I should get a camera, so to put some pictures up here. It was the students’ winter concert today and one of my students was playing. It would be good to post a picture here.
Ben played a song which we had composed together: “Finger Factory”, and he played quite well, in tune, and in good poise and good tone, with good timing and all. There was a lot of positive feedback from the family, and the other teachers. Marlyn, the percussion teacher, was impressed and agreed that more of students should do their own composition.
There is no reward better than this. To see, to the best of your ability, that you’ve done the right things to a good extent, that it is in line with what you yourself aim for and that others who seem to care agree. That’s best!
Sunday, February 25, 2007
Wednesday, February 21, 2007
Grace
I was reminded of a conversation I'd had with a friend of mine (a very good dancer) a while back. She talked about grace and I remember asking question after question about what she thought it consisted of. Economy and peace, seem to be two qualities of grace or elegance. Her vivid image was that of an elderly woman, probably has gone through a lot of hardship, yet she 
is increasingly graceful. I asked if men could be graceful. This wasn't a quality she would usually refer to men, but for older men this was quite likely. I think of Artur Rubinstein, and of the elderly Merce Cunningham in this sense...
I think lightness is another character, lightness of movement, of speech, of gesture...
I found myself saying to a student of mine to imagine a butterfly is sitting on her bow... and one on her shoulder, and one on her head, and one on her nose, and on the tip of the violin. She laughed, and even though it didn't change her 4 year-old joints work less tightly immediately it might change the inner attitude.
is increasingly graceful. I asked if men could be graceful. This wasn't a quality she would usually refer to men, but for older men this was quite likely. I think of Artur Rubinstein, and of the elderly Merce Cunningham in this sense...I think lightness is another character, lightness of movement, of speech, of gesture...
I found myself saying to a student of mine to imagine a butterfly is sitting on her bow... and one on her shoulder, and one on her head, and one on her nose, and on the tip of the violin. She laughed, and even though it didn't change her 4 year-old joints work less tightly immediately it might change the inner attitude.
Monday, February 19, 2007
Re: Waves of Longing
Satisfaction granted! I was happy with the music and with the way the music and the choreography fit together.
I don’t know what else to say about the specifics of the piece, just that it was good. I was nervous, and the dancers said they liked the music. Also this marked the first musical collaboration between Rick and I which proved to be musical and smooth. Of course here and there, a little dent in the surface of the music, an out of tune note or unfitting pattern. Not a shiny clear perfect product, but with good content. I especially remember some notes rich with vibrato and nuance, juicy!
Also Alison, a good friend from York days was there with whom I had an interesting conversation afterwards. She was very inspiring when she talked about teaching, and reminded me of my late uncle whose humour and sense of psychological in-tune-ness with the students was probably his greatest quality. It seems to me that Alison also becomes a kid when she teaches the kids, and relates to them from their own platform. Something I’m sometimes afraid to do. “How do they know the boundaries? Don’t they climb all over you?” I asked. There seems to be a respect somehow, and the work gets done, even if hard work, at the end, she ends with a note “piano playing is hard work isn’t it? Just like being an athlete, you have to stretch and practice and …” and to end with a happy note, fun and funny note. You don’t want them leaving the class hating me, or even worse, hating music!
Very inspiring indeed… and I’m not going to tell you details.
I don’t know what else to say about the specifics of the piece, just that it was good. I was nervous, and the dancers said they liked the music. Also this marked the first musical collaboration between Rick and I which proved to be musical and smooth. Of course here and there, a little dent in the surface of the music, an out of tune note or unfitting pattern. Not a shiny clear perfect product, but with good content. I especially remember some notes rich with vibrato and nuance, juicy!
Also Alison, a good friend from York days was there with whom I had an interesting conversation afterwards. She was very inspiring when she talked about teaching, and reminded me of my late uncle whose humour and sense of psychological in-tune-ness with the students was probably his greatest quality. It seems to me that Alison also becomes a kid when she teaches the kids, and relates to them from their own platform. Something I’m sometimes afraid to do. “How do they know the boundaries? Don’t they climb all over you?” I asked. There seems to be a respect somehow, and the work gets done, even if hard work, at the end, she ends with a note “piano playing is hard work isn’t it? Just like being an athlete, you have to stretch and practice and …” and to end with a happy note, fun and funny note. You don’t want them leaving the class hating me, or even worse, hating music!
Very inspiring indeed… and I’m not going to tell you details.
Thursday, February 15, 2007
1- Side track
It seems very unusual to me. The weather is cold outside, -20, or -10, or something around there. We are spending lots of energy to warm up our homes. That's natural, of course. We need the comfort and warmth. In our homes about +20 and warmer, we still spend a good deal of energy creating cold weather. We should have some way of using the cold outside, just have an area which is not warmed up, why spend energy warming it and then cooling it?
2- Violin
I'm feeling good about playing, about performing more and about the sound of the instrument. It is all coming together, and that's proof enough to believe that all things are connected: the improvised sounds (my solo CD in progress, playing for contact jams and for the Suzanne and Diana.), the classical technical stuff (engineering and craft of the violin playing), and fiddling (bow).
A few comments I got in my violin lesson today:
It seems very unusual to me. The weather is cold outside, -20, or -10, or something around there. We are spending lots of energy to warm up our homes. That's natural, of course. We need the comfort and warmth. In our homes about +20 and warmer, we still spend a good deal of energy creating cold weather. We should have some way of using the cold outside, just have an area which is not warmed up, why spend energy warming it and then cooling it?
