Ta-DA!!!! Here's your first recording of the semester. It's...not great. BUT!! BUT!!!!!! You're going to come up with a plan for how to fix it. After listening to today's recordings, submit (either here or written) a plan for how you are going to approach these three pieces. BE SPECIFIC if you want full credit!
Allegretto Grazioso
Pirate's Legend
Scene de la Mer
In "A Pirate's Legend," measures 25-53 ("Jolly Roger"), I've already written in the counting. At home when practicing, I plan to start slowly, at about QN=60, and pay extra attention to the counting using an open string until I get used to the bowing. Then I will add my left hand in and gradually get faster with the metronome until I achieve QN=116. For measure 44, 95, 96, 100, 101, 128, 129, 130, and 134, I will begin by bowing even more slowly to focus on intonation because the measures contain tricky triplets. I will pay extra attention to the rhythms and counting in measures 48 and 52 because they contain 16th notes; I will start even slower with those, QN= 50, and work my way up. Measures 118-123 are in 2nd position on the A-string, so I will start slowly with these and use a tuner for better intonation.
ReplyDelete"Scene De La Mer" contains a lot of quick jumping around with notes, so I plan to start very slowly on measures 26-32, 36-39, 121-128, 138-144, 197-202, and 222-225. I plan to slowly play these parts at about QN=60 repeatedly until I memorize the notes and have close-to-flawless intonation. Then, I will gradually speed it up until I achieve QN=76 for measures 26-32, and QN=120 for the rest. I will also work on intonation in measure 77-81 by first only playing the notes, without the rhythm, slowly, using a tuner until I get each note right. At the beginning, I also sometimes forget that the piece is in 6/8 time, so I wrote the counting in for the first few measures.
Similarly to "Scene De La Mer," "Allegretto Grazioso also has some jumping around with notes, so for measures 39-54, 82-83, 86-87, and 167-168, I will work slowly on the same measures repeatedly to try and memorize the notes. We especially need to work on dynamics in this piece, so I will begin at about QN=60 and pay close attention to the dynamics until I can speed it up to the right tempo and still play the dynamics very literally. This piece also contains a lot of accidentals, so I will work on intonation using a tuner in measure 29-30, 167-169, and 172-174.
- Addie Wagner
To help us with Allegretto Gazioso better, we can go on youtube to listen to it. Honestly when I hear a piece I can usually play it better because then I know what it is supposed to sound like. On measures 39-44 the violas can practice the eighth notes slowly to get used to them. Also we need to make sure we watch the bowing. To make it more musical we can literally "move" with the music and add dynamics.
ReplyDeleteOn measures 25-40 in Pirates Legend we need to totally look at the rhythm, that is the worst part about it. We can first clap the rhythm then bow it on an open string. Finally when we get comfortable with it we can add the notes. Through measures 111-116 the cellos need to learn how to sound like a seagull and make the cello sound like one. Now with measures 118-124 I believe all of us need to practice it really slowly. Other then that this piece sounds pretty good.
On Scene de la Mer we need to make sure we are counting at the right tempo and stay together. We also need to start working on our intonation more, so we don't have those scratchy notes. Also, if we listen to each other while playing, it might help each other out on where we are in the music. Right now, it all just sounds like the same dynamic level, so we can make it sound better if we play the dynamics written. We need to make sure to watch all of the accidentals, so it doesn't sound like a mess.
-Haley LaComb
For Allegretto Grazioso, the biggest problem is definitely intonation. We need to pay WAY more attention to the key signatures and be careful to stay in tune, especially every time we descend by half steps. We also need to work on balance with this one so that we can always clearly hear the melody (pay more attention to dynamics).
ReplyDeletePirate's Legend was better as far as intonation goes (still not great), and the balance was a little better. I think the biggest issue in this one will be rhythm (and tempo), and staying together as a group. The 1sts (and probably others) are going to have to put in some work at home for the 16th notes (measures 69-83, 117-131) because we were struggling a lot already and we will have to play it much faster.
Scene de la Mer had a lot of intonation and balance issues, and I think we were having a hard time counting (maybe because it's a different time signature than what we're used to?). Subdividing will be key for this one. Also, for the 1sts, we are typically the most out of tune when we shift.
All 3 pieces are definitely well under full tempo, so one big task will be getting them up to speed. Every day we should try to go a little faster, and we can work at home on getting the toughest passages gradually up to tempo. Also, I didn't hear many dynamic changes if any at all (which usually comes later anyway), but instead of waiting until after we've learned all the notes and rhythms to start working on dynamics I think we should work on them as we go so they will come naturally. Whenever we work on a passage, we should pay extra attention to the dynamics because they are what turn dots on a page into music.
