Oboe: Back On Track!
For a period of time, I kinda’ stopped practicing my oboe. I was unhappy with myself for not practicing. I really wanted to do it, yet I did not have the motivation and discipline. Maybe it was because of the cold winter, or simply because my oboe reed was deteriorating and I didn’t care to buy a new one cause’ it was costly.
So anyway, for nearly 2 months, I had no progress on the oboe. I started to dread the lessons with Mr. Jacobs because I couldn’t keep up. My mouth would tire very easily because I did not practice! So yes, I wasn’t doing well with my third instrument.
I asked God to help me, to give me the discipline to just do it. But in my heart, I did not really want God to help me. I made myself believe that I didn’t have the time for it. On the other hand, I can’t really blame myself about being “lazy”. I had to practice for piano and violin, and that took up at least 5 hours of my average day. By the time I settle for the oboe, I’m too tired and I can’t be bothered to assemble the parts and wet my reed.
However, at last week’s oboe lesson, I finally got fed up with myself and my lack of practice. It was too embarrassing to turn up for lessons unprepared and showing no improvement or commitment to the instrument. My teacher also gave me a very good suggestion concerning my practice schedule – he said I should try practicing oboe FIRST, before playing violin or piano. And just 15 minutes would do me good. Then at least I won’t be playing with my mind, fingers and body already tired from practicing violin and piano. I thought his advice made good sense!
So that’s what I did. I whipped out my oboe nearly everyday after school, and practiced just 15 minutes before starting on my other instruments. And hey, it jolly worked for me! This time, I also genuinely prayed that God would help me to get back on track with my oboe. Although I’ve been practicing only 15-30 mins each day, it has been good enough to help me remember the fingerings and develop the face muscles around my mouth bit by bit.
I’ve learned that even 15 minutes of practice a day makes an enormous difference. The key is to have constant and regular practices. Gah, as if we all don’t know that! But the truth is, we all try to ignore that fact. Sigh, there’s just no other way to it!
Anyway, here’s the happy ending: I had my oboe lesson this week, and for the first time since 2 months, I finally had such a productive and fun lesson!!! I learned much more and it was all because I could PLAY. Hahaha. All of a sudden, I feel extremely motivated. =)
Saturday, October 24, 2009
Thursday, October 22, 2009
Slow Down & Speed Up
I discovered that in order to determine whether or not I have fully (to my best extent at that point) memorized and understood [the key parts of] a piece, I must be able to play it at varying tempos. I must be able to play slowly and also quickly at random parts throughout the song. It’s like changing the metronome time from fast to slow, without affecting the quality of the notes being played. For once, it is not about playing musically or with rubato or not, it is simply about being able to confidently play what I have committed to memory, at the threat of having to slow down and speed up.
When slowing down, I must still be able to produce the notes accurately. Ironically, it can sometimes be much easier to play fast because then it becomes almost automatic; whereas playing slow will force the mind to think about the notes coming next. Therefore if I do not know my piece well enough, playing slow might stop the “memory flow” – meaning, my mind has a tendency to go “blank” when anticipating the next note.
By speeding up, I must also be able to produce the notes quickly and accurately (in my mind – whether by automated memory or photographic memory of the page or bar of notes). By doing this, I’m forcing my mind and memory to produce the notes faster than normal and therefore my familiarity with the piece is also tested.
It actually works both ways. I must both learn to slow down and speed up to keep my mind and memory on alert. If I can’t play slow without stopping halfway, because my mind goes blank at some point (this always happens to me that’s why I prefer fast songs), that means I haven’t practiced enough and I don’t know the piece as thoroughly as I should.
If I truly know a fast piece, I would be able to play it slowly because then it is no longer about the hands playing automatically and “without thinking”, but it is about my ability to savour every note. So even when I’m playing it fast, I am actually conscious of every note, and not only playing automatically. That’s why I need to force myself to play slow for fast pieces. I will then have the chance to slowly reflect on each note, although it is to be played fast.
