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That looks better, @AndrewH I am one of the beginners and have not dealt with other keys. The keys I have mostly done are the common C, G and D. We have touched on B flat and E flat major. The E flat major was just the scale. I donât recall any pieces we did. I am currently working on a piece in B flat major. But if there are a lot of flats and sharps, I am completely lost. I would pass on that because working on that and my hugely difficult lesson pieces would not work. I never ever get the lesson pieces down to where I am comfortable before we move on (I will be talking to my instructor about that, so please do not comment about that here. This is about the next group project).
I hope this helps with the range of levels we are all at. I do not have a problem with a cello piece that is added with just whole, half or quarter notes in those keys that are not in rapid succession and then there could be cello pieces that actually have what should be played. Does that make sense? It does not bore me or make me less interested in participating. It would actually be a learning experience in that key.
It would be nice to be able to have a shot at getting it right, like the two group projects I did participate in. I donât have a shot at getting my lesson pieces correct and I am so afraid this will be the same. Listening and watching it sounds and looks easy, but if there are a ton of flats or sharps, or eighth or faster, odd time signatures, etc., I am thinking I will watch the final project. That is fine, I enjoy watching them, so please do not base it on my comments. I am just explaining my level and issues.
I do have a thought, though. If the timing is right, I could ask my instructor to use it as my lesson work! Then it could be worked on all the time and be done in time to be recorded to send in. That is actually not a bad idea. Â But the key it is in key is key, and it canât be too difficult. Does this help, @Fiddlerman?
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Just been listening through these various pieces, @AndrewH @fiddlrman @ABitRusty (oh, and others...)
I see possibilities in all !!!!  I can't choose !
Great suggestions folks. Some I was aware of (without actually knowing the piece-names or composers) and others, well, they are interestingly-new to me, and I'm always up for a challenge!
Must admit, I'm kind of struck by Pierre's idea of a final video exhibiting a conductor-led virtual strings ensemble... different.
I seriously recommend not copying my mistakes. D'oh - 
Please make your own, different mistakes, and help us all learn :-)
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BillyG said
Must admit, I'm kind of struck by Pierre's idea of a final video exhibiting a conductor-led virtual strings ensemble... different.
I like that idea, too. I really like it.
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When my orchestra recorded a virtual orchestra video two months ago, we followed a conductor video instead of a click track. Our conductor followed a recording of our own performance of the same piece in 2016, which was included in the video, so we were listening to the recording on headphones and watching him conduct.
If anything involves tempo changes or rubato, I think a conductor video with a good recording of the piece would work nicely -- though if it needs to be transposed to an easier key that might complicate things.
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Remember, a lot of us do not play in an orchestra and have no clue how to follow a conductor and would benefit from a click track.
I have to look at my music, look down and check my fingering periodically, etc. I would like to do it with Pierre conducting, but would still need to listen to a click track because I cannot be looking at the conductor as a total guide. It depends on how difficult the parts are, so not going to worry about it right now, but, I think that it has to be taken into consideration that many of us play at home, not in an orchestra.Â
I have no idea what doing rubato is, or how to do it, or how you would know when to do it. I think if it gets too advanced, we lose a lot of participants. Just my thoughts about what to consider. I hope it can be worked out with the conductor, a click track and a piece that has simple parts.
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Rubato isn't a technique. It just means flexible tempo, with the performer taking some expressive liberties instead of playing in strict tempo. In any conducted ensemble, you just follow the conductor.
Regarding not playing with a click track, we still had a recording that we were listening to -- just not the metronome clicks. As long as the piece isn't too complicated, it might be enough to listen to. The reason I mention this is that Pierre wanted to play the Barber Adagio in a more free tempo, and that makes it harder to produce a click track.
It is hard to balance two competing needs, because some people want more of a challenge than past projects, while it still needs to be possible to arrange to include beginners. I've been trying to suggest pieces that I think fit those needs.
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grandpafiddle said
What we all need to do is buy all the instruments and equipment we can from Fiddlershop. Then Pierre's profits will increase and he'll be able to afford additional employees freeing up his time to do a Group Project every month. When we have enough songs, he can put out an album resulting in more profit. Then, we'll all jump on Pierre's boat and do a concert tour up the east coast. You all agree?Ya, I know - there I go thinking again......
grandpa
Terrific idea. LOL.
Seriously though, we are doing great.
AndrewH said
The Barber Adagio may not be that bad an idea, come to think of it.The version I had in mind was the original quartet version, where you can see the musicians are playing a lot more notes per bow. Legato is easier when you have a whole orchestra.
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