- Jennilee Burton
In Allegretto Grasio i think our biggest issue right now is the key signature and all the accedentals. The rythms arent that hard, we just need to get all the notes in tune. I mostly have trouble around 23-45 and 74-76 and 168-169. we also need to watch for the key change at 89. I think going through and marking all of the accedentals and highlighting the key changes would be the best way to fix this problem. Also, we need to work on the intonation of all of our fourth fingers and low ones and low twos. All of our 4ths need to be higher, so when we play we need to think about stretching the fourths and the same with the low ones and twos except they need to be lower, so puling back on those,
ReplyDeleteThe issues in PIrates Legend are getting the rythms at 25 and 89-106. cleaner, which i think we are already doing more of, but just making everything shorter and more percise, it sounds messy right now, so working on using the bow more at the balance point. Also, at measures 117-124, we all need to work on getting the shifting parts in tune so it sounds not as squeky and scratchy, that just takes a lot of practice at home and working on finger placement and marking half and whole steps in the music.
Scene de la Mer needs work on getting the tempo up over all throughout the whole piece as well as all the b flats need to be lower. At measures 36-50 we need to work on a lot of intonation issues as well as watching for the temo change and getting louder. A lot of our accedentals are really out of tune as well as b flats, so we neeed to go i and mark all of those and b flats normally are always too high, so we need to pay attention to that. Also, troughout the whole piece we had a lot of balance issues, so we need to pay a lot of attention to dynamic markings as well as listening to the people around you to find the melody and know when to back off.
~ Anna Broussard
For Allegretto Grazioso, we need to work more on intonation on MM 1-23. to fix this we need to learn how to play the notes correctly first, and then work on playing the right rhythm. We also need to get the rhythm right for MM 80-85. To fix this we need to learn the rhythm the right way and then practice it a good amount of times. On measures 156-160, the first violins need to play their part louder, so it sounds much better.
ReplyDeleteFor pirate's legend, we need to play the right notes, so that we do not sound too flat. On measure 44 the first violins need to learn to play the rhythm, and we also need to play louder on MM 45-51, because we are softer than the other instruments. For MM 69-83, first violins need to learn the whole rhythm and the notes, because we don't have it down yet. We also need to know how to transition from MM 123 to MM 124 correctly by learning the rhythm.
For Scene de La Mer, we need to play our notes more correctly, such as flats and sharps. We also need to play louder for MM 5-12. The first violins need to play MM 56-59 louder as well. We also need to learn how to transition from flipping the page and playing MM 116-118. We also need to learn to count each rests and play MM 176-187.
Starting with Allegretto Grazio, the biggest issue is intonation especially in the beginning, basically measures 1-76. I plan to break down this section into little parts to master so that I'm not overwhelmed with my awfulness.Since in the beginning of this piece there is some definite shifting involve, I'll begin by figuring the best and most comfortable fingering to achieve those notes in tune. Also to help to make it sound decent would figure out the actual rhythms that are the most difficult as in measures 11-12. Also to get the rhythms and the intonation down, I plan to start at a very slow tempo and work my way up to still have the notes but keep in mind tempo as well. Lastly, even though the rest of the piece is relatively simple rhythm-wise, the intonation there still needs a lot of work, especially when we change keys and accidentals are inserted. Ill concentrate more on getting the notes in tune rather than the rhythm since its not that complicated.
ReplyDeleteWith Pirate's Legend, the main issue for my section was pumping out those 16th notes and keeping track of where we were in the piece: counting basically, My plans for practicing this piece is to go to those 16th notes and play them very slowly to actually figure out what those notes are for one thing. Once i figure what they are ab what fingering to use to optimize my success at playing the, i'll then see how many times i actually play this rhythm over and over an make myself a note, just in case i get lost In addition in the beginning, there was an issue with counting also Usually when i have to play the same thing over and over or the same note for a long period of time, my eyes get bored and go all over the place so i get lost. I plan to mark how long i should hold the whole notes in the beginning and mark the changes to help also, i plan to make more noticeable to tempo changes throughout the piece because the ones i hav right now aren't working. Lastly i hav to be careful about the rhythm in measure 29 on because sometimes they can sound like triplets when they arent supposed to be.