I discover that once I am able to play a fast piece slowly, it means that I’ll be ten times better when I play it fast. Because then I’ll be playing it with the awareness of the beauty and significance of every individual note.
On the other hand, speeding up a piece with moderate or andante tempo forces the mind to produce the memory of the notes more quickly. Thus this enhances the playing of the piece because then when it is played at the correct tempo, the mind is always on the alert, already thinking of and knowing what is coming next (because it has already done so when you played faster than normal).
I discovered that in order to determine whether or not I have fully (to my best extent at that point) memorized and understood [the key parts of] a piece, I must be able to play it at varying tempos. I must be able to play slowly and also quickly at random parts throughout the song. It’s like changing the metronome time from fast to slow, without affecting the quality of the notes being played. For once, it is not about playing musically or with rubato or not, it is simply about being able to confidently play what I have committed to memory, at the threat of having to slow down and speed up.
When slowing down, I must still be able to produce the notes accurately. Ironically, it can sometimes be much easier to play fast because then it becomes almost automatic; whereas playing slow will force the mind to think about the notes coming next. Therefore if I do not know my piece well enough, playing slow might stop the “memory flow” – meaning, my mind has a tendency to go “blank” when anticipating the next note.
By speeding up, I must also be able to produce the notes quickly and accurately (in my mind – whether by automated memory or photographic memory of the page or bar of notes). By doing this, I’m forcing my mind and memory to produce the notes faster than normal and therefore my familiarity with the piece is also tested.
It actually works both ways. I must both learn to slow down and speed up to keep my mind and memory on alert. If I can’t play slow without stopping halfway, because my mind goes blank at some point (this always happens to me that’s why I prefer fast songs), that means I haven’t practiced enough and I don’t know the piece as thoroughly as I should.
If I truly know a fast piece, I would be able to play it slowly because then it is no longer about the hands playing automatically and “without thinking”, but it is about my ability to savour every note. So even when I’m playing it fast, I am actually conscious of every note, and not only playing automatically. That’s why I need to force myself to play slow for fast pieces. I will then have the chance to slowly reflect on each note, although it is to be played fast.
I discover that once I am able to play a fast piece slowly, it means that I’ll be ten times better when I play it fast. Because then I’ll be playing it with the awareness of the beauty and significance of every individual note.
On the other hand, speeding up a piece with moderate or andante tempo forces the mind to produce the memory of the notes more quickly. Thus this enhances the playing of the piece because then when it is played at the correct tempo, the mind is always on the alert, already thinking of and knowing what is coming next (because it has already done so when you played faster than normal).
Saturday, October 10, 2009
My Ideal Student
Recently, I started teaching another new student! This was another pleasant surprise, as with my other students. My new student’s name is Ethan. He’s a beginner. It so happened that his mom (somehow) heard that I teach piano, and she actually contacted me through Facebook! Haha, amazing right. :P
So today I taught 7 year-old Ethan for the second time. His mom says that 2 years ago, one teacher said he is not mentally prepared (a very restless boy he was) to learn yet. So now here I am teaching him.
At first I was a bit worried. It’ll be my first time teaching a lil’ boy – and you know, I never had a lil’ bro and I seldom have to look after boys. So I had no idea how it would turn out. What if he can’t sit still? What if he doesn’t like me? What if he doesn’t listen enough to get what I’m saying?
I just committed my worries to God and went ahead with it. To my sheer delight, Ethan was such a wonderful boy to teach! Yes, he’s a tad energetic (what do you expect, he’s a 7 year old!), but he’s also very responsive and a clever boy indeed.
I now realize that the best students are not the ones that sit quietly and listen to & obey everything you say. No, no. My ideal students are those who respond to my teaching by asking me “why do it this way and not that?”, or hard questions that will keep me on my toes. BUT, the great catch is: although they ask questions and may sometimes disagree, they must also be students who know when to ask the right questions and can submit to the teacher’s advice.
