It’s always embarrassing to hear what you said in a class. I hope they understood some of it!
Suite III- Prelude JS Bach
-Are you listening to your intonation, or are you just close and accepting that?
-Find where you’re going to in the music. Then figure out how you want to get there.
However you play your Bach, make sure you play it in the most convincing way you can. Play what you believe in that moment. It will probably change.
ADAPT- be open to respond to what you play. (Especially in a performance!) You never know what is going to happen. This is something you have to practice doing on your own time so you can learn how to do it on stage.
-Your first note will tell you about where you are and you must respond to what you hear. Be convinced of what you’re doing!
“If you can’t have fun fooling around with Bach, you have lost the point.”
Who told you that you’re over exaggerating?
Bartok Viola Concerto
They are there for a reason. Show them.
Which notes are the important ones? (Ab-F)
“Worry less about your melody and worry more about the colors surrounding it.”
Arpeggios down to Bb resolved in A (Ab->Bb)
Don’t end the piece between them. There is musical tension between them. (Tension isn’t bad)
Bowings reflecting the Hungarian Language!!! Or not….?
Find a difference in the melody when it appears. (Tonic- Main Theme)
-2nd appearance lighter and singing?
“You have to start as you mean to finish.”
Shift slowly and legato. (Break it down into semitones)
“Decide on a character, believe in the character. Then the worst people can say is ‘Well I wouldn’t do it like that.’”
Der Schwanendreher Hindimith
“Would you just enjoy yourself?!”
Just play C and G. Let it vibrate your skull. Do you have a electric toothbrush?
“There is only one excuse for not having an electric toothbrush. And that is because it makes your skull
shake. And you can get used to that and it’s fun!”
How do you worry about your 4th finger?
Play the sound you want (with vibrato) with your 4th finger
Then add your 1st finger lightly, but keep focusing on the 4th finger
Eventually lightly play on the 1st finger to see how far off you are
“The first finger can take care of itself if you let it”
Find out how to make a sound with your fourth finger
-You take care of the 4th finger because it can’t take care of itself. Your first finger can.
-Everything is adjustable because you aren’t pressing! (Press 4 and lightly add 1)
Don’t let adding your first finger switch it off! (Vibrato 4th add 1st again)
*PRACTICE ADJUSTING! That’s what we actually do.
“I don’t want to hear these bowings, I want to hear the music.”
“We only notice things from their opposites existing somewhere [close by]”
We only notice black because of white, light because of dark, etc.
Concerto in C minor J.C. Bach (Salva)
SAL-va vs sal-VA
Music is like speaking.
Remember the period. Grace and style.
Take the chord out and hear the style.
Break it down. What are the strong beats and how many are there? (Ben Zander)
“There’s enough ugliness in the world, I want beauty”
Remember what you are going to.
Top C of the chord
Make it the most beautiful note
“Light spinning and filling the room” “Heaven on earth”
“You get one note to change the world”
“Stay focused on what your job is. To make the most beautiful
sound in C minor.”
“Have a bigger more profound idea what you want the music to sound like.”
Force your body to make it.
Concerto in D Major Hoffmeister (Jenna)
*Vibrato-> What makes the sound? Arm, wrist or finger? Finger. Moving the arm doesn’t affect the sound. The finger has to move.
Piano (The instrument)- once the note has been played you can’t affect it at all. The rest is in your mind.
“What you do after the note is affecting the resonance” (Not on piano)
“I don’t care if it’s good enough for your teacher. Is it good enough for you?”
“When are you going to stop trying to get better?”
CREATE A STANDARD FOR YOURSELF!
Break it down one note to the next.
Sonata per la Grand Viola Paganini (Mostek)
Lifting the finger hard and high from the base knuckle ->lifting takes muscle too. (Muscle that you have to work to develop.)
“You have to stretch the muscle for it to become stronger and faster”
You have to force coordination.
Create drama. Find it. Find the voices.
“You can’t get a piano rolling down a hill to do that.
“Don’t let your hands hold you hostage”
You have to force your hands to create what you want to hear/ what you hear in your head.
Viola Concerto in G minor Forsyth (Nina)
You have to keep your upper body strong.
Start your shift (physically) like how you will end.
Roger Chase Lesson 2015
Viola Concert in G minor Forsyth
4th finger oct. Start with just 4th finger (See Octaves under Der Schwanendreher)
Adjusting 1st not pressing (See above)
How do you want the gliss to sound? Before or after the bow change?
BEFORE (Personal preference)
Know where you want the slide.
Change the bow when you hear the note!
Divide ALL shifts into semi-tones!
Count how many semi-tones are between your shifts.
Take out some semi-tones.
Let the semi-tones be your vibrato. (Gliss and vibrato moving THROUGH the
Control the arm when working through semi-tones and gliss.
ALWAYS be listening. Listen when you look at the music.
Don’t let looking at the music let your ears turn off.
People can always hear others out of tune, you have to be sure you can hear yourself with the same
accuracy and critical ear.
“Trust your ears not fingers”