (or print out a screenshot of your submission and give it to me).
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Walk This Way:
ReplyDeleteOn measures 23-34, I need to make sure i'm counting properly and paying attention to the accidentals that appear. Measures 11-19, I need to work on intonation, specifically the G#'s. Throughout the whole piece, I need to incorporate dynamics so that the piece will sound more interesting.
Eleanor Rigby:
At the beginning of the piece,I should play softer to match the mezzo forte written. In measures 39-41, I need to look up at the conductor to slow down and play the notes at the right speed. Measures 33-34, the F# and G# need to be in tune.
Smells Like Teen Spirit:
The piece overall should sound more rock and laid-back, instead of like i'm thinking about every note being played. In measures 68-end,I need to practice the crescendo to give the piece a more powerful ending. Measures 37-39, I need to working on timing, the accidentals, and the execution of the tremolo.
Walk This Way:
ReplyDelete-14: the F sharp is bad so intonation there
-22: the intonation and rhythm needs work
-31: the D sharp is bad so intonation
-57-58: there is no sfp so dynamics need to be fixed
Smells Like Teen Spirit:
-21-23: I need to work on the rhythm and the G and F sharps
-29-30: the G and C sharps could be better
-41-57: the accents are nonexistent so style and of course intonation
Eleanor Rigby:
-18: the rest seems to be ignored so rhythm there
-33-39: the open A's kind of stand out so we need to work on fourth finger there
-39-40: we need to look up more for the rit.
Walk This Way:
ReplyDeleteMeasures 7-10: This section always sounds flat, and we need to work on extending our fingers more.
Measures 11-19: I need to work on the rhythm in this section. I think it would be helpful if we try to listen and pay more attention to the people around us.
Measures 46-48: We need to make sure to pay close attention to the sharps and flats because there seems to be clashing of the two notes.
Measures 57-end: Our tempo and dynamics need to be worked on. To improve these two things, we need to work on looking up and making sure to exaggerate the crescendo at the end.
Eleanor Rigby:
Measures 3-4: I need to work on making the Bs higher and creating a smoother sound.
Measures 15-22: We need to work on our intonation, specifically the G. We also have to make sure we are together throughout that section.
Measures 33-end: We are not together at the end, and we have to focus on the rit.
Smells Like Teen Spirit:
Measures 21-28: This part sounds flat most of the time. One of the major notes to work on is the f sharp, and we have to remember to play the G sharps instead of G naturals.
Measures 29-36: Again, intonation is an issue. Working on the C sharp would be helpful.
Measures 68-end: This measure is very out of tune in between the sections, and we have to make sure to watch the conductor to stay together.
For Walk this Way, I think the section from measure 7 to 10 it always sounds flat so we should work on our fingering. From measure 11 to 18 the rhythem is usually muddy so I will practice that. The whole piece sounds like one big monotone sound, wo we should work on dynamics.
ReplyDeleteFor Smells like Teen Spirit, I feel like we should still try to "swing" the rhythem throughout the entire song and we need to relax more while playing. From measure 29 through 38 we should work on intonation because it sounded kind of messy. Also some people have been using open strings while playing this song and it kind of sounds tinny and groos. I would suggest using fourth fingers.
I think that Eleanor Rigby sounded the best out of the three pieces, though the beginning (measure 1 through 9) needs some intonation practice, which I will do. The violins rush in measure 15 though 17 and I will work on counting for those measures. And also the ending needs some general work, and I will also practice that.
On Walk This Way, I think my biggest problem is the sharps. On measures 12, 14, 16, the F sharps need to be higher. Measure 11-19, I need to count and pay attention to the other sections that are playing on my rests. Also dynamics seem to be monotone throughout the whole piece.
ReplyDeleteOn Eleanor Rigby, I need to subdivide throughout the whole piece, and listen for intonation. In measure 23, there needs to be a better drop in dynamics for the mezzo piano. Also, the last two measures (40-41) I need to watch for the Rit.
On Smells Like Teen Spirit I need to get my 3rd finger F sharp higher. Throughout the whole piece, I need to include the accents. Again, it sounds monotone. I need to fix my G sharp to sound like those around me. Intonation is big in this piece.