To my surprise (and delight), Ethan is one such student. My very first student in Melbourne, Amelie, was also such a student. Unfortunately now she’s gone back to Germany.
I thank God for such a privilege to teach music!
Recently, I started teaching another new student! This was another pleasant surprise, as with my other students. My new student’s name is Ethan. He’s a beginner. It so happened that his mom (somehow) heard that I teach piano, and she actually contacted me through Facebook! Haha, amazing right. :P
So today I taught 7 year-old Ethan for the second time. His mom says that 2 years ago, one teacher said he is not mentally prepared (a very restless boy he was) to learn yet. So now here I am teaching him.
At first I was a bit worried. It’ll be my first time teaching a lil’ boy – and you know, I never had a lil’ bro and I seldom have to look after boys. So I had no idea how it would turn out. What if he can’t sit still? What if he doesn’t like me? What if he doesn’t listen enough to get what I’m saying?
I just committed my worries to God and went ahead with it. To my sheer delight, Ethan was such a wonderful boy to teach! Yes, he’s a tad energetic (what do you expect, he’s a 7 year old!), but he’s also very responsive and a clever boy indeed.
I now realize that the best students are not the ones that sit quietly and listen to & obey everything you say. No, no. My ideal students are those who respond to my teaching by asking me “why do it this way and not that?”, or hard questions that will keep me on my toes. BUT, the great catch is: although they ask questions and may sometimes disagree, they must also be students who know when to ask the right questions and can submit to the teacher’s advice.
To my surprise (and delight), Ethan is one such student. My very first student in Melbourne, Amelie, was also such a student. Unfortunately now she’s gone back to Germany.
I thank God for such a privilege to teach music!
Monday, October 5, 2009
Expectations
I realize that when a teacher expects little of her student, there’s no motivation for the student to excel. Small expectations result in mediocrity. High expectations inspire excellence.
At first, it was difficult for me to live up to the high expectations that my music teacher had, but in the long run, it proved to be a good thing for both of us. Her high expectations spurred and motivated me to do more than what I thought I was capable of. It’s not easy, but it is worth the extra effort.
I learn that when a teacher expects great things of a student, the student will almost willingly want to excel and show the teacher that it is nothing too impossible.
Although I think we all know this, many times we still see teachers who don’t care any better and they don’t expect anything of the students at all. In truth, I’m tired of such teachers. I often end up wasting my time in school cause’ the whole class is in a racket (yes, even in Year 10) precisely because the teacher has lost control by not having any expectations of the class. Of course, it is a challenge, but then I suppose that’s why outstanding teachers and exceptional students (who willingly want to excel because they are motivated by the teacher) are a rarity.
I think this is something I can learn from and apply to in my life and also when teaching my piano students.
I realize that when a teacher expects little of her student, there’s no motivation for the student to excel. Small expectations result in mediocrity. High expectations inspire excellence.
At first, it was difficult for me to live up to the high expectations that my music teacher had, but in the long run, it proved to be a good thing for both of us. Her high expectations spurred and motivated me to do more than what I thought I was capable of. It’s not easy, but it is worth the extra effort.
I learn that when a teacher expects great things of a student, the student will almost willingly want to excel and show the teacher that it is nothing too impossible.
Although I think we all know this, many times we still see teachers who don’t care any better and they don’t expect anything of the students at all. In truth, I’m tired of such teachers. I often end up wasting my time in school cause’ the whole class is in a racket (yes, even in Year 10) precisely because the teacher has lost control by not having any expectations of the class. Of course, it is a challenge, but then I suppose that’s why outstanding teachers and exceptional students (who willingly want to excel because they are motivated by the teacher) are a rarity.
I think this is something I can learn from and apply to in my life and also when teaching my piano students.
