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Thread: What Are You Working On Right Now? (Strings Version)

  1. #181
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    a couple hymns (Amazing Grace and Just as i am,) for my church gig on the third saturday, and a couple of Bach's minuets and Beautiful Dreamer for a Meet-up below Houston on the 17th.

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  3. #182
    Senior Member Kontrapunctus's Avatar
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    I'm learning the first movement from Torroba's Sonatina for Guitar. Thought I'd set aside the nearly unplayable Bach keyboard transcriptions for a while! Ravel thought very highly of Torroba's piece, and I like it too. It's catchy, well written for the instrument, and not too hard to play.

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  5. #183
    Senior Member tdc's Avatar
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    Still chipping away at Bach's Chaconne. I am now on page 7 of 9 of the Segovia transcription.


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  7. #184
    Senior Member senza sordino's Avatar
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    I'm making good progress with the LvB Spring Sonata, I'm just about ready to try it with an accompanist. My violin teacher's colleague is the piano teacher and regularly accompanies his students, I'll hire her for a few lessons once the school summer holidays begin.

    I put aside the Kabelevsky violin concerto, but I'll come back to it soon.

    My teacher and I have been playing the Bach Double violin concerto together. That's fun. But I'm not very good when I play with someone else, as I get distracted by his playing. I need to learn to concentrate, easier said than done.

    I learned the Rachmaninov Vocalise recently. I'll play that along with the Beethoven with the piano teacher.

    I've been playing a lot of Bach lately, solo violin partita no 2 in Dm, minus the Chaconne. And I've just begun to play the entire solo violin partita no 3 in E, prelude, Loure, Gavotte and Rondeau, Minuets, Bourrée and Gigue. E major is tough, plenty of sharps and then accidentals, A#, F double sharp.

    I'm going to music camp again this summer, 200 or so adult amateurs like myself, instrumentalists and singers. Orchestra, string orchestra, string quartet, choir and orchestra and more.

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  9. #185
    Senior Member MoonlightSonata's Avatar
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    Quote Originally Posted by tdc View Post
    Still chipping away at Bach's Chaconne. I am now on page 7 of 9 of the Segovia transcription.

    I like that piece, it's beautiful.
    What's the picture?
    ≥12

  10. #186
    Senior Member tdc's Avatar
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    Quote Originally Posted by MoonlightSonata View Post
    I like that piece, it's beautiful.
    What's the picture?
    Here is the connection:

    I've been working on some beautiful music from the D major section of Bach's Chaconne that happens to be on page seven of nine of the Segovia transcription. The picture is of the (beautiful) character called Seven of Nine from the TV series Star Trek Voyager.

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  12. #187
    Senior Member Victor Redseal's Avatar
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    I'm working on Adolf Lotter's 1913 piece, The Ragtime Bass Player. I found the sheet music online and it's not particularly difficult. Here are a couple versions, neither of which I care for as both seem to be having intonation problems but you can hear how the piece goes basically.





    Lotter (1871-1942) was a Czech-born bassist. I can't find much bio info about him. The internet is notorious for skimpy info on influential double bassists. He worked with Dvorak and Frantisek Cerny--another double bassist. Czechoslovakia/Bohemia was a powerhouse of double bass innovation in the 19th century. Lotter went to London in the 1890s and, from what I can gather, spent the remainder of his life there. The Ragtime Bass Player seems to be his most famous piece today although he wrote a number of more serious pieces such as the Dunkirk March.
    "God," asked Adam, "why did you make Eve so beautiful?"
    And He replied, "So that you could love her."
    "But God," asked Adam, "why did you make her so stupid?"
    And He replied, "So that she could love you."

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  14. #188
    Senior Member senza sordino's Avatar
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    I don't know whether it's hubris or alcohol but I've decided I'd like to give a small recital for my 50th birthday later in November. I need to find an accompanist and a location. I only want a small audience: my parents, my girlfriend, a couple of friends and aunt. I could do this at my parents place where they have the room and a piano, but they don't live centrally. Another more central location would be better.

    I've been working on the repertoire for a while now. Probably I'd play the complete LvB Spring Sonata, a couple of solo Bach from the Dm Partita The Allemande and Gigue and Rachmaninov Vocalise, Elgar Chanson de Matin and Kreisler Schön Rosmarin. I'm fairly comfortable with these pieces. I'm not trying a hugely courageous concert, but letting people close to me know what I've been playing well.

    I had a violin lesson last week with an accompanist from a different music school. She was alright but I'd prefer to play with someone who does this sort of thing more often. My violin teacher has a piano teacher colleague who does this sort of thing more frequently and is more prepared than the teacher I played with last week. She would be a better choice. I've booked another lesson with the first teacher this week, but that will likely be the last. My teacher's accompanist is away for July and I'm away in August. I can't play with her until at least September.

    I don't know whether this recital will actually happen. It might be that I'm ready to play, but I can't find a piano player or venue etc. We will see what happens in the autumn. Meanwhile I'll keep practicing.

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  16. #189
    Senior Member senza sordino's Avatar
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    I'm going to music camp in a few days. It will be music all day long with like minded individuals. We amateurs will be coached by professionals from mostly the local orchestra. There will be about 200 of us, about half singers the other half instrumentalists. We have a chance to play chamber music, orchestra with choir, early music, SATB choir, musical theatre, jazz band, string orchestra or wind band, and big orchestra. There are music programs for kids, and young teens. So many families go.

