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How about this?
http://www.siminoff.net/pages/siminoff_parts13-dedamping.html
Maybe we can apply for a grant, and have the whole orchestra processed.
Wednesday, March 14, 2012
Saturday, March 10, 2012
March 5 rehearsal comments
Monday night we had some communication failures. I would like to clarity a few points.
In Please Please Me, I should have explained sooner and more clearly what I was hearing in the fourth measure of B that needed to be fixed. I was hearing that the eighth notes in that measure were played late. Thanks to Linda for asking for more explanation, and to Dotty for suggesting that we try tapping. We'll let that piece rest for a week and then work on it again. Meanwhile, I have two suggestions for everyone who plays eighth notes in that measure: (1) Make sure you're using alternating down (on the beat) and up (between the beats) pick strokes. For the mandolas, if you end the tremolo of the preceding half note with a down stroke on the down beat, your pick can go down up down up down up down up down to take you through the troublesome measure. (2) Play along with the Beatles and listen for when your playing is locked in with the rhythm of the record. If you don't have the Beatles recording, you can get it from youtube: http://www.youtube.com/watch?v=6vZLVJwXP-U
I didn't explain the counting and silence exercises very well, either. I got those exercises from "The Creative Director: Alternative Rehearsal Techniques" by Edward Lisk. The book explains the "off on 7 and rest for 5" exercise like this: "Count mentally from 1 through 7. The moment your mind thinks of 7, release into silence, followed by silently saying rest 2 3 4 5 (in tempo). Then proceed to the next pitch in the circle (in tempo). The next pitch entrance will start the moment your mind thinks of 1." Maybe that's clearer than the way I said it.
I would also like to address a conducting issue. I sometimes receive criticism for using a small conducting pattern on pieces with a rhythmic groove and no tempo changes or fermatas, such as Please Please Me and Bethlehem on the Ohio. On those pieces, I think my job is starting the piece with the proper tempo and dynamics, giving cues, giving gestures to shape the music, and generally being supportive. I don't try to control the placement of every beat with the stick, and I don't think it's possible to do so. Those pieces do not need continuous, large, time beating. They need to have every player listen and keep the music in the groove.
In Please Please Me, I should have explained sooner and more clearly what I was hearing in the fourth measure of B that needed to be fixed. I was hearing that the eighth notes in that measure were played late. Thanks to Linda for asking for more explanation, and to Dotty for suggesting that we try tapping. We'll let that piece rest for a week and then work on it again. Meanwhile, I have two suggestions for everyone who plays eighth notes in that measure: (1) Make sure you're using alternating down (on the beat) and up (between the beats) pick strokes. For the mandolas, if you end the tremolo of the preceding half note with a down stroke on the down beat, your pick can go down up down up down up down up down to take you through the troublesome measure. (2) Play along with the Beatles and listen for when your playing is locked in with the rhythm of the record. If you don't have the Beatles recording, you can get it from youtube: http://www.youtube.com/watch?v=6vZLVJwXP-U
I didn't explain the counting and silence exercises very well, either. I got those exercises from "The Creative Director: Alternative Rehearsal Techniques" by Edward Lisk. The book explains the "off on 7 and rest for 5" exercise like this: "Count mentally from 1 through 7. The moment your mind thinks of 7, release into silence, followed by silently saying rest 2 3 4 5 (in tempo). Then proceed to the next pitch in the circle (in tempo). The next pitch entrance will start the moment your mind thinks of 1." Maybe that's clearer than the way I said it.
I would also like to address a conducting issue. I sometimes receive criticism for using a small conducting pattern on pieces with a rhythmic groove and no tempo changes or fermatas, such as Please Please Me and Bethlehem on the Ohio. On those pieces, I think my job is starting the piece with the proper tempo and dynamics, giving cues, giving gestures to shape the music, and generally being supportive. I don't try to control the placement of every beat with the stick, and I don't think it's possible to do so. Those pieces do not need continuous, large, time beating. They need to have every player listen and keep the music in the groove.
Tuesday, March 6, 2012
2012 MMO photo
People asked that I make the MMO photo available (the one that was used in this past edition of the Mandolin Journal.
You can find the best (Ted's shots - good thing there were two of us taking photos, mine were not great) online in Google Docs here:
https://docs.google.com/open?id=0B53T_3tGEFPMY29RSFY0cnVTdVc5UTdSODlBd0pidw
You can find the best (Ted's shots - good thing there were two of us taking photos, mine were not great) online in Google Docs here:
https://docs.google.com/open?id=0B53T_3tGEFPMY29RSFY0cnVTdVc5UTdSODlBd0pidw
Saturday, March 3, 2012
Edinborough Park set list
This is the set list for our concert at Edinborough Park, Sunday, April 1, 7 p.m.
Benvenuto
Please Please Me
Earth Song
Prelude and Fugue
Canzonetta
The Talisman
Ashokan Farewell
Seven
Off to Minnesota
My Desire
Swimming Down the Stars
That Banjo Rag
Take Me Out to the Ball Game
Palladio
Benvenuto
Please Please Me
Earth Song
Prelude and Fugue
Canzonetta
The Talisman
Ashokan Farewell
Seven
Off to Minnesota
My Desire
Swimming Down the Stars
That Banjo Rag
Take Me Out to the Ball Game
Palladio
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