Thursday, September 17, 2009
Repetition Without Aim
A few days ago, as I taught my sister Jirene some pieces (to prepare her for an audition at Blackburn High school in Dec), I told her that she must start practicing for real. You know many times we think that to practice is simply to play a piece from beginning to end for 3 times, then move on to the next, and then that’s the end of it. I now realize how futile such a method of practicing is! Sadly, I admit that I used to do that – and I find most people are contented with practicing like that.
I told Jirene that she must stop the routine or habit of treating a music practice like just a brief, mindless “run-thru” of pieces. She must pick out the nasty parts and work on them until it becomes more than playing “automatically” or mere the reading of notes. Such practice can be compared to studying a textbook, or “listening” to a boring teacher rambling on – the mind is not really absorbing the information, it is wandering elsewhere.
Likewise with practicing the piano, one must not merely treat it as a boring, aimless repetition of songs or notes! It is far, far more meaningful. At this point, I am truly a lover of Classical music (which most people would deem as a boring and old-fashioned type of music for old people). I’ll probably talk about my love for it some other time. :P Anyway, continuing, we can’t practice without having a desire to understand the particular nasty bit (which is most often the bestest bit!). If not, we’d just be rehearsing the same thing for ages without discovering anything new!
I told Jirene, “Repetition without an AIM is useless. You must have a plan and goal. Now your aim is the audition. Practice your music with that aim and purpose!”
Hmm, the moment I said that, I immediately thought to write it down so that I won’t forget. Haha, the best quotes come from spontaneous mouths, or rather, minds. Hee (: Now that's also a good quote, hey! :P
A few days ago, as I taught my sister Jirene some pieces (to prepare her for an audition at Blackburn High school in Dec), I told her that she must start practicing for real. You know many times we think that to practice is simply to play a piece from beginning to end for 3 times, then move on to the next, and then that’s the end of it. I now realize how futile such a method of practicing is! Sadly, I admit that I used to do that – and I find most people are contented with practicing like that.
I told Jirene that she must stop the routine or habit of treating a music practice like just a brief, mindless “run-thru” of pieces. She must pick out the nasty parts and work on them until it becomes more than playing “automatically” or mere the reading of notes. Such practice can be compared to studying a textbook, or “listening” to a boring teacher rambling on – the mind is not really absorbing the information, it is wandering elsewhere.
Likewise with practicing the piano, one must not merely treat it as a boring, aimless repetition of songs or notes! It is far, far more meaningful. At this point, I am truly a lover of Classical music (which most people would deem as a boring and old-fashioned type of music for old people). I’ll probably talk about my love for it some other time. :P Anyway, continuing, we can’t practice without having a desire to understand the particular nasty bit (which is most often the bestest bit!). If not, we’d just be rehearsing the same thing for ages without discovering anything new!
I told Jirene, “Repetition without an AIM is useless. You must have a plan and goal. Now your aim is the audition. Practice your music with that aim and purpose!”
Hmm, the moment I said that, I immediately thought to write it down so that I won’t forget. Haha, the best quotes come from spontaneous mouths, or rather, minds. Hee (: Now that's also a good quote, hey! :P
Sunday, September 13, 2009
All Glory to God
At the VCASS audition, I learned once again to ask for God’s peace to fill my heart and mind and keep me calm and composed. I wanted it to be a memorable and worthwhile experience. I didn’t want to blow it by being over nervous and worried – and what for? If my performance and the results are in God’s hands, I already have the victory and success in Him. Even if I do not get in, I will let it all go to God and learn to take the chill pill – simply benefit and grow from the experience.
Thankfully, I discover that whenever I truly place my trust in God, just perform and play out my heart unto Him, not even unto people, it will work out for good.
At the much anticipated audition, I only got to play like one-third of my pieces! How sad, right. I did not even manage to get to the best parts and the parts I practiced so much. But I believe the panel would’ve been able to gage my ability and level of playing even from the beginning (hopefully). Anyway, like I testified in my blog, God gave me the peace and I was not worried at all about how I would please the panel – there were five of them!