Lastly, with Scene de la Mer, the first main issue is intonation, especially in the opening measures 1-22.With that piece i plan to take note, a bigger note of the key signature, and play through that section slowly to configure the adjustions i need to make.The rhythm will need to be looked at to especially in measure 17, it trips me up some how...Also in measure 56 ill need to figure out a fingering for that area because its really out of tune and un-sure sounding Basically the whole piece was unsure sounding.In measures 127-144 there are intonation AND rhythm doozies that need work. I plan to break up the section into a few groups to focus on one at a time to not get overwhelmed. First playing it slowly to get it in tune and note the accidentals and then gradually get faster to master the rhythm- same thing with measures 210-216. I also had trouble counting and staying on track on where we were in the piece. I always get distracted when i have to play the same rhythm, notes or both, for a long period of time: measures 68-96 and 176-197. I plan to mark how many times i play the phrase and if any changes occur.
All of our pieces need a lot of work, but in different ways.
ReplyDeleteFor Allegretto Grazioso, I think the biggest problem for me will be making sure all of my notes are in tune especially since there are so many slurs and extensions. My plan is just to start playing the music at a slow pace and gradually speed it up once everything sounds in tune. I also know I'm going to have trouble remembering the key change and where it happens. My plan for that is to just mark it in my part and practice that transition a couple of times.
Scene de la Mer
One of the main problems I have with this song is that there are so many simple rhythms and longer notes that I need to work on making it sound nice and light and work on not letting it sound dull and scratchy. My plan to achieve this is to use less bow weight but more bow speed, so that the notes will come out more lightly. Also I know I'm going to have trouble with the "wave" sounding part (197-221 and 89-94) because of all the accidentals and slurs. I think the best way to approach this is to shadow bow so I can mainly work on getting my left hand used to the shifting and crossing strings.
A Pirates Legend
This song has mostly simple rhythms in the cello part but there are a few places that trip me up. The rhythm in measure 53, for example, has been really hard for me to master. The good thing about this, however, is that the rhythm keeps repeating, just with different notes. So once I master it, I'll just have to work on some fine tuning for the rest of the piece. My plan to approach this rhythm is just to start at a slow tempo and speed it up little by little.
Amanda Sheets
For Allegretto Grazioso, definitely intonation in the beginning. I will fix this by paying more attention to the key signature and by practicing each problem note until I get the intonation right. Also we need to listen to each other so we get the balance more "even" with whoever has the melody. Also, I need to practice the entire piece over and over again until I get the tempo correct. I will do this by starting at a slow tempo and gradually increasing it.
ReplyDeleteFor Pirates Legend In the beginning i think just intonation and when we have accidentals they need to be really high or really low. For 29 through 43 I think we need to work on bow speed so we can switch strings and still have time so set our bow and have an individual note so it's not all dfnosafugp. Also from 69 to 84 we need to work on learning the rhythms and notes by just taking the time and practicing the notes over and over again until I get them right and then making the rhythm faster and faster until i get it to the correct tempo. Also we need to listen to each other so we can stay together.
In the beginning of Scene de la Mer we need to listen to each other to make the balance better. Also throughout the entire piece intonation with the higher notes especially. Also, all of the tremolo is too loud and overpowers the melody. From 138 to 143 I need to work on the fingerings that way I can actually play the correct notes. Also on all of the long notes I need to work on bow speed so they dont sound all scratchy and gross. Also I need to work on increasing the tempo little by little until I get up it up to speed.
~Abby Swain
In Allegretto Grazioso, the major issue we are facing is intonation. The violin's especially sound extremely rough whenever there is a section in which we have to shift. In order to fix the intonation problem, we should practice scales that require shifting as well as matching the notes to a metronome.
ReplyDeleteIn Pirate's Legend, the violins get stumped whenever we come across 16th notes. The simplest way to fox it it to slow down the tempo and keep playing at a slow tempo until you are satisfied and THEN move the tempo up a little and repeat until you are comfortable with the full tempo.
In Scene de la Mer, the problem is rhythms and counting. Subdividing is majorly important in an orchestra especially with difficult time signatures such as this one. To resolve the issue, it is key to divide the piece into smaller sections, clap and count each section until you are sure of the rhythms, then piece everything together.
~Lauren Elliott~
For Scene de La Mer, measures 201-221 need to be more legato, to make the piece. Measures 79-80 for cellos is definetly a part that we need to work on. We need to make sure that those notes are flat and not sharp.Also in measures 92-95 we need to make sure that we are accenting each note.
