Here's the song (I deleted HS since we're not playing that one anymore) we recorded in class this morning. Listen to them (ouch), and for a homework grade, give me the following:
- 5-6 measures PER SONG that need to be fixed
- How YOU (not "we") plan on fixing them
Labyrinth and the Mad King
This will be due Thursday, September 19th by midnight.
I think measures 92-100 need to be practiced a lot in The Labrenth of the Mad King. The intonation is a huge part of it that needs to be fixed. Also measures 176-184 in Halloween Spooktacular need help with notes and rhythm. I plan to fix these measures by practicing them over and over again until I get them right.
ReplyDeleteI think in measures 25-30 of Labyrinth and Mad King that I can work on intonation and making the notes more in tune than they were. Also 93-100 was awful so just that section in general. We don't have Halloween Spooktacular anymore but if we did then I would say that from 26-30 the 16th notes were pretty bad so I would need to count better, and subdivide, and just practice with a metronome to get it right. Also, from 49-53 with the grace notes, to try and add those in a little better.
ReplyDeleteIn Legend of Sleepy Hollow I need to work on the intonation in measures 64-70,and the rhythm needs to be better. In Labrynth and The Mad King i need to work on 142-147 because the rhythm is always played wrong and i need to keep the notes sharper.
ReplyDeleteFor Labyrinth and the Mad King, intonation needs alot of work especially in measures 48-52. I need to work not only on intonation but also shifting.
ReplyDeleteI thought we weren't playing Halloween Spooktacular? But if we still were, measures 26-30 I would accent the fourth beat every time so every note wouldnt sound mushy.
In Labyrinth and the Mad King measures 142 to 147 definitely need work. The rhythms were completely off and it was out of tune. I need to go through that section slowly and count/subdivide to get those rhythms right, and practice shifting up to that D# from measure 141. In Halloween Spooktacular, the whole thing was a mess, but one area I would need to improve (if we were still playing it) is from 12 to 25. I need to practice intonation and count to make sure I don't play that first pattern for too long. In 24 and 25, those downbeats were way off and out of tune, so I would need to work that out. Also, at 107, it's supposed to be pizzicato and I played arco.
ReplyDeleteIn Labyrinth and the Mad King measures 38-52 need a lot of work. i personally need to work on the trasition at 38 and at 48 because i know the rythms, i just get tripped up at the transitions, such as remembering to hold the last note in 38 for only one beat. I need to play through that section a couple times with the tranitions at a slower tempo to get it right. In Halloween Spooktactular meaures 72-80. In this section, there are a lot of accedentals and confusing rythms. First, i need to go through and play the notes individually to get the tone right, then go back and slowy add in the rythms and eventually pull it up to speed.
ReplyDeleteHalloween spooktacular:
ReplyDeleteat the beginning of the song we really need to be careful about subdividing all of the sixteenth note parts (m. 26-30 and 37-39) right and making a CLEAR sound so it doesn't come out really scratchy and gross. I plan on fixing this by practicing that part starting at a slow tempo and gradually speeding up like we do in class sometimes and using more bow weight to make a clear sound. Also when cellos have the melody in m 49-54, we really needed to work on playing together instead of at different times so that it will sound more clean. To fix this, I will clap the rhythm and play with a metronome in order to help make sure I am playing on the corrrect beats. Lastly, all of the Dance Macabre part needs help. we need to make sure the B's and E's are not only flat but match each other. We also needed to, as usual, make it sound clearer and more crisp. In the recording it just sounded messy. To fix this, I will again, practice usuing a good bow hold and bow weight to produce a clear, crisp sound, and I would play a B flat major scale to make sure my B and E flats were in tune.
Labyrinth:
In the recording I couldn't hear the plucking part (m 9-25) very well but from what I know from playing in class I know i really need to work on counting the beats in my head and subdividing because the rhythm can get really confusing.
Another thing i never noticed in class but that is really obvious in the recording is anytime the cellos have the G Fsharp F E D Sharp part (like in m 55-58) we sound really flat and unappealing. To fix this i will play a chromatic scale so i can hear the sharps and the flats together and get them in tune and then I will practice making them sound well in the piece.
Halloween spooktacular At measures 3-12 we really need to play the accidentals. I personally will write in the fingerings to remind me/emphasize to play them despite the fact that we're not playing this piece. Also the slurs in 9 and 10 and 6 and 7 were incredibly non syncronized. I will work on this by practicing with someone else so we can put it together. 37-39 Was incredibly blurred and not well put together. I personally need to count and play those at the right tempo while practicing.
ReplyDeleteLabyrinth and the Mad King
Measure 3 played d natural. not d sharp.will emphasize on music to make sure to play it.