From now onwards, my main focus is to work on my TONE. It is almost the most important thing in piano playing. I regret that I’ve never been drilled with such core “foundation” principles all these years I’ve been playing. Tomorrow (my 16th birthday) will mark my 10th year playing the piano. God has led me this far, surely He will continue to reveal greater truths to me and lead me to more discoveries in music. NOW is only the BEGINNING.
Now that I am freed of this audition (that’s been pressurizing me for 4 months!) I can start pursuing new songs and challenge myself with another load of repertoire. Exciting, fun, and another season of sweat and tears to pour into my music! Haha, “why so serious?” right. But seriously, I AM dead serious. “Inspiration comes with perspiration” – wise words from my bestie Joyce Shamini. ;)
At the VCASS audition, I learned once again to ask for God’s peace to fill my heart and mind and keep me calm and composed. I wanted it to be a memorable and worthwhile experience. I didn’t want to blow it by being over nervous and worried – and what for? If my performance and the results are in God’s hands, I already have the victory and success in Him. Even if I do not get in, I will let it all go to God and learn to take the chill pill – simply benefit and grow from the experience.
Thankfully, I discover that whenever I truly place my trust in God, just perform and play out my heart unto Him, not even unto people, it will work out for good.
At the much anticipated audition, I only got to play like one-third of my pieces! How sad, right. I did not even manage to get to the best parts and the parts I practiced so much. But I believe the panel would’ve been able to gage my ability and level of playing even from the beginning (hopefully). Anyway, like I testified in my blog, God gave me the peace and I was not worried at all about how I would please the panel – there were five of them!
From now onwards, my main focus is to work on my TONE. It is almost the most important thing in piano playing. I regret that I’ve never been drilled with such core “foundation” principles all these years I’ve been playing. Tomorrow (my 16th birthday) will mark my 10th year playing the piano. God has led me this far, surely He will continue to reveal greater truths to me and lead me to more discoveries in music. NOW is only the BEGINNING.
Now that I am freed of this audition (that’s been pressurizing me for 4 months!) I can start pursuing new songs and challenge myself with another load of repertoire. Exciting, fun, and another season of sweat and tears to pour into my music! Haha, “why so serious?” right. But seriously, I AM dead serious. “Inspiration comes with perspiration” – wise words from my bestie Joyce Shamini. ;)
Wednesday, September 9, 2009
9/09/09
Today I performed Beethoven’s Appassionata 3rd Movement in Music Performance & Composition class with my schoolmates and subject teacher as audience. The main thing I MUST work on is ARTICULATION and TONE CLARITY. Like Ms Sandra Birze said, “Don’t allow your overly-passionate playing to swallow the notes!”
I was a tad bit nervous when I played. But then it evened out and I was more able to achieve a “balance between mind and heart”, as Ms Georgi Lewis once told me after the Gala Soiree performance. However, the piano was a ‘muffled’ kind, and the carpet on the floor kinda’ sucked up a lot of the sound. Thus my performance wasn’t as clear as it should have been.
This is a good practice for my VCASS audition in two days (I wrote about it in the previous post)! I must take heed to not play automatically (although sometimes it helps to calm my nerves) and not forget the contrast in the expressions that are so vital to this movement. Without clear expression and tonality, it becomes merely a series of fast notes all jumbled up without any direction, meaning and purpose. I need to tell a story through the piece.
I must FORGET THE AUDIENCE!!! Immerse myself in the piece, in every note, savour every part. I cannot play so exhilaratingly until I forget the expression and ignore the parts that I have so carefully rehearsed. I must remember each part that I tend to play automatically. Do not just think about ending the piece. Think about bringing out the part you’re playing with all your heart and fingers!
However, I am quite pleased that I had achieved a sufficient amount of DRAMA and SUSPENSE. I must be aware of every part I’m playing. DON’T PLAY IT AUTOMATICALLY!
