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a handel on the orchestra my take on classical music menu skip to content home about learning a new piece: from unfamiliar to polished learning new repertoire is always exciting and can be a mark of your improvement. it is an everlasting cycle of starting a fresh work, perfecting it to the best of your ability, and then starting anew with a different work. there are many different strategies and approaches one can take when beginning a new piece and i am by no means an expert. however, i will share some of my best advice from what i have learned. learning a piece starts before you even begin getting the notes and rhythms into your muscle memory. you truly begin learning the music when you sit down and study the score and learn not just what your part sounds like, but also how the orchestra part fits with the solo line. while you study the score, it is important to decide musically what you want your interpretation to be. many students (myslef included sometimes) make the mistake of first diving into the technical passages to nail those in place. my belief is that you can’t truly perfect the hard parts if you don’t know musically what they mean or why the composer wrote them. always strive to find musical solutions to technical problems. once you have studied the score, maybe listened to a few recordings (not too many), and thought about your interpretation, then it is time to choose carefully your fingerings and bowings. bowings in my opinion are the most imporant thing to do before starting on the notes. as a student, most of my bowings come from my amazing teachers. as i continue to grow as a player, i put in more of my own bowings to fit what i want to sound like. fingerings are also very important, as having a bad fingering can make a challenging passage much harder. when choosing fingerings, it is important to think of what makes sense both musically and technically. you should aim for a fingering that makes the passage flow seamelssly, but also gives the color you want and perhaps helps to set you up for the passage or phrase ahead. with bowings and fingerings in place, it is important to try not to play the piece through, however enticing that may be. find the hard spots and use practice tools to solidify it. i love to practice rhythms, seperate bows for a slurred passage, doubling the notes, and slow practice with metronome. these are just a few of my favorite practice strategies. to save yourself the time and trouble of correcting later in the learning process, it is important to start a piece making sure you solidfy intonation and do not jumble notes even in fast passages. start a slow tempo if you need and only speed it up when you are sure you can handle it. learning a new piece well can be a challenging and time consuming process, but in order to have a fulfilling and enjoyable performance, you must prepare in the right ways. this entry was posted in reviews on february 24, 2017 by [email protected] . the performing mentality a performance is short, and we as musicans have very little time to make an impact on the audience. performing is more than just those brief moments on the stage, but rather includes the whole experience of preparing mentally and physically right before stepping out to play. reflecting back on some of my better performances, i realized that there is a certain performance mentality that i was able to achieve. at the beginning of a performing evening, the adrenaline builds up until the actual performance. i like to think of this as excitment for what is to come rather than thinking of it as nerves. i thinks this helps to bring a better mentality to the actual performance. in the minutes just before the concert, it is important of course to be physically warmed up, but possibly even more important to transition mentally from the stresses of everyday life into the performing mentality. in this mentality, it is important to realize that it is the composers message you are trying to preserve, not your own personal struggles from that day. be prepared, no matter how tired you are, to put all of your emotional and physical energy into creating best intention into every note. i always like to refelct on why i am donig this performance before i head out on stage. i like to remind myself how passionate i am for my craft, and how i perform for my own enjoyment, as well as that of the audience. no matter how much you have practiced, you can never be fully prepared. go to a performance knowing that you have prepared as much as possible, and be ready to invest your energy into making this a very music performance. trust that the technical work you have done will come through because you spent the time to solidify it. it may seem silly, but the most important part of the performing mentality is to realize that you are actually about to perform. especially if you perform often, a comcert can start to seem everyday and trivial. a performance is a short escape from everything else in your life where time seems to stand still. take a deep breath, walk onto the stage, and do your best. do your best to preserve the intention of the music, you best to be technically accurate, do you best to enjoy the short time you have on stage! this entry was posted in reviews on february 6, 2017 by [email protected] . leonidas kavakos concert review this week, i had the pleasure to see greek violin virtuoso, kavakos, play sibelius violin concerto with the the philadelphia orchestra. i went to the concert twice, once sitting in the front row, the other sitting on tier 3. kavakos has a long history with this concerto, having won the sibelius competition before the age of 21. at the beginning of the concerto, the subtle orchestra accompaniment and the tender solo remind me of the wind blowing, which kavakos brought to life with no grit in his sound. this movement has many technical challenges which kavakos tackled with apparent ease. it was clear he had made good musical choices as well, although i believe those choices would have been enhanced if he had shown the phrases with his movement. instead, he maintained a rigid and stiff form for the whole movement. the second movement of the sibelius concerto is meant to invoke emotion and to convey images. although kavakos’ performance was technically flawless, he did not convey the strong emotions i wished for. the orchestral accompaniment was trying to draw this out of kavakos by playing more musically themselves, but his performance was lackluster and slightly dull. the third movement is a technical nightmare, which kavakos dealt with beautifully. he made it sound easy, while loosening himself up to enjoy the performance and show his medical ideas more. this was by far his most successful movement, combining technical accuracy with beauty and flash. overall his performance was good, but only the third movement stuck out to me as being fantastic. this entry was posted in reviews on november 22, 2015 by [email protected] . the nature of music in the musical world, competition is something you might expect. we willingly sign ourselves up for competitions, and go to concerts to hear other musicians perform. every time we hear someone else play the violin, we instantly think “i want her intonation!” ‘i want her sound quality!” “she can play so fast!” what we don’t realize everyone looks at us the same way when we play. when i am performing, i see the worst aspects of my performance magnified and i truly believe everyone else see’s this also. in fact, others see the performance the way it really was, which probably isn’t as bad as you think. even if you don’t have a great performance, others will be much more forgiving of you than you will be. what we also don’t realize is what goes on behind the scenes of the performance. maybe your friend who you thought played amazingly, practices six hours every day. that is the reason she became amazing. if you only practice two hours a day and are upset because y

URL analysis for ahandelontheorchestra.com

http://ahandelontheorchestra.com/category/musical-analysis/
http://ahandelontheorchestra.com/category/reviews/
http://ahandelontheorchestra.com/page/2/
http://ahandelontheorchestra.com/2015/10/
http://ahandelontheorchestra.com/2015/06/
http://ahandelontheorchestra.com/2017/02/06/the-performing-mentality/
http://ahandelontheorchestra.com/category/reviews-2/
http://ahandelontheorchestra.com/2015/10/09/concert-review-gil-shaham-plays-bartok-violin-concerto-no-2/
http://ahandelontheorchestra.com/2015/09/25/a-guide-to-running-your-own-chamber-music-rehersal/
http://ahandelontheorchestra.com/about/
http://ahandelontheorchestra.com/2015/09/
http://ahandelontheorchestra.com/#content
http://ahandelontheorchestra.com/2015/08/21/dvorak-piano-quintet-no-2-analysis-mvts-1and-2/
http://ahandelontheorchestra.com/2015/11/22/leonidas-kavakos-concert-review/
http://ahandelontheorchestra.com/2015/11/

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