ReplyDeleteIn Pirate's Legend, the toughest part in this piece for cellos is meausres 53-68. We need to stay on tempo. Measure 68, i need to make a note that it's e Flat not e natural. Also we need to make sure that when we don't have the melody, we need to back off so we won't so sound like a loud hot mess.
Last but not least Allegretto Grazioso dynamics are imperative in this piece, we should focus more on them. That would help make the piece sound a whole lot better. Also accidentals are imperative. Practicing will help this problem
Allegretto Grazioso- Intonation is a big problem, especially at the beginning but also throughout the entire piece. This can be fixed by playing at a slow tempo and really focusing on getting every note in tune. Personally, I struggle a lot with the intonation at measures 55-62 because of all the accidentals and shifting. I’ll work on fixing this by starting at a slow tempo, getting all the notes in tune, and then gradually getting faster. The key change at measure 89 also throws me off. I’ll fix that by marking it, and paying special attention to that transition when I’m practicing.
ReplyDeleteA Pirate’s Legend- Again, intonation seems to be a problem throughout, but that will get fixed with more practice. The rhythm at measure 53 gave me a lot of trouble when we recorded, but I’ve started to get the hang of it by simply playing it over and over again. This piece has a lot of long, drawn out notes. Because of those notes, I’ll need to make sure everything is as in tune as it can possibly get. I’ll continue to work on the rhythms by playing them multiple times, starting at a slow tempo and gradually speeding up.
Scene de la Mer- At the beginning, I’ll need to make sure everything is really in tune because of the fact that the notes are dotted half notes until measure 15. Measures 77-80 seem to give me a lot of trouble because of the shifting; I’ll fix this by playing the passage slowly and gradually getting faster once I’ve gotten everything in tune. Measures 89-91 also give me trouble because of the accidentals. I’ll do the same thing I did for 77-80 to remedy this. Measures 203-221 are a trouble spot because of the fast tempo, the slurring, and the crossing strings. Playing the passage over and over while gradually speeding up should solve the problem.
Morgan Lewis
All of the pieces need a lottttt of work. Firstly, in Allegretto Grazioso, I personally need to work on being more in tune throughout the whole piece. The violas need to work on measures 39-44, to make those moving notes stand out more. While practicing at home at those measures, playing the notes slowly and getting faster over time, and also playing them separately will definitely help with the overall sound of those measures. At measures 152-156, and again at 161-169, the violas need to work on making those notes more staccato.
ReplyDeletein pirate's legend, whoever end up doing the viola solo at measures 7-23, needs to be VERY loud so that the audience will be able to acquire that creepy feeling of the one viola playing over the rest of the orchestra. Overall this piece isn't that bad. Every section just needs to work on checking the intonation of themselves, watching for key changes, and tempo changes.
in scene de la mer... okay firstly, everyone that needs a mute, better get one. because that will automatically make the piece sound just a little bit better. at measures 22-31, the violas need to work on being more legato and flowing with the music more. everyone needs to watch for temp and key changes. making more notes staccato or legato will also make this piece, and the other two pieces, sound better.
Allegretto Grazioso: Throughout the whole piece intonation is a huge issue. This problem can be fixed by playing each note individually then start playing at slow tempo gradually progressing to the actual tempo. Personally I struggle with the D flats throughout the piece, and will work on it by practicing each transition to that note. Also I counting and working harder to stay together with the rest of the orchestra. I can fix this problem by listening more to the players around me and looking up a lot more to make sure i don't miss important cues throughout the piece such as the coda and tempo in 152 through the end.
ReplyDeleteA Pirate's Legend: Throughout the whole piece , but mostly in the beginning we need to work on the dynamic levels to make more interesting. I can fix this by applying more or less pressure on the strings depending on the dynamic marking. Also in 29 , I have trouble with rushing causing difficulty with staying together. I can make this better by playing slowly with a metronome and counting each beat to make sure i know where to play. 69 - 84 is rough for me because my fingers get tied up due to the fact i don't know all the notes. This can be fixed by playing each and every note slowly and gradually go faster and faster and playing the section over and over again. The same goes for measure 124 to the end.
Scene de la Mer: Dynamics throughout the whole piece can be fixed to make the piece more interesting especially within the repeated notes and rhythms throughout, especially 36-71 for me in the repeated notes. This can be fixed by paying attention to the dynamic markings in the music and actually doing them. Also , in the accelerando in 36 , i need to look up to make a neater transition into the new tempo. Personally i have issues with the intonation in this piece with the D and B flats. I can play those measures over and over again to get more comfortable with the fingering in those sections such as measures 31 and 32.