The performance seemed as if it went by in a flash. I can’t remember how I played most of it. However, I am particularly pleased with a certain part where both hands are playing the same melody and it must be played very LINEARLY. One thing I must add to it is a CRESCENDO! I must remember that bit. I think it helps when I look straight ahead when I play this part. I must feel every note in order to play it linearly – listen to the left hand.
So the key areas that I need to take note at the audition are:
1) Articulation – don’t swallow the notes! Make it all clear.
2) Tone. Each note must be crystal clear and heard individually.
3) In order to achieve the above two areas, I must use FINGERTIPS!!!
4) Expression. Don’t simply focus on getting the notes right. Note ff & pp contrasts.
5) When you have expression, you will surely play out the MELODY.
6) Separate melody and accompaniment. Accompaniment is more subdued.
7) RELAX. Savour the slow and quiet (suspenseful) parts – rest and relax your shoulders.
8) Be DELIBERATE when playing the parts you’ve practiced most.
9) Accuracy. LOOK AHEAD before you land – don’t blindly hit a key.
10) PEDAL. Clean and don’t blend notes.
Thank God for the opportunity to perform today. It somehow makes me feel more prepared for the audition in two days. Yikes. Yipee. I really don’t know what to feel. God please help me. I place my confidence and trust in You alone!!!
Today I performed Beethoven’s Appassionata 3rd Movement in Music Performance & Composition class with my schoolmates and subject teacher as audience. The main thing I MUST work on is ARTICULATION and TONE CLARITY. Like Ms Sandra Birze said, “Don’t allow your overly-passionate playing to swallow the notes!”
I was a tad bit nervous when I played. But then it evened out and I was more able to achieve a “balance between mind and heart”, as Ms Georgi Lewis once told me after the Gala Soiree performance. However, the piano was a ‘muffled’ kind, and the carpet on the floor kinda’ sucked up a lot of the sound. Thus my performance wasn’t as clear as it should have been.
This is a good practice for my VCASS audition in two days (I wrote about it in the previous post)! I must take heed to not play automatically (although sometimes it helps to calm my nerves) and not forget the contrast in the expressions that are so vital to this movement. Without clear expression and tonality, it becomes merely a series of fast notes all jumbled up without any direction, meaning and purpose. I need to tell a story through the piece.
I must FORGET THE AUDIENCE!!! Immerse myself in the piece, in every note, savour every part. I cannot play so exhilaratingly until I forget the expression and ignore the parts that I have so carefully rehearsed. I must remember each part that I tend to play automatically. Do not just think about ending the piece. Think about bringing out the part you’re playing with all your heart and fingers!
However, I am quite pleased that I had achieved a sufficient amount of DRAMA and SUSPENSE. I must be aware of every part I’m playing. DON’T PLAY IT AUTOMATICALLY!
The performance seemed as if it went by in a flash. I can’t remember how I played most of it. However, I am particularly pleased with a certain part where both hands are playing the same melody and it must be played very LINEARLY. One thing I must add to it is a CRESCENDO! I must remember that bit. I think it helps when I look straight ahead when I play this part. I must feel every note in order to play it linearly – listen to the left hand.
So the key areas that I need to take note at the audition are:
1) Articulation – don’t swallow the notes! Make it all clear.
2) Tone. Each note must be crystal clear and heard individually.
3) In order to achieve the above two areas, I must use FINGERTIPS!!!
4) Expression. Don’t simply focus on getting the notes right. Note ff & pp contrasts.
5) When you have expression, you will surely play out the MELODY.
6) Separate melody and accompaniment. Accompaniment is more subdued.
7) RELAX. Savour the slow and quiet (suspenseful) parts – rest and relax your shoulders.
8) Be DELIBERATE when playing the parts you’ve practiced most.
9) Accuracy. LOOK AHEAD before you land – don’t blindly hit a key.
10) PEDAL. Clean and don’t blend notes.
Thank God for the opportunity to perform today. It somehow makes me feel more prepared for the audition in two days. Yikes. Yipee. I really don’t know what to feel. God please help me. I place my confidence and trust in You alone!!!
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