1. Walk This Way- I'm going to write in the counting in measure 7-10 and the other ones like those to better understand the rhythm, then i'm going to practice it slowly by myself and eventually to improve my staying together with the rest of the orchestra I will practice with this recording. I also had a little trouble with staying with the orchestra in measures 11-19 (same as 23-30), so I will do the same thing with that. Also in measures 7-10 the A# is in tune most of the time, but not always, so I need to work on that too.In measures 21- 34, we need to pay more attention to the dynamics because they signal that many of the notes will have no space, but a few will, like the A in measure 26. We also need to pay more attention to the accents to make the piece more interesting.
ReplyDelete2. Eleanor Rigby- In measures 10-15, I'm going to work on my technique with the stacatto on the eighth notes, my bow gets out of control and ends up bouncing too much. So I will learn to control that better. From measure 15-23 and 33-39 where the violas have the melody, we need to work on the rhythm and counting and keeping it together. Also in the two measures at the end (40 and 41) the entire orchestra had trouble staying together, so we need to acknowledge the ritardando in measure 40 and watch Mrs.Bawcum in order to stay together.
3. Smells Like Teen Spirit- In measures 1-9 and 41-56 we need to work on the dynamics of making the accents defined which is a little difficult because they are in unusual places in the measures. But this can be solved by practicing slowly and getting faster each time you're ready to. Also from measures 28-37 and 57-69, we need to work on intonation, especially in measure 28 and 65 for the violas. In measure 37-41, the intonation sounds pretty good, but the rhythm needs to be addressed because some of the violas went faster than the others when going from F natural to F#.
Walk This Way:
ReplyDelete7: A sharp needs to be sharper
13: every note needs to be more defined
22-24: basically a large jumbled mess
Eleanor Rigby:
1-4: better intonation when playing the G
15-17: we need to be quieter so the melody is better heard
40-41: need to stay with tempo
Smells Like Teen Spirit:
13-14: A's are gross
23-26: pay attention to the dynamics
28-30: E-string notes need intonation improvement
WTW
ReplyDelete#6-be ready and confident when coming in
#7-really out out tune and sounds muffled together and make a real difference between A and A#
#13 Practice rhythm b/c it sounds like it not together
#23, 7, 34- these sections need to be in tune
#31- whole song needs to sounds rockin' like #31-32
ER
#3-4-this is reallly out of tune so we need to go over that a lil bit
#15-melody needs to play out more and violin need to be quiet
#15-17-Slow down! Dont rush !
#pick up to 40- Remember the rit. and to look up
SLTS
#7-G# need to be higher!
#15-4th fingers need to be used
#25-Remember the crescendo
#27-Remember G#
#pick up notes in 56-tune that part coming out
#Ending-Stay Together
*** rock out and relax ***
Eleanor Rigby:In measures 6 and 7 the C sharps need to be higher, and the same goes for this melody in other measures throughout the piece. In measures 18-19, the violins need to work on playing a softer dynamic for more balance within the orchestra. In measure 40 we need to focus on following the conductor to slow down together.
ReplyDeleteWalk This Way: In measure 7 (and throughout the piece) the difference between A and A# needs to be more pronounced. In measure 25 the the change in the notes we are slurring from beat 3 to beat 4 needs to be smoother.From measures 49-53 the style of the notes needs to be more seperated so that each note can be heard, not just sound.We should also count the rhythms from 11-19 more precisely.
Smells Like Teen Spirit: From measures 7-9 I will focus on the intonation of the half notes, specifically the G# and C#.We need to count better at 23 so that we can come in at the correct time in measure 27.In measures 37 and 39 we need to work on the trill and make the C# in tune.From 57 and on we need to follow the stylistic markings showing staccato marks and accents, and that will make it more interesting.
In the piece Walk This Way, measures 11-19 have many accidentals that the first violinists have to pay attention to such as the G sharp. Also in measures 23-31, a lot of us are not together. We have to subdivide in order to count correctly. In measures 7-11 and all the other measures that have this part, they sound pretty good, but we just have to watch out for the A natural and sharps.
ReplyDeleteIn Eleanor Rigby,the violins need to play softer in measures 15-23 because we're just playing repetitive eighth notes and quarter notes which isn't the melody. Also in the last two measures, the whole orchestra needs to look up and slow down because of the ritardando.
