Showing posts with label Cello. Show all posts
Showing posts with label Cello. Show all posts
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A Preview of this Weekend's Recital!

The Seattle Celloship has become something I greatly look forward to... Here's the latest recording we did. Sunday, we sight-read a few pieces we'll play at our upcoming performances. The first of which is my student's recital on this coming Saturday at 5pm at the Fremont Abbey in Seattle, WA. If you're in the area, drop by! There will be modern dance, poetry, cello choirs, cello duets, and so much more, including a potluck afterwards!

But if you're a far away blog reader-friend, then I hope you enjoy this little audio-taste of what is to come... Seattle Celloship plays Italian Song by C.D. Critelli by emilyannpeterson

May7thRecitalPoster
(Click on the poster above to get more info regarding Saturday's Recital...)

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Competition and Creation: Can they Co-exist?

Unlike my tiniest cello friends...

I started playing cello in 5th grade in the Texas public school system. I learned to play the cellofrom a violinist along with 30 other kids who wanted to play a stringed instrument. I wish I had taken private lessons right from the start, because I began learning an instrument in a competitive environment, naturally the cello became a competitive thing. Who was going to winthe coveted position of sitting 1st chair? Who would be the shunned ones and sit last? [There are so many reasons why I don't think this is a good introduction to a musical education. but I digress...]

5th grade through 7th grade, I sat at the front of the pack in my school's top orchestra. I later auditioned and became a member of the Fort Worth Youth Orchestra, and in those orchestras I always sat either 1st or 2nd chair. And I had to work HARD to keep that chair too. And you know? I never felt a real satisfaction from getting to sit in the first stand. I just remember thethreat of embarassment if I left that first stand.

College presented auditions.

I worked my butt off for 4 universities and was chosen for 3, 2 of which I got scholarships. THAT's a good feeling, let me tell you. Working hard and having it pay off. Man it feels good. I still remember running and screeching through the house to find my mom after I opened up thescholarship letters. So fun.

What's not fun is the college level competition. That sucked the life right out of my bones. I became bitter and snobby & I hated that. The same questions asked earlier in school were not as comforting as before. "Who's sitting first?" became "Why aren't you?" which became "Don't you practice?" which became "Why don't you care anymore?" and finally became "Where were you?" I was knocked off my high horse and fell hard.

I obviously saw this as a great problem and so readjusted my context from the orchestral to thefolk/pop/rock scene. I found a renewed craving for creativity. I wasn't just inserting Song A and spitting it out perfectly, I was CREATING Song B and C and D and... I had to work hard at it, but when I did, it turned out really well and felt really good.

So zooming back to today,

I find myself considering re-entering the collegiate and competitive atmosphere for an evenhigher education, and possibly be there for quite a long time... Now that I've experienced thecreation of music I can't go back to just competitively spitting out tunes over and over again.

Having tasted the sweet nectar of creation, I wonder what it will be like to truly be part of thegroup but still feel outside of it. Will I be dubbed the underachiever or black sheep? Will I be harder on myself when I'm not "giving in" to the outside structure of this competition? Or is theoutside competition actually the kindest way to excel and be the best you can be? Can I trust myself to create my own structure and discipline? Or do I surrender to the outside discipline structure?

I know my answers, but I'm curious to hear your own experiences with competition and creation in the world of music...


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Eli's Stormtrooper Cello (It's on fire!)

You guys! Do you know how much I love it when my students draw me pictures? I LOVE IT! Thepicture below was drawn by my new cello friend, Eli. He loves Starwars. He decided to name hiscello "Stormtrooper." His bow is named "Light Saber." If you're wondering what's on the sides ofthe cello... Jet packs, of course! Oh and it's on fire. This kiddo knows what is up.

ElisStormtrooperCello
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Weekly Round-Up

TED Talk of the Week.. Caroline Phillips on the Hurdy Gurdy!




Article of the Week...
Janos Starker --- One Student's Reflections (by John Cloer) written in 2008 and found onwww.cello.org

Twitter Follower of the Week... @Michael_Tuchman
Michael's a very devoted practicer of the cello. Hailing from somewhere near Philadelphia, PA, this father of 2, SAS Programmer, and beginning amateur cellist, writes the blog "Cello Practice Smackdown." He would've signed up for my Studio's Practice Pool Competition, if I had let him! It's good to know ya through the interwebs Michael! Here's to more twitter convos in the future!

Cello Video of the Week...
Frances-Marie Uitti sure can "shred the cello!" Truly impressive video editing, brilliant composer, and passionate performer! Watch it below...

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How to Choose a Cello?

I was asked this question via @nparmalee & @Michael_Tuchman on twitter. (Shameless plug: Follow me [@emilyapeterson] on Twitter!) Anyways the big question on Saturday was: "How do I choose a cello?" This is a very good question. One that I'm happy to answer, but first...

I'll respond with a few more questions.

