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Thanks, @fiddlerguy, working obstinately on doing better. First I typed "working hard", but this seems dishonest for "hard" doesn't match my mental state. Doing what we love is no way to heroization.
Although, since yesterday I feel like being a bit more tough on myself. From time to time I had confronted myself with an allegro to afterwards go back to slow accuracy. But now I feel like it's time to push myself into higher speed more sustained.
Realizing, that I now easily improvise uninterrupted eights on track 3 of this (which has been my warming up piece lately)....
....I tried it quite a bit faster there on track 2 there....
....which worked for half the movement, but then I felt exhausted and pain in my fingerboard arm before the 2:44 were over....
This morning I dared to go on with track 3 there....
....and when going back to Mancini, track 2, (after pausing a little of course) it was easier. I have ripped all my Edition Peters CDs and play them from a little MP3 player, skipping all the prestos and too mean allegros. Time to get the mean tracks on my MP3 player.
I also learn, my practice hours are becoming more effective, since I'm playing more notes per minute. It may sound a little stupid to count notes per minute, but I am forced to hit more notes accurately in each practice hour and have more opportunities to correct mistakes and find my weak areas. It makes me learn faster and get to fluency. I think it will also help me to show more expression in slower pieces, for they will allow me to relax then. I show way more expression on recorder and should be capable of gaining that on the violin as well.
This is really funny. I was assuming, my new pushing me into speed would perhaps show an effect in a week or two. But today I rehearsed a couple things I'm possibly going to perform in our August open stage. And suddenly it comes out easier and I'm not struggling with the tempo anymore! There. Here are the speedy eights, I'm training since yesterday, emerging in my Handel Gavotte.
(with tenor recorder)
Well, there are faster phrases in the music world, but in my fiddling this is fairly fast.
(First part of the lyrics I stole from a Lully opera 11 years ago, middle part from a French traditional and the last two lines are my own.)
Bach shares the same strange dream with Hendel (Handel's birth name), the only difference, this time it's one of his gavottes:
(with alto recorder)
My version of Handel's famous organ concerto groove HWV 306, I had prepared for my first open stage act in late August 2015. My spinet groove is constantly speeding up (which is a good thing for it makes it even groovier), but I was not able to play anything else but repeated notes in groups of each four. A week ago this play-along the final chorus still made me desperate—just too fast to improvise. Well, today the final chorus worked like a dream.
It was the last piece I played today and the speedy notes come even easier. After the first vocal part I forgot to grab the alto recorder, so I add a whistling chorus—and why not?
I am singing of beer and whine here and praise the barman for bringing it. Which makes the barman at the open stage very happy.
I also did Greensleeves, although still have to figure out where exactly to put what syllabless on what notes. Maybe I will use tenor or alto recorder here, because I'm not used to this soprano recorder, that's why it doesn't sound right.
"Mein Gmüth ist mir verwirret" is the original version of a a famous church hymn (Bach was not the first to have used it as church music) which was just a secular song about the broken heart of a guy a maiden has no mercy on. I'm kinda trying to sound a bit like a tenor here.
My USA version of the HOUSE OF THE RISING SUN.
I call it US version, because it was just testing this song, before I'm going to 'baroquecize' it. Nobody knows really how old this song is, but there are theories. One of them even is, that it once was a French chanson in the 1600s. Whether it was or not, I want to dare the experiment to bring it back. I want to write some little eights between these notes to lullistify it (following J. B. Lully's style, the star composer of the sun king). And I will certainly sing it with on old British accent. In the second stanza I will sing the modern French version of the lyrics, also in 1600s style. By the way, I messed up the words of this US version here, but never mind. It easily happens, that I sing gaga, it happens in German too at times.
Warning: stupid typos ahead in the video text -- "kind" = king, "let im dance" = let him dance!
Did you do all the parts yourself?
Are you singing too?
Yes, I enter the stage with violin and 3 recorders (soprano, alto, tenor), plus I sing and dance (baroque dance—mostly chaconne, menuet, gavotte). So I have to change between instruments quickly within each piece. That's why I put vocal stanzas between violin and recorder solos, or I add a spinet interlude. I certainly play the spinet at home and use the recording as play-along. I'd like to perform with one pluck instrument player, but as I'm developing fast on violin, it's probably better if I wait. As a better violinist in a couple months I can get a better accompanist. I don't want to use my own spinet sound forever.
Thanks for saying "cool"!
