partridge-berry (![[info]](http://p-stat.livejournal.com/img/userinfo.gif){kind=small} tedofred) wrote,@ 2007-07-13 10:59:00 |
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schoenberg
Okay - he's not user-friendly - this has become very clear as my usual methods of learning a piece are not yielding great results...in fact, I can barely even turn the pages in time at slow tempo. The piece: Schoenberg's Kammersymphonie Op.9 in an arrangement by Anton Webern.
Here are some of the most recent efforts:
Listening to the recording of the orchestral version and marking all the leading voices in the score, then going back to the chamber version and marking those voices into the piano score, then working through the piece playing my part and the leading part then trying to play my part and singing the leading part at the same time, when piano is not the leading voice. Most of my part is dashing and dancing around the "tune", but not having it. When I say "tune" I refer to what leads the texture or the structure...we are not talking about anything especially melodic.
Practicing various combinations of clarinet in A and cello tenor clef with flute or violin to practice my clef reading...even though I am having trouble noticing if I'm reading incorrectly since the music is barely tonal.
Working out arm/hand/finger choreography for the big leaps and fast places, without much confidence that I will manage them once all the other players are in counter-rhythms.
Occasionally checking the metronome for the faster tempi and laughing.
So yesterday i almost felt like there were places that seemed to have some clarity - and I had the slightest sense that it might be interesting to try and play the entire piece - but that feeling passed quickly.
Oh Arnold, why did you go on and on like this? why couldn't this have been one of your succinct, short pieces?
Practicing K9 (cute nickname, eh?) is like pruning a pricker bush: I know there's a shape in there, but meanwhile this thing is so thorny and defended that I can't get in there and find it. Compared to this, the Bartok piece I was working on last winter seems like "Twinkle".
Okay - he's not user-friendly - this has become very clear as my usual methods of learning a piece are not yielding great results...in fact, I can barely even turn the pages in time at slow tempo. The piece: Schoenberg's Kammersymphonie Op.9 in an arrangement by Anton Webern.
Here are some of the most recent efforts:
Listening to the recording of the orchestral version and marking all the leading voices in the score, then going back to the chamber version and marking those voices into the piano score, then working through the piece playing my part and the leading part then trying to play my part and singing the leading part at the same time, when piano is not the leading voice. Most of my part is dashing and dancing around the "tune", but not having it. When I say "tune" I refer to what leads the texture or the structure...we are not talking about anything especially melodic.
Practicing various combinations of clarinet in A and cello tenor clef with flute or violin to practice my clef reading...even though I am having trouble noticing if I'm reading incorrectly since the music is barely tonal.
Working out arm/hand/finger choreography for the big leaps and fast places, without much confidence that I will manage them once all the other players are in counter-rhythms.
Occasionally checking the metronome for the faster tempi and laughing.
So yesterday i almost felt like there were places that seemed to have some clarity - and I had the slightest sense that it might be interesting to try and play the entire piece - but that feeling passed quickly.
Oh Arnold, why did you go on and on like this? why couldn't this have been one of your succinct, short pieces?
Practicing K9 (cute nickname, eh?) is like pruning a pricker bush: I know there's a shape in there, but meanwhile this thing is so thorny and defended that I can't get in there and find it. Compared to this, the Bartok piece I was working on last winter seems like "Twinkle".
