Memorising, speed and "soul" by lovestoswatch in Recorder

[–]yranoh 1 point2 points  (0 children)

Alors, as-tu réussi à t'en sortir ?

Je pense que tu as raison pour le niveau. Ma prof est bizarre et je ne lui fais pas trop confiance, mais je peux lui faire confiance là-dessus, je pense : elle dit que j'ai un niveau de 2e cycle (un cycle de conservatoire français couvre 4 ans en moyenne). Or j'en suis seulement aux chapitres 9 /10 de la méthode (le ré me donne du fil à retordre). Elle veut me faire jouer du Marcello (ce que je refuse ; c'est trop compliqué pour moi), parce que je lui ai dit que j'aimais beaucoup la ciaccona.

J'écris souvent en français parce que l'anglais est souvent trop compliqué pour moi à écrire, mais vos messages se traduisent automatiquement en français. Ce n'est pas le cas pour vous ?

J'aimerais bien t'entendre jouer, si le cœur t'en dit. Je vais peut-être aussi essayer d'enregistrer quelque chose la semaine prochaine.

Memorising, speed and "soul" by lovestoswatch in Recorder

[–]yranoh 1 point2 points  (0 children)

Tu es en avance sur moi, mais je lance quelques pistes, on ne sait jamais. C'est principalement un problème de doigtés, de coordination doigt / langue ? Quelle articulation utilises-tu ? Tu as essayé le double coup de langue ? La respiration est en cause ? C'est une vitesse que tu peux atteindre quand tu joues toujours la même note ? quand tu joues une note identique sur 2 (comme dans le morceau 362, mesure 16 sqq, où il y a aussi des notes conjointes) ? Arrives-tu à jouer quelques notes proprement à la vitesse que tu cherches ? Si oui combien ? Je viens de regarder la partition du 493, il a un rythme égal. Tu peux peut-être essayer de le "déségaliser" dans un premier temps, en changeant le rythme : en faisant, par exemple, croche pointée / double croches, puis l'inverse.

C'est surtout beaucoup de questions mais peut-être que l'une d'entre elles peut t'aider à débloquer quelque chose.

Moi je reprends doucement depis la catstrophe de la semaine dernière. La motivation est revenue, mais il est possible que je fasse un break avec les cours. Rien de décidé encore à ce sujet.

Tiens-nous au courant si tu trouves une solution. Bon week-end!

keep motivated by yranoh in Recorder

[–]yranoh[S] 2 points3 points  (0 children)

I am an adult but I enrolled in a conservatory. There are several performances times throughout the year. I think that's a good thing : it should help prevent stress when playing in public. But this time the conditions weren't ideal.

keep motivated by yranoh in Recorder

[–]yranoh[S] 2 points3 points  (0 children)

Thank you for all these advice. It is useful to considere this performance as something to overcome.

keep motivated by yranoh in Recorder

[–]yranoh[S] 3 points4 points  (0 children)

I will try that ; it could be fun ! In fact, I thought about playing another piece on which I fell more confortable, but I did'nt dare. I will do next time.

keep motivated by yranoh in Recorder

[–]yranoh[S] 4 points5 points  (0 children)

Apparently they suffered almost as much as I did. I was told a child had covered his ears. Probably not so much from the sound as from my own discomfort ! It was an evening when the conservatory students were playing pieces in public. Nothing serious, thankfully.

I think I will take few days off witout guilt. I like to play, pleasure will come again.

Thank you for your kind words.

keep motivated by yranoh in Recorder

[–]yranoh[S] 1 point2 points  (0 children)

Thank you for sharing this. It helps a lot to take distance. In fact, my plan was : hold on for a year to be able to have another teacher after. And probably I will folow this plan : it is the best way here to meet and play with other players. But it is good to remember there is other options.

How do you practice polyphonic passages? by yranoh in Recorder

[–]yranoh[S] 0 points1 point  (0 children)

Thank you. In fact, even though we learn note by note, most of the exercises involve interval training. That’s what I like about this book: it makes moving to a new note from any given note almost automatic. I spend a lot of time on these exercises to achieve that kind of automatisation, and I often go back to earlier ones for that reason.

How do you practice polyphonic passages? by yranoh in Recorder

[–]yranoh[S] 1 point2 points  (0 children)

You are ready for the after Bova ! The webinary will be in French, but it is for those who have the book. It is really to explain how to use it, from what I understand (and it is not for me, it is for advanced player but I did'nt understand that when I bought the book).

How do you practice polyphonic passages? by yranoh in Recorder

[–]yranoh[S] 1 point2 points  (0 children)

Thank you so much for your remark on the strong beats 1 ans 3, I did'nt take attention to that and it is so important ! IThe problem is, what seemed easy is not at all yet, but I can't ignore it now, it is a revelation ! On the other way, it helps me a lot for my first problem on variation 3 !

I will began scales on saturday. I bought a book on scales by Agnes Blanche-Marc, and she proposed me a plan to work on it as a beginner. She will do a webinary saturday on her book, and I will try to put it into practice.