9-25 we potentially could have gotten off beat because we were rushing (because we thought it was easy) Will count ferociously. (nice word just sayin)
32: G sounds terrible. Will work on getting that in tune by practicing the measures prior then picking up to 32.
51 we need to figure out the fingering on. I will write it in and then find ways to fix it so that it will work for me.
71 COUNT we came in at different times and it sounded terrible.. so basically i'll just count mo better ;D
73 Did not play f sharp... I will mark it in my part and play the measures repeatedly to fix it.
-Hunter Emmons
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ReplyDeleteLabyrinth and The Mad King: 48-52, I definitely need to practice intonation, focusing on all the flats and sharps in the measures. Also need to count to get the rhythm right.
ReplyDeleteHalloween Spooktacular: 49-54:I need to remember its staccato and play it with more space, and need to count when playing and make sure play the triplets correctly.
In the "Labyrinth and the Mad King" in measures 27-30, the viola's notes were jumbled and quiet which displays that we haven't practiced that part enough. So I will work on the counting and especially the intonation because there are several accidentals in measure 28. I will start slowly and focus on getting faster to get up to the tempo in class. We aren't subdividing well enough with the rhythm in measures 44 and 45, so i will start slowly from measure 40-47 making sure to count every eighth note out loud. I will keep getting faster with a metronome and eventually count in my head. In measure 62 and 63 I also have a difficult time counting when playing with the entire orchestra because of the slurred notes. If I count it slowly and get faster over time,I can fix the problem.
ReplyDeleteIn Labyrinth and The Mad King, first of all in the second measure, I felt like the g# was out of tune, so I need to find the correct pitch, and then mark it in my part also to make sure I remember. Also, in measure 32, i need to make sure that there is a distinction between C# and the C. Right now it just seems like they are both out of tune, one a little higher than the other. In measure 39, it would be nice if we actually played. In measure 42 and 54, we all need to subdivide and make sure we are counting so we stay together and it doesn't sound like a jumbled mess. Next, in measure 97 to 104, INTONATION. I am marking each note in my part that way I know where it is and what It should definitely sound like. In measures 144 to the end, once again we should actually play. Also, we really need to subdivide and COUNT. Also we all need to make sure we are especially count in measure 147 so we don't get a surprise solo. I personally need to practice all of the hard rhythms until I get them and then I can gradually increase the tempo.
ReplyDeleteSo the recorded cello intro to this piece does not sound at all how I thought it did in class. To say that I lack intonation would be an understatement, especially when dealing with half-position flats and extended fourth-finger sharps, which along with my right arm form have been aspects of the past 5 years that could always use more work.
ReplyDeleteNext on the list would definitely have to be subdividing in the rhythm starting at measure nine and appearing again in other areas of the piece. This pizzicato "question-answer" rhythm with the violas when counted would I'm sure fall in line with the parameters of the time-signature, but as for now it's all about using listening to the metronome until timing out the notes correctly for each measure becomes second nature.
Finally, I'd like to bring to surface the measures which I refer to in most scholarly diction as "busy fast parts", measures 48-53 and 101-109. Though these measures differ with their style and note variations, they present similar challenges to me personally. Figuring out how to play a fast paced rhythm while other sections of the orchestra play counter rhythms that I'm inferring ("Labyrinth" is in the title) are meant to convey a confused and anxious sound will surely prove to be an obstacle. Of course I and the players around me are familiar with the challenge of playing sections that have almost contradicting rhythms, but this specific piece definitely approaches more unorthodox styles to accompany an all around difficult score. But do not fret (instrument pun), challenge accepted.
We really need to work on measures 63-67 in Labyrinth and the Mad King. It's super out of tune, and the orchestra as a whole needs to work on weaving together each section's part during those measures to make it more cohesive. In the Legend of Sleepy Hollow, we need to work on measures 173-186, because of intonation and the tempo change. We all need to pay attention to the tempo change and listen to each other to get the intonation under control and pay attention to dynamics to make that section more dramatic.
ReplyDeleteI need to work on subdividing measures 130-146 in Labryrinth and the Mad King. In Legend of Spooky Hollow I need to work on intunation on measures 72-83
ReplyDeletein Labyrinth and the Mad king for starters intonation in the first measure was bad i feel that my fourth finger e is always flat.Another icky spot is measure 25 intonation i always tend to be sharp. another spot that needs work is measure 39 it sounds like a mess. i need to slow it down and take it one note at a time getting it in tune then speeding up slowly. in measure 73 when i play the upper octave g i tend to be flat. i can fix this by using the five measures of rest before it to shift all the way up to it. perhaps the grossest of all is measures 96-105 two things can be done to clean it up. i can slow it down to an extremely slow tempo and get it in tune. also i can play it with more confidence. in measure 137 and 138 i need to count so i dont lag behind. in measures 142-145 i need to count and subdivide so i hit each note on time.
ReplyDelete