--- How much do you have to spend on a cello? (a decent beginner cello should cost at least $1000, I've found.)
--- Can you afford renting an instrument? (Most string shops in your area will put your first several months of rental towards the purchase of one of theirs. If that's the case, make sure they carry instruments you'll actually want to buy. To ensure this, go to a STRING specialty store. Please.)
--- If you end up renting an instrument, how long will you rent, before buying a cello?
--- What's your commitment level in this pursuit of the cello?

I won't go into the pros and cons of having or owning your own instrument...
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Revised Studio Policy & Thursdays as a Lesson Day!





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Announcing the Spring Practice Pool!





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7 Ways to Maximize Your Experience in My Studio

Below you'll find a list of my 7 favorite ways to make your cello lessons really "stick." If you're not a student of mine, that's okay, these still apply to any teacher, regardless of the instrument or subject matter they teach.


1. Make practicing and private lessons sacred.
Schedule vacations and business meetings accordingly. Turn off your cell phone & email dings. Make a designated spot in your house for practicing. Take a deep breathe before beginning. Light some candles even!

2. Be sure you’re on the email list and subscribe to my blog.
I try to post twice a week on my blog, sometimes more and send out a Studio Newsletter once a month. So if you're only receiving one, you're missing out on some really great stuff! Sign up for the newsletter here & subscribe to the blog here. Each of these will have practice tips and tricks, games to play with your child in practice, general writings on holistic teaching, fun inspiration, videos to watch, and that was just over the past couple weeks! (Also if you tweet, follow me! - @emilyapeterson)

3. Get familiar with the Studio Policy.
This will help you further understand my expectations and help the administrative side of my life go way smoother, then I can focus on you guys! View the Studio Policy here.

4. Gather your own practice toolkit & USE IT.
Rosin, blank flashcards, WASP cards, dice, numbered cards, metronome, electric chromatic tuner, pencil, paper, highlighters/markers/crayons, extra copies of your music, water, timer, and anything else that helps you practice.

5. Attend concerts, especially Emily’s.
I make a point of accepting performance opportunities that my students would enjoy. Going to concerts and getting yourself out of the practice room is really great for cello inspiration. Take note of your observations and share them in your lesson. Talking about those observations make for some great lessons, regardless of the genre of music you heard! There are countless community orchestras in the Seattle area, get their calendars and get a move on!

6. Get Creative
You or your child will greatly benefit if you keep your eyes and ears open, pay attention to details, and take small steps, all while thinking outside the box. There is no right way to practice, but there is such a thing as inefficient practicing. This is especially true if you’re not making practice a fun, unique, diverse, and effective.

7. Communicate
If you’re experiencing a roadblock or speed bump in your road of progress, let me know. I have enough experience to help you find the right solution. Same goes for my teaching methods, if something is not working, I can’t change it unless I know about it.

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3 Steps Towards Motivating Practice





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A Practice Helper: 100 Flowers


Click on the image below to download the .pdf! Enjoy!

Flower 100 Chart
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Street Dancing & Yo-Yo Ma





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A Reminder...

Bend Your Thumb! ;-)

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Dear Students of Mine,





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1st Week with the Seattle Celloship





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3 Ways to Color Your Cello Practice





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This Week's Source of Inspiration





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The Practice Generator





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Emotion in Musicality

happysad
Most of my lessons have themes; last Monday, Mindy's lesson-theme was emoting. I began by teaching her a wee bit of preliminary music theory (major scales) and then upon her suggestion and questioning, we transitioned into emotions.

She reminded me that at one of our first lessons I explained that her advantage as an adult is she's able to emote through her cello. Most children aren't aware of what it means to mourn, lament, or be elated. But regardless of age, students are able to play "Twinkle, Twinkle" sad or happily: Long/drawn-out or short/clarified.

Emotion can be clearly communicated when presented with no unintended distractions.


Unnecessary sounds could result from poor tone, poor phrasing, pitchy notes, bad technique. Applied to life, this means when I'm trying to convey an important message to a friend I will be more likely to call them up rather than text them so they can hear my inflection and they won't be distracted by other things.

Try this situation on for size:
Say I have an important meeting with a record label. Said record label is interested in signing my band but we have a few questions and want to clarify a few things. If I'm asking the label reps questions when I am tired (poor phrasing), way too emotionally charged (pitchy notes), and slouching while wearing sweat pants (poor technique) they will respond to my questions/statements with those distractions in their minds. But! If arrive time, alert, dressed appropriately, etc. I am in more control of how my questions/statements are received.

Do you see this?! This means when I'm even simply playing scales, my emotions are clearer (to myself and my audience), if I am able to play without presenting unintended distractions. Practicing your emotional clarity will immensely help your practice of performance.

Here's an exercise to try:
Pick a scale or a simple song. Pick an emotion. Roll a die. Now, play that song with that emotion exactly the same way the number of times the die directs. The trick with this is to tune your ears to the distractions you're playing. Don't eliminate them, repeat them with purpose! If you can replicate the distractions, then you'll be in control of the distractions and able to eliminate them when needed in the future! Cool huh?!

Have any other exercises in emoting that work for you? Share with the class!
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100 Hundreds Video





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Photos from the Christmas Recital!