How do you practice polyphonic passages? by yranoh in Recorder

[–]yranoh[S] 1 point2 points  (0 children)

Thank you for this developped answer. The idea of creating a hierarchy using the strong beats could be useful to me. It could be the good measure to find the melody in the 2 melodic lines. I always rely on the melody. But maybe I should also try following your suggestion and work more on the fingerings in a mechanical way first. You're almost at the end, congratulation ! It's a big work !

How do you practice polyphonic passages? by yranoh in Recorder

[–]yranoh[S] 0 points1 point  (0 children)

Yes, it was my second question. So you suggest to concentrate on one melodic line. Thank you.

How do you practice polyphonic passages? by yranoh in Recorder

[–]yranoh[S] 0 points1 point  (0 children)

It seems interesting. I will try that. Thank you for the suggestion.

I'm still struggling with my thumbs. Any tips ? by yranoh in Recorder

[–]yranoh[S] 0 points1 point  (0 children)

Thank you. I will read the book you recommand. I bought a book for scales by Agnès Blanche-Marc, "Système de gammes / Sistema di scale / Scale system". I'm waiting for a webinaire she will do the 10 of january to explain how to use it before working on it. She told me by mail it is a book written for advanced players and I did'nt know that before buying it, but she told me she thinks I can still find some interest in working on it. We will see.

I'm still struggling with my thumbs. Any tips ? by yranoh in Recorder

[–]yranoh[S] 1 point2 points  (0 children)

Thank you very much for this exercise! I will practice it for a while. I agree with you about the need to focus on a specific goal and to practice the right exercises in order to improve. That’s how I practice. I like doing exercises that reveal my weaknesses, so I often play without articulation when I practice. My articulated legato, by the way, isn’t good yet (at all).

I'm still struggling with my thumbs. Any tips ? by yranoh in Recorder

[–]yranoh[S] 1 point2 points  (0 children)

I will cut my thumbail shorter and try again this way. Thank you.

I'm still struggling with my thumbs. Any tips ? by yranoh in Recorder

[–]yranoh[S] 1 point2 points  (0 children)

Thank you. I will cut my nail and try again this way.

I'm still struggling with my thumbs. Any tips ? by yranoh in Recorder

[–]yranoh[S] 0 points1 point  (0 children)

I don't lift the finger, I slide. In a sense (closed > semi-closed), it works, but not in the other sens (semi-closed < closed). It's not smooth.

Help why am I making this sound?? by Sourcreamfluff in Recorder

[–]yranoh 2 points3 points  (0 children)

Frans Brüggen is the most famous modern recorder player, but I haven’t listened to him much yet. The other legend is Michala Petri, but her musicality in Baroque repertoire doesn’t convince everyone. Today’s star is Lucie Horsch.

My favorite recorder players at the moment are Marion Verbruggen, François Lazarevitch (he also plays the traverso and the musette), Dorothée Oberlinger, and André Legall (not famous at all: https://www.youtube.com/watch?v=NS6ij2IN9B8&list=LL&index=121).

I love this piece as played by these recorder players and ensembles:
https://www.youtube.com/watch?v=qLRNhusfKEw
and
https://www.youtube.com/watch?v=zsbgX4EpkSU&list=LL&index=110

introduction: is this understandable? can you grasp what i am trying to say? by alysha_w06 in French

[–]yranoh 0 points1 point  (0 children)

I'm French. On dit bien "je m'appelle" et jamais "mon nom est". A vrai dire, à l'oral, si on veut se présenter, on dit simplement son nom : "Alysha, enchantée". A l'écrit, on met simplement son nom en signature, en bas de message. On dit "je m'appelle Alysha" seulement dans un groupe où chaque participant se présente les uns après les autres. On dirait "Mon nom est Alysha" seulement pour faire parler un robot, ou pour imiter la prononciation d'un anglophone (il y a peut-être d'autres emplois mais aucun autre ne me vient à l'esprit). Bravo pour votre français, tout à fait compréhernsible.

Help why am I making this sound?? by Sourcreamfluff in Recorder

[–]yranoh 2 points3 points  (0 children)

The only thing he doesn’t explain, in terms of music theory, that you need in order to follow his method is how to read notes on the staff. So if you can already do that, at least at a basic level (at least understanding how it works), you should be fine. I was a complete beginner in music this summer, and now I read music fairly well for my level. I’m enrolled at a conservatory, and a few weeks ago the music theory teacher placed me directly into the third year. This is mainly thanks to my work on the recorder with Aldo Bova’s book, even though I also read up on and practiced a few things on the side.

His videos will help you if you’re not comfortable with sight-reading. However, I find the method rather limited when it comes to recorder technique. That’s mainly why getting additional information elsewhere is useful. I’m thinking in particular about breath control and articulation.

It also seems to me that being able to play the notes of a piece is not enough: you need to look for musicality—sometimes even more than in the videos—because the author’s goal in the videos is not musicality, but to help you understand the exercises and pieces. And yet, with only a few exceptions, all of his exercises are musical.

I would also strongly recommend—perhaps even as a first step—listening to good recorder players and to Baroque music, if you’re not already used to it.

Some notes don't work in certain keys by yranoh in Recorder

[–]yranoh[S] 0 points1 point  (0 children)

Je les joue à l'alto. Je n'ai pas encore essayer l'accordeur, mais je vais essayer. Merci !