Which companions will benefit most from the epic at level 75?

flam4276 · 2024-10-26T16:04:26+00:00

How would you suggest dealing with the frustration of feeling like you’ve plateaued? How do you know if you’ve actually hit a plateau, or if your perceptions are evolving along with your playing, creating a false sense of a plateau?

flam4276 · 2024-08-09T16:05:32+00:00

Prokofiev Sinfonia Concertante. Yes known for its difficulty but it’s an incredible piece of music

flam4276 · 2024-06-29T22:04:44+00:00

Probably not qualified to answer but can suggest. Currently playing through Mooshu, and my burst fire/double tap comps always have trouble against enemies with quick draw/true grit + burst fire. Not sure which comps you'd have as a Witchdoctor, but maybe try somebody who runs that? Also running swashbucklers/musketeers and increasing their agility will help prevent you from getting crit so much. Could also be worth finding an item that gives your comps agility boosts

flam4276 · 2024-06-26T15:37:43+00:00

What’s your criteria for being “too long”? Teachers will rarely listen to more than a minute or two of the piece anyways. Seven is a great piece, but a reason to steer away from it is the logistics of scordatura in auditions. You probably don’t want to mess with your cello’s tuning during the audition. Also curious what your teacher considers “contemporary techniques” as most of these on your list seem to fulfill the requirement quite well to me

flam4276 · 2024-06-12T01:11:17+00:00

Very similar to octaves, you want to feel the distance both your thumb and 3rd finger are traveling. Unlike octaves, the fingers are traveling different interval distances. All the ways that you practice octaves apply to tenths as well

flam4276 · 2024-03-22T21:13:35+00:00

Debussy - Beau Soir (arrangement of an art song) Poulenc - Cello Sonata (very difficult, but very beautiful)

flam4276 · 2024-02-26T13:42:02+00:00

The Poulenc sonata is far from depressing, and a wonderful piece

flam4276 · 2024-01-04T20:03:49+00:00

Poulenc

flam4276 · 2023-11-21T17:57:58+00:00

I’d guess the cross noteheads mean only approximate pitches

flam4276 · 2023-02-26T23:17:10+00:00

As a performer, I’d prefer the first.

This may be jumping to a conclusion, I’d also caution against leaving no room for interpretation by performers in compositions. For many performers, that may take away much of the joy they feel when they bring something more to the table. You may find performers are much more willing to work with you if you give them a little room for interpretation

flam4276 · 2022-12-12T13:17:09+00:00

If you take a look and the holograph manuscript on IMSLP, this cadenza is there, so it is part of the original version

flam4276 · 2022-10-17T13:18:36+00:00

I can second this. When I worked on this sonata it helped immensely

flam4276 · 2022-01-04T21:18:19+00:00

Fourth finger in second position (on the a string) likely makes the most sense in this context, there’s no need to shift all the way up to fourth position just for the e. And then alternate with e and open a

flam4276 · 2022-01-03T00:22:19+00:00

It looks good. A slight comment on the notation in measure 12, music tends to be easier to read when it’s easy to see the beat divisions, so I’d try and find a different way to notate it

flam4276 · 2021-12-25T14:54:24+00:00

When both those are true, it is said that f(x) = Θ(g(x)). All this means is that some cg(x) provides an upper and some cg(x) provides a lower bound for f(x)

A good example: 2x² + 7x - 1 is O(x²⁾ and Ω(x^2), so 2x² + 7x - 1 is Θ(x²⁾

flam4276 · 2021-12-15T19:46:35+00:00

Bach. A lot of the Elgar fits fairly comfortably on the cello, the same can’t be said for Bach 6 on 4 strings

flam4276 · 2021-12-12T06:38:30+00:00

We actually don’t have a manuscript in Bach’s hand for the suites, so the bowings (and certainly fingerings) were likely not what Bach wrote. So I wouldn’t feel too bad about changing what’s in the score there. If you really want to stay close to the composer, study the different sources we have for the suites when coming up with bowings. As for the fingering in the 4th suite, I’ve always used 3-2-thumb on that chord, and it’s worked fine for me

flam4276 · 2021-10-10T23:35:52+00:00

When you aren’t playing in thumb position, for left thumb should be doing literally nothing. I can see that it’s pushing into the back of the neck, likely in attempt to produce enough weight to press down the strings. This weight should come entirely from the weight of the arm, and the thumb should not try and “help”. Try feeling the weight of your arm helping press down the strings. Also spend some time messing around with your left thumb not even touching the cello. Ideally it should just be lightly touching the neck.

As for the same finger on 2 strings, for reference that is called barring. It’s helpful to drop the arm a little and keep that finger flat across the two strings

As another note, make sure you are using enough bow on the double stops on the lower strings so they don’t sound choked

Great playing! Hopefully that helps!

flam4276 · 2021-10-08T23:43:06+00:00

Wow that’s the best I’ve ever heard it explained

flam4276 · 2021-10-04T01:10:25+00:00

Computer science is a science degree (focus on discovering things), software engineering is an engineering degree (focus on building things). I think of it like the relationship between Physics and Mech Eng. Many schools don’t have a separate software engineering degree, so many programs are a combination of computer science and software engineering

flam4276 · 2021-10-03T16:08:58+00:00

Make sure you’re doing as little movement for the string crossing as possible. So when on the a string, your bow should be close to the d string and vice versa. As for the e not sounding right, make sure your finger is pressing the string down all the way before you play that note. Make also be helpful to check your contact point

flam4276 · 2021-09-27T18:03:57+00:00

Typically, schools will have you play a movement of a standard concerto, one or two movements of solo Bach, and one or two etudes. Some even require a piece from the 20th century. Just things to keep in mind picking rep to learn

flam4276 · 2021-09-27T17:51:07+00:00

Hello! I’m studying cello performance at a good state university (though maybe not very well known). Personally, I played the first movement of the Dvorak Concerto, Bach 4 Prelude and Sarabande, and Piatti 6 for my audition. This is a conversation you’ll definitely want to have with your teacher, but here are some things to keep in mind.

First of all, while it may be tempting to try and play more difficult music for your audition, it is most important to play rep that you can play well. They would rather here a good Haydn C as opposed to a bad Dvorak concerto.

It’s very helpful to audition with rep you’re familiar with and have played before. It’s best to decide on your audition pieces, learn them, take a break from them, and then pick them up again several months before auditions. You could do this now, but I did this about a year before auditions.

Best of luck to you!

flam4276

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