In the official baroque part I did more. When I realized there was just nothing, I knew I'm supposed to deliver there something. I read old German books, not even most Germans understand. So if I don't share that, nobody will, for people who are crazy enough to read that stuff are rare. Though, it doesn't feel to me like history if I read it. People of 300 years ago speak to me, so they must be real. Probably sounds to common people like living with specters. 😀
My violin Anna Maria, after totally unvarnishing her mechanically, not using any chemical fluids. I played her with very little rosin, which I prefer, though maybe it was a bit too little here. Afterwards I'm knocking on her, beginning on the top, then sides and finally bottom.
I sewed for her, first deciding, the linen looks better on her and more expressive, matching her morbid charm on the top. Then I attached the velvet in a bag form, so I can later vary the amount of fabric I want to put in there. I can also hide the fine tuners under the linen if I want, by placing it more forward.
@Demoiselle thank you for these videos and performances! Wow! You are talented. as Pierre said-Very cool! Very nice to hear your performances. It is all very Pleasing. You have a talent for making music. It is so very nice to be transported'in time"cheers Toni
Vibrato Desperato.... Desperately seeking vibrato
Thank you, you're very nice! I just listen a lot and I'm extremely one-way in choosing CDs to listen to. I want to absorb the sonata style of the 1600s and early 1700s as deep as possible to be able to express myself that way. And I watch myself that I make it technically as easy and comfortable as possible while playing. That's why I do not vibrato yet, it would only add a spasm to my music and totally ruin my performance. I will add a little vibrato now and then after having developed an almost infallible routine (certainly not this year). Then I will be able to experiment with it in relaxed ways. Whenever I detect something unrelaxed in my playing, I stop and pause a couple minutes. After that break I will start with very simple phrases, keep it easy and then slowly dare more and more. I let it go as long as it sounds and feels relaxed.
My first version was fresher and that is no wonder, for I recorded it the first day when I added House of the Rising Sun to my program. It was new to me, inspiring and interesting--now it's just routine.
My USA version of the HOUSE OF THE RISING SUN.
I call it US version, because it was just testing this song, before I'm going to 'baroquecize' it. Nobody knows really how old this song......
It's always like this days before the show: I'm tired listless and it seems all dull. I better not upload the version I played a couple minutes ago, for that sounded awfully uninspired. But I know, the evening I will have to perform it, I will be okay and I trust I will be very inspired. I was told, even pros say, "If the final rehearsal is bad, the show will be great." I think, it will be fun and afterwards I will be free to play what gets me further ahead and what I find interesting. Every day trying a new piece is just right to keep my inspiration.
You'll do great @Demoiselle - good luck with the event !
You say ...
I think, it will be fun and afterwards I will be free to play what gets me further ahead and what I find interesting. Every day trying a new piece is just right to keep my inspiration.
Well, indeed, exactly ! Nothing beats the thrill of a live performance - awesome - and afterwards - there's always something new to concentrate on !
Have a great time with it and let us know all about it afterwards !
I seriously recommend not copying my mistakes. D'oh -
Please make your own, different mistakes, and help us all learn :-)
Thanks, I did enjoy my performance yesterday except for my first piece "Sonnerie de frère Jacque". I just felt all the pressure I had put on myself and could not relax. It probably was also the fear of Marin Marais' famous "Sonnerie de St.Genevieve du Mont de Paris" I had amended with the vocal part "Frère Jacque", although I fiddle it my way, so it isn't exactly more difficult than the rest of my repertoire. Whatever, the other three pieces worked fine (the above Gavotte by Bach, House of the Rising Sun, and the final Fireworks Music Minuet by Handel). I had a very happy feeling while playing House of the Rising Sun and the audience told me afterwards they liked it very much. I'm really glad I added that title to my program and also with the decision to start with French and finally sing the traditional Alan Lomax version ( http://folksongcollector.com/r.....ngsun.html ). The Lomax version is sooo beautiful and the French quite powerful.
In the baroque thread of this forum I had presented Johann Christoph Bach's wedding cantata under "Historical Performance Practice". I had analyzed the chords and written down the notes before my performance on August 27, now I am free to prepare it, which I started today. The problem often is, I make a recording for a play-along at my spinet, not knowing, how many choruses I will need and how I will arrange the whole piece. So today I had to adapt my arrangement ideas to my play-along. Nonetheless I like this shortened version of Johann Christoph's work. I will perform it in late October, when hopefully not suffering from pollen allergy like I do now, which makes singing difficult.
So here's my complete cover of Johann Christoph Bach's Wedding Cantata. I sing the bass air an octave higher, the lyrics are too funny to not do it (it basically says like, "Don't look at me, your eyes make me horny!"). Today it's a regular masterpiece in public, but this whole work was private once, from a wedding in the Bach family. The bride sang together with a grandfather of the family and the bridegroom had not been informed--surprise, surprise, hahahaha!
Today I don't have problems with pollen allergy, so singing was easier than in the version before, which was without bass air.
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