The Miracle Drug for Struggling Musicians
Do you experience:
Poor Performance?
Anxiety?
Fear of Child Prodigies?
You may need TUPRACTIS!
How you ever wonder how professionals get that extra “edge” to perform at the highest level?
They ALL use this same trick! They all discovered that they needed “TUPRACTIS”
… but posted on Sunday anyway, because I just watched it and enjoyed it.
Paradox is John Marshall and Lynne Feller-Marshall
So bad it’s good? Hm. I wonder.
So … um … enjoy. Or not. You choose!
Sometimes I struggle with a passage because I can’t quite wrap my fingers around it. I will think of a way to play it differently: sometimes I move the bar line by just one 16th note. Sometimes I play triplets instead of duplets. Sometimes I play around with articulation or even rhythm. It just helps to play it differently.
I’d never thought of this, though:
Oboist: Phil Popham
… and this reminds me that I have a LOT more Aaron Hill Ferling Etudes to put up!
Frequently when my students are playing a work I’ll ask them what a term written on their part means. I then often get the answer, “I don’t know!” to which I reply, “Then how can you DO it?!” I write the word on their assignment sheet and they have to come to their next lesson with answer written down.
Yeah, I’m annoying that way.
Maybe learning this song would help some of them?!
Richard Genee: Insalata Italiana – parody of an opera scene, Op. 68
Ensemble of former members of the Dresden Kreuzchor
Piano, piano, dolce, soave ed amabile
Forte, piano, pianissimo
Venite gua
Forte, fortissimo, forte, piano,
Crescendo, stringendo, più mosso
Rinforzando, diminuendo
Decrescendo, morendo, smorzando.
Recitativo, O Dio, O cielo,
Coloratura, lo tremo.
A piacere, colla parte, fermata.
Lento, con espressione,
larghetto, sostenuto, ritenuto
Espressivo, ben marcato,
Pizzicato, arco, arco,
Precipitato, sospirando,
ritardando, arco.
Tra ta ta ta, suona la tromba
Tra ta ta ta, a la vedetta
Con fuoco, staccato
Assai scandaloso,
non più lamentoso.
Bravo, bravissimo,
sono contento!
Volti subito
L’accompagnamento
Con rabbia, con furia
In tempo di polacca,
con impeto, con scandalo,
con grazia, con anima.
Agitata ta ta ta ta,
Più mosso stretto
Fine dell’opera.
Felicità, felicità.
Fine dell’opera.
John Man, young oboist and dapper party companion, was thrilled to tell reporter’s about his latest reed.
“I make reeds,” he said. “This reed I made is my best reed that I made, even better than the reed I made yesterday, which was the best reed I had made until I made this reed.”
Man says that nothing gives him quite the same satisfaction as sitting down with his tray of tiny knives, ready to embark on a vigorous session of high-stakes whittling. “I don’t just make reeds; I craft the future.”
From a site with a bunch of spoof articles … including this one:
Aunt Sally, a sweet and caring pensioner from a sleepy English town full of small shops, went to see a lunchtime concert held by music students at her local church last week. Though she liked the concert, particularly the pieces by Beethoven, Mozart and Schubert, she was very disappointed with a new piece written by a famous living composer.
“It was all very plinky plonky,” she said. “Also, though I love vertiginously sparse chordal textures and enchanting serial manipulations as much as the next girl, I really feel we have had more than enough pulseless explorations of atmospheric timbral effects and we could do with a more vigorous sense of musical narrative and cogent thematic development.”
Rather unbelievable, really!
My Facebook friend, Jane Owens, posted this on Facebook. I don’t think I need to explain anything …
How To Make A Hit Pop Song … sorry, folks, no oboe, but the next best thing …