In the last piece Smells Like Teen Spirit, the intro has the accents on the first F sharps of two notes, but we put it on the second note instead. In measure 56 the orchestra has to play fortissimo until the end. In the very last measure there is a crescendo which means we must play even louder. Throughout the whole piece, the dynamics need worked on along with intonation since it has 3 sharps in the key signature: F sharp, C sharp, G sharp which make it A major.
Walk This way
ReplyDelete11-19 I need to count more as I need to count more as I'm rushing through this part
25 I'm going to make sure the e sharp is in tune along with the f sharp
23-31 I am going to work on dynamics making sure to get the accent notes.
Rigby
1-4 The violins e's are out of tune along with many other intonation problems
23-33 The dynamics need to be followed as the first violins are playing to loud at the part when its suppose to be quite
Smells Like Teen Spirit
Through the song the violins need to be careful with the g sharp as it is not in tune.
21-29 I need to count at this part so I'm in tune with the rest of the orchestra
37-41 Is really sloppy, this can be changed by playing the right rhythm with correct intonation
Walk This Way:
ReplyDeleteMeasures 7-10: This section always sounds flat, we need to work on that a little more.
Measures 11-19: I need to work on the rhythm in this section. May help to count and sub divide more.
Measures 46-48: We need to make sure to pay close attention to the sharps and flat need to be fix cause it make a pretty nasty sound when played together
Measures 57-end: Our tempo and dynamics need to be worked on. To improve these two things, we need to work on looking up and making sure to make the crescendo more noticeable at the end.
Eleanor Rigby:
Measures 3-4: I need to work on creating a smoother sound.
Measures 15-22: We need to work on our intonation.
Measures 33-end: We are not together at the end, and we have to remember to slow down.
Smells Like Teen Spirit:
Measures 21-28: This part sounds flat most of the time.
Measures 29-36:also sounds flat.
walk this way: 49-50 it would sound much better if cellos play extended first finger on the d string, then open A.
ReplyDeleteIn measure 68 we need to count the triplets so we could all be on the same beat.
In measures 49-55, we need to put the symbols above in use instead of ingoring them.
Eleanor Rigby: measures 1-14 even though the notes are extremely easy we must still count and not rush.
measure 23 is mezzopiano not forte.
measures 33-38 we must fix our intonation.
Smells like teen Spirit:measures 29-36 Count!
measures 41-55 make sure the b flats are in tune.
measures 21-29 we must make sure that the g sharps are in tune. Its not regular G!
Walk This Way
ReplyDelete1 Measures 7-11 We need to make sure the D#'s are in tune and also the D natural when necessary.
2 At 10 we completely ignored the sfz
3 The transition from 10-11 needs to be more together.
Eleanor Rigby
1 The B at 3 (hah that rhymed) needs to be in tune.. it was kind of iffy at the 2nd beat of 3.
2 D at 15 needs to be in tune as do the rest of the notes 15-19 .. Really sounds out of place if not played correctly.
3 At 40 the rit. needs to be more together... so we need to be watching mrs. Bawcum
Smells like teen spirit
1 Measures: Whole piece(narrowed it down) The whole thing needs to be played not so uptight and square. More grungey.
2 9-21 some cellos are guessing as to when to switch notes. COUNT.
3 Crescendo at 25 is non existent
4(over achiever). 37-41 The natural's and the sharps need to be naturals and sharps. Not shlaturals and narps.(Technical terms)
Walk This Way:
ReplyDeleteThe entire piece needs major intonation work. The viola section especially needs to work on third finger extensions. Making notes in music will help this.
The varying articulation in spots like measures 11-17 need to be made distinct so the piece doesn't sound dull and boring like it does now. There should be a clear difference between the staccato and legato notes. There are also accents throughout the entire piece that are being ignored.
Currently, the piece stays at one dynamic level throughout. There should be a difference between measures 9, 10, and 11.
Eleanor Rigby:
The C naturals in measures 13and 14 still need to be lower.
The mezzo-piano marking in measure 23 as well as the mezzo-forte marking in measure 33 are completely being ignored. Highlighting this in my music will help remind me to make a change in dynamics.