    We are assigned a chamber group to play with. I had the chance to get together earlier this week and play with my string quartet. It's a good group of fairly strong players. We sight read for about two hours, lots of easier quartet music to warm up, and also Mozart's Third Quartet. My group last year was very weak, I never felt as if we even made music, as it was such a struggle for at least two other members of my group. I was assigned to a very weak group. This year it will be much better. I think we will perform the Mozart Third Quartet.

    The last two days of the music camp we will perform for each other, the music we've been working on all week.
    Last edited by senza sordino; Jul-17-2015 at 01:04. Reason: weak vs week

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  18. #190
    Senior Member senza sordino's Avatar
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    Update:
    Music camp was great. I played music all day all week. Orchestra, string orchestra, in the pit for the first scene of an opera, in the orchestra for a Haydn mass, and a string quartet. We also had a Masterclass for each instrument. A few of us played in the Masterclass, I bungled my way through some solo Bach. Overall, this camp is a great place for adult amateurs like myself, all ages and abilities are there.

    One thing I took away from the Masterclass is playing a piece from memory. I'm a terrible memorizer so I never try. But I should at least try. I won't ever actually play a piece in a Masterclass from memory, but while I'm practicing I should try to learn the piece from memory. The reason is that learning from memory means you really know the piece, muscle memory becomes more ingrained. You learn a piece by heart, it becomes a part of you.

    I've got lots of new pieces to learn this next season, but I'm currently staying with some pieces I've been working this past season. I'm now going back to the Bach E major concerto, which is worked on last fall. I'm trying to memorize it. I do this in sections. It's slow going. I can play from memory only slowly. Sight reading I go faster, but from memory it forces me to slow down, especially tricky sections. Initially learning from memory, I really have to think about each note, but gradually from memory it becomes automatic. And then sight reading the piece once almost memorized means I'm not a slave to the notes on the page, there is a lot of automatic muscle memory.

    And this summer, I bought a violin. It's from the late 19th Century, French. It's so much more clear and resonant than my existing violin.

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  20. #191
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    Quote Originally Posted by senza sordino View Post
    One thing I took away from the Masterclass is playing a piece from memory. I'm a terrible memorizer so I never try. But I should at least try. I won't ever actually play a piece in a Masterclass from memory, but while I'm practicing I should try to learn the piece from memory. The reason is that learning from memory means you really know the piece, muscle memory becomes more ingrained. You learn a piece by heart, it becomes a part of you.

    I've got lots of new pieces to learn this next season, but I'm currently staying with some pieces I've been working this past season. I'm now going back to the Bach E major concerto, which is worked on last fall. I'm trying to memorize it. I do this in sections. It's slow going. I can play from memory only slowly. Sight reading I go faster, but from memory it forces me to slow down, especially tricky sections. Initially learning from memory, I really have to think about each note, but gradually from memory it becomes automatic. And then sight reading the piece once almost memorized means I'm not a slave to the notes on the page, there is a lot of automatic muscle memory.
    Interesting observations, I have found that when I play a piece on the piano from memory I can let the music go and play the music as I feel it, that's not to say I don't play what is written, I just don't need to read the music. I played the cornet with a combination of sight reading and memorization, and now I am starting to play both again, the trumpet I can play by ear, but the piano I must memorize the music to really play well. I need to learn to sight read for the piano. I've had a piano for about 4 years after a 40 year layoff, and the trumpet since July of this year after the same layoff.

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  22. #192
    Senior Member gardibolt's Avatar
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    Picked up a mountain dulcimer when we were in the Great Smoky Mountains a few weeks ago and have been puttering around on that. Fun little instrument.
    Hours of unrecorded, unpublished and unknown Beethoven works at The Unheard Beethoven

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  24. #193
    Senior Member senza sordino's Avatar
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    I've just started working on Preludium and Allegro by Kreisler, and the Opus 5 Sonata no 6 in A major by Corelli.

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  26. #194
    Senior Member tdc's Avatar
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    In addition to the Chaconne I've been working on a few short pieces by Gaspar Sanz, Brouwer's Danza Caracteristica, and Rodrigo's Zarabanda Lejanda.

  27. #195
    Senior Member senza sordino's Avatar
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    I'm really enjoying my new violin, which is actually a very old violin. Double stops are more clear, I find I can hear both notes more clearly and therefore tune both with more precision. And very high position notes sound more clear, they resonate more. After I stop playing the violin continues to sound and vibrate. A much better sound than my previous instrument. Now I need a new bow to keep up with my new violin.

    I am still trying to memorize pieces I work on. Though I play and practice too much to actually memorize entire works. But I'm convinced that if you memorize the piece, you get to really know the piece, and you're not just always sight reading. Sight reading is sort of superficial and temporary.

    I'm working on Kreisler Preludium and Allegro, Grieg First violin sonata in F, Bach E major Partita and Dm Partita (minus the Chaconne), Corelli A major sonata no 6. Plus music for orchestra, second violin parts.

    Previously, I mentioned I'd like to try performing a recital, very small scale. This has to be put on hold for many months. But sometime in the future I'll try again.
    Last edited by senza sordino; Oct-12-2015 at 17:24.

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