DiViNE EViL
Sunday, February 15, 2009
Out of place
I feel too separated from the world after a while. Even if I do get to see it for two days a week, it just doesn't seem the same the last time I saw it. I didn't even recognise Lot 1's entrance after the construction was complete and considering that I didn't even know when it was completed, it's hardly a surprise.
Also feeling the heat is the use of language. Exposure to poor grammar begets poor grammar, and the lack of usage of words to write leaves me short on vocal vocabulary. Not to mention I don't feel exactly justifiable to my conscience to have much of the local community tuning into my channel.
Losing momentum on the piano is my biggest quirk. Every week I play La Campanella about four times, usually twice on Friday and Saturday. Now with my fingers weakening, I can't even accumulate the stamina to last through the whole piece. Additionally, I never really feel like playing any other pieces. I have an even harder time managing the Revolutionary Etude, and I can only manage a page or so of any other piece. However, I do think about it in camp. Once I was moving my right hand while idling to imitate the first jumping section of La Campanella, and somebody thought I was waving to him. He said 'hi', and I was relatively taken aback because firstly, I was not really concentrating on my surroundings and secondly, I was a relative stranger to him. Only did it dawn on me what I was doing did I think how this miscommunication actually happened.
The increasing trepidation had unexpectly and unwantedly returned. I feel the power of DiViNE EViL again. But now it is a test to my ethics. In this phase I hope to build my confidence, strengthen my will and express the panorama of the real vision and goal of my values. It is then for the receiving party to understand.
As for Tay Yi, I have been skimming through his recent posts and I see he is still adamant as ever towards his musical views (not that it's bad). As for his plea for assistance on his La Campanella, I think that taking a break from the piece or piano totally for two to three days could do some good but I'm not really that sure since his description is quite vague and I am unsure of his situation (haha). Well Tay Yi I didn't want to put this in here but you had no tagbox...
Yes I think I feel quite refreshed now. All I need is to take it easy. Add a new ethic: If the situation is not particularly stressful, or stressful only upon oneself, do not implant the stressfulness into others, but let them acknowledge your situation.
That is all for the week.
Also feeling the heat is the use of language. Exposure to poor grammar begets poor grammar, and the lack of usage of words to write leaves me short on vocal vocabulary. Not to mention I don't feel exactly justifiable to my conscience to have much of the local community tuning into my channel.
Losing momentum on the piano is my biggest quirk. Every week I play La Campanella about four times, usually twice on Friday and Saturday. Now with my fingers weakening, I can't even accumulate the stamina to last through the whole piece. Additionally, I never really feel like playing any other pieces. I have an even harder time managing the Revolutionary Etude, and I can only manage a page or so of any other piece. However, I do think about it in camp. Once I was moving my right hand while idling to imitate the first jumping section of La Campanella, and somebody thought I was waving to him. He said 'hi', and I was relatively taken aback because firstly, I was not really concentrating on my surroundings and secondly, I was a relative stranger to him. Only did it dawn on me what I was doing did I think how this miscommunication actually happened.
The increasing trepidation had unexpectly and unwantedly returned. I feel the power of DiViNE EViL again. But now it is a test to my ethics. In this phase I hope to build my confidence, strengthen my will and express the panorama of the real vision and goal of my values. It is then for the receiving party to understand.
As for Tay Yi, I have been skimming through his recent posts and I see he is still adamant as ever towards his musical views (not that it's bad). As for his plea for assistance on his La Campanella, I think that taking a break from the piece or piano totally for two to three days could do some good but I'm not really that sure since his description is quite vague and I am unsure of his situation (haha). Well Tay Yi I didn't want to put this in here but you had no tagbox...
Yes I think I feel quite refreshed now. All I need is to take it easy. Add a new ethic: If the situation is not particularly stressful, or stressful only upon oneself, do not implant the stressfulness into others, but let them acknowledge your situation.
That is all for the week.
2 Comments:
Okay. Basically. I was finding a place to put my SOS. Hope you actually check this obscure "1 comment" thing when you view your own blog. (long plea for help ahead!)
Anyway. Yes La Campanella. Everything about me is improving rapidly. Like op 10/12 and 10/4 which I just posted videos of except La Campanella is going downhill. I've taken breaks of say 3-4 days. I reached what I consider a tensionless peak at during CNY period (few weeks ago), then after that it seems like I have learn some bad habits which cause my control to waver and tension to build up during the piece.
My major problem now is the 2nd section of the piece, the 1432 section, tension usually accumulates here. And then by the running chromatics I usually break down or miss tons of notes. The chromatique section ALONE i can do it perfectly flawless but I suppose it's a test whether one has any built up tension (which sadly, I do). The 125 section at the end of the 1st part of the piece may be also causing me problems. I can do it alone, clean and clear hand separate but only sometimes it cause me tension. Worst still, these sections are consecutive which makes me die at the chromatics.
I suspect there is non negligible tension at the 1st section of the piece. Here and there, there is a little tension from jumping (occasionally). The only two repeats (where it begins with E octave, and then later in the higher register)may also be causing me tension problems. I dun have a proper technique all the while (never settled those bars), but it didn't give me problems. Now with the added tension, I should try to remain totally stress free for most parts. most areas are either stress zones or relaxed zones.