I still feel like the rhythms throughout 15-23 are off in the viola section. I'm going to write in the counts.
Smells Like Teen Spirit:
This piece sounds so dull! The articulation markings in the main riff (1-8) are being ignored. This makes the piece sound like a choir group is singing it and that's not what Kurt Cobain intended... Adding the accents will make it sound grungy and edgy.
The extensions throughout the piece need to be higher, especially G#.
The crescendo in measure 25 is completely being ignored. It's important because it is supposed to build.
This comment has been removed by the author.
ReplyDeleteWalk This Way
ReplyDeletefor measures 46-49 I need to practice my nowing because I tend to try to play it at the frog, and that makes it a lot harder than if I played with the upper half of my bow. Also I need to practice getting up to tempo in that part.
for measures 34-38 the cellos sounded really scratchy. I think to help this I will practice making everything flow and in tune first slowly, and gradually grt faster like we do in class.
for measures 23-30 the cello part looks really easy but it needs to be more in tune and I need to practice subdividing because I always try to play early after the rests.
Elanor Rigby
for measures 1-5 as silly as it sounds because it should be an easy section, the instruments playing this rhythm arent playing together. To fix this I would practice subdiving when im practing so that when im in class I know im coming in k n the right beats.
for measures 26-33 I need to focus on articulation and playing the slurs correctly because that part sounds messy.
and finally for the last 3 measures I need to practice my intonation and be sure I'm accenting the final notes. I also need to remember to look up for the rit.
Smells Like Teen Spirit
measures 9-21 need to be more in tune and we need to draw way more attention to the decrescendo in 11&12. to fix this on my own I will highlight the dynamics in my part and make sure I am using concise bowing when I practice.
measures 21-29 sound really bad in the cello section. to fix the intonation and know the rhythm better I will lsisten to the song and then try to mimic what I hear when I play it.
also for anytime the melody of the song is played (ex m1-9) I need to practice accenting the correct notyes and making sure F# and naturals are in tune
Amanda sheets
Walk This Way: we need to work on transitions from one section the another. Once we hear how it is supposed to sound eventually everyone catches on, but the measures that differ from the normal repetition throw us off. Specifically, the end on 10 transition to 11 and again where that same change happens at measure 22 and 23. The sfz accent in 18, 30, 37,41,45, and 52 is being ignored, and we need to work on a greater contrast in dynamics to keep this piece interesting. as always intonation needs a lot of help, like in the 11-19 section and 23-31.
ReplyDeleteEleanor Rigby:
In the eighth note, eighth rest section at 5 to 9 we are rushing, and we need to focus more on listening to each other. the measure 37 section needs intonation work. we are also not together. At the very end we have to look up for the rit. because our accents weren't being hit at the same time.
Smells like Teen Spirit:
Overall, this piece just is very boring to listen to, we need to add the accents that are marked for section that is repeated multiple time (ex. 41-42 x8). Measure 9 is really out of tune, so is 21 and 22. The extended thirds fingers in this piece are always flat, especially for violas on the c string in 23 and the g# in the lyrics part at 29&32. the transition of 26 to 27 and 56-57 (where the pattern changes) feels like we are stumbling into the new rhythms.
Walk This Way-
ReplyDeletePickup to 13-18: We need to practice the rhythm and intonation of G#.
23-30: It starts out sounding decent and then it just turns into a mess because we're not together, showing that we're not so sure and confident about the rhythm. Once again, The G#s need to be higher.
34-37: It sounds mushed together so we need to make each note sound distance by fixing the intonation with the fingering we determined to use. Same problem at 49-52.
Eleanor Rigby-
5-14: C# needs to be higher so it sounds in tune; this is a problem any other time we're playing this same melody.
15-17: Violins need to play softer so that the melody can stand out. We also need to listen and count so we can fit right in with the melody without rushing.
Pickup to 40: We need to look up and count so we can come in at the right time and keep up the rit.
Smells Like Teen Spirit-
7-10: The people playing the top part need to make sure each note is in tune and it needs to sound confident.
Pickup to 57: Anytime we come in with that part of the melody, it seems like we're just stumbling in so we need to count to fix the problem.
37-40: We need to practice the trill and play the passage in tune. Especially the C#, F#, and F natural.