Then ah-ha the 1454 section. Usually when playing for people, or performing I cheat this very often because it's hard for non professionals to hear the freaking difference. I use my wrist a lot in this section. If i stretch too much, tension builds up. If i dun stretch, I miss notes sometimes (but I do always hit the melody note!). I don't really have a problem here because for casual sake, I always CHEAT. just do the hand wavey motion and pray that it hits the right notes. It does have good results though I admit. I believe thats the only way, unless I have bigger hands. Small hands suck big time here.
Okay last section. There was a period of time where I just practiced the last section in loops for about 20 times each time and I got the hang it it pretty much then. Only the (left hand jumping + right hand triads in higher registers transcending into the new theme part had a little of problem with the left hand jumping). Other than that, I can practice this section alone (again and again) without any tension. (serious!). but when I combine it with the 2nd section, I always get forearm burning when playing the double octaves. By the end, I'm just hoping to bang the right notes which is very risky when playing for people. but still, I nail this pretty well. only until now, when I could feel my accuracy is being plagued by tension in the 2nd section.
I hate the 2nd section. my flow is dying at the 2nd section. The part where the melody played with the pinky and the 1,2 fingers do a thrill. I still haven't got these bars mastered. Thus, when the tension comes, I do get a little shaky down here.
In conclusion
I need to know your technique for playing 1432 section (2nd part). because that is my major concern now.
I wonder if tension can be caused if I haven't been practicing this piece for a long time
Anyway. Yes La Campanella. Everything about me is improving rapidly. Like op 10/12 and 10/4 which I just posted videos of except La Campanella is going downhill. I've taken breaks of say 3-4 days. I reached what I consider a tensionless peak at during CNY period (few weeks ago), then after that it seems like I have learn some bad habits which cause my control to waver and tension to build up during the piece.
My major problem now is the 2nd section of the piece, the 1432 section, tension usually accumulates here. And then by the running chromatics I usually break down or miss tons of notes. The chromatique section ALONE i can do it perfectly flawless but I suppose it's a test whether one has any built up tension (which sadly, I do). The 125 section at the end of the 1st part of the piece may be also causing me problems. I can do it alone, clean and clear hand separate but only sometimes it cause me tension. Worst still, these sections are consecutive which makes me die at the chromatics.
I suspect there is non negligible tension at the 1st section of the piece. Here and there, there is a little tension from jumping (occasionally). The only two repeats (where it begins with E octave, and then later in the higher register)may also be causing me tension problems. I dun have a proper technique all the while (never settled those bars), but it didn't give me problems. Now with the added tension, I should try to remain totally stress free for most parts. most areas are either stress zones or relaxed zones.
Then ah-ha the 1454 section. Usually when playing for people, or performing I cheat this very often because it's hard for non professionals to hear the freaking difference. I use my wrist a lot in this section. If i stretch too much, tension builds up. If i dun stretch, I miss notes sometimes (but I do always hit the melody note!). I don't really have a problem here because for casual sake, I always CHEAT. just do the hand wavey motion and pray that it hits the right notes. It does have good results though I admit. I believe thats the only way, unless I have bigger hands. Small hands suck big time here.
Okay last section. There was a period of time where I just practiced the last section in loops for about 20 times each time and I got the hang it it pretty much then. Only the (left hand jumping + right hand triads in higher registers transcending into the new theme part had a little of problem with the left hand jumping). Other than that, I can practice this section alone (again and again) without any tension. (serious!). but when I combine it with the 2nd section, I always get forearm burning when playing the double octaves. By the end, I'm just hoping to bang the right notes which is very risky when playing for people. but still, I nail this pretty well. only until now, when I could feel my accuracy is being plagued by tension in the 2nd section.
I hate the 2nd section. my flow is dying at the 2nd section. The part where the melody played with the pinky and the 1,2 fingers do a thrill. I still haven't got these bars mastered. Thus, when the tension comes, I do get a little shaky down here.
In conclusion
I need to know your technique for playing 1432 section (2nd part). because that is my major concern now.
I wonder if tension can be caused if I haven't been practicing this piece for a long time
Oh yes. One more thing. When playing a light action piano. I get usually pretty good control on my La Campanella. because I get no tension however I try. somehow, I get zero tension in the 1st section and quite a little (but negligible) tension in the 2nd section. while the 3rd becomes a breeze to play. By light I mean really light actioned piano. But the only problem i seem to be having is when playing with my OWN piano at home. I have no idea why. Thats why when I play la campanella in public, it's always better. (significantly).
My confidence is also wavering. Sometime when I have to play this piece infront of people, I actually cheat using the soft pedal, because when I do so, I get zero tension as well. So I really don't know now if the tension is caused by improper habits or hard action piano. Mine as you have tried, isn't really that hard anyway (just stiff sometimes).
My confidence is also wavering. Sometime when I have to play this piece infront of people, I actually cheat using the soft pedal, because when I do so, I get zero tension as well. So I really don't know now if the tension is caused by improper habits or hard action piano. Mine as you have tried, isn't really that hard anyway (just stiff sometimes).