2- Violin
I'm feeling good about playing, about performing more and about the sound of the instrument. It is all coming together, and that's proof enough to believe that all things are connected: the improvised sounds (my solo CD in progress, playing for contact jams and for the Suzanne and Diana.), the classical technical stuff (engineering and craft of the violin playing), and fiddling (bow).
A few comments I got in my violin lesson today:
- In general: tendency to rush on up-bows (listening and gravity, ears meeting gravity)
- Energy of engagement in the music: There seems to be a demand for a bit of separation, so to hear and to observe in relative objectivity, and at the same time engagement and being a player in the game.
- In particular circumstances, the holding of the energy and forward motion in long notes: he suggested "progressive" use of bow length, and to always remember the anacrusic energy of the last beat.
3- Teaching:
I've thought about quitting teaching for a while, but then I changed my mind. I was speaking to Terri last night. We've been doing more 'eastern' things, some traditional, some of my own stuff, and at the same time attempting to (and directing them to) the study of some mechanical issues: 3rd position, shifting, left and right hands synchronized motion, etc. So now I've practically run out of stuff to teach her. I'd like to focus on some fiddling bow patterns for bowing and playing energy, but after that, I'm unsure.
After Terri, Ben came and we recorded a medley that he himself put together as well as a few other things. He sounded very good and he was so excited. recoding is a great inspiration, and we should continue with that. That made me want to teach more.
Monday, February 12, 2007
I just want to post something now to say nothing special. I hope you are all well. I'm coming from baroque dance class. Bourree after Bourree after Bouree. It is fun!
I'm starting to get a sense of the larger scpoe of the composition of the dance. Like patterns on a Persian carpet, turning and twisting and approaching and missing and never touching the partner. at the same time not emotional or dramatic.
The nice thing is that it isn't vistuosic and that anyone can learn to do them.
On the way home I tried looking through the Viotti concerto on the bus. It is easy enough to be able to figure out the solfege and sing it. But I'm not good enough. Still~ It is so much more important to memorize (away from the instrument) and to play from the solfege from within. learn in musical chunks: First this, then this idea, then that and the same pattern but like this,.... and this is already one full page.
I'm starting to get a sense of the larger scpoe of the composition of the dance. Like patterns on a Persian carpet, turning and twisting and approaching and missing and never touching the partner. at the same time not emotional or dramatic.
The nice thing is that it isn't vistuosic and that anyone can learn to do them.
On the way home I tried looking through the Viotti concerto on the bus. It is easy enough to be able to figure out the solfege and sing it. But I'm not good enough. Still~ It is so much more important to memorize (away from the instrument) and to play from the solfege from within. learn in musical chunks: First this, then this idea, then that and the same pattern but like this,.... and this is already one full page.
Thursday, February 08, 2007
Absent Minded
This is not an entry regarding dance or music.
I bought myself a pair of gloves last week. I realized just after leaving the bus that the reason that I feel cold is because my hands are not covered and that is because I left the new gloves in the seat. That happens when I get too much into the head, ideas, and thoughts keep rolling.
I once ran into someone I knew on the subway. I had missed my stop by two stops and she was getting off to go home. "How come you are getting off here?" I had been reading something, or writing, or something of that sort. It was a funny when I ran into the same person another time in a similar situation. This trigered a conversation later where having felt silly I was reasoning and philisophyzing the absent-minded-ness.
We value this absent-minded-ness as a sign of genious sometimes: Stories of Einstein and Newton's fogetfullness and so on. they are occupied with much more important things that don't notice the red light and keep driving, or too intelectually occupied to give the correct change to the coffee shop, or to notice the fire alarm while painting... or to leave their gloves on the bus.
Does mental occupation (let's say internal occupation) take away from the sensations? Do you "transcend" the state you are at and bypass the signals that tell you "your stop is next"? Or can intense thinking be all inclusive?
How about music? how about dancing? It changes for me from time to time. Sometimes it is imagination that goes on a fantastic ride when you listen to music, and it is vivid as heaven. Sometimes it is not the imagination but the reality of senses, when I play for instance. I love it when I am able to see all the movements and the walls and myslef in the midst of it all in the dance class.
Truth is I don't really care. I want my gloves back they were so cool and so warm.
I bought myself a pair of gloves last week. I realized just after leaving the bus that the reason that I feel cold is because my hands are not covered and that is because I left the new gloves in the seat. That happens when I get too much into the head, ideas, and thoughts keep rolling.
I once ran into someone I knew on the subway. I had missed my stop by two stops and she was getting off to go home. "How come you are getting off here?" I had been reading something, or writing, or something of that sort. It was a funny when I ran into the same person another time in a similar situation. This trigered a conversation later where having felt silly I was reasoning and philisophyzing the absent-minded-ness.
We value this absent-minded-ness as a sign of genious sometimes: Stories of Einstein and Newton's fogetfullness and so on. they are occupied with much more important things that don't notice the red light and keep driving, or too intelectually occupied to give the correct change to the coffee shop, or to notice the fire alarm while painting... or to leave their gloves on the bus.
Does mental occupation (let's say internal occupation) take away from the sensations? Do you "transcend" the state you are at and bypass the signals that tell you "your stop is next"? Or can intense thinking be all inclusive?
How about music? how about dancing? It changes for me from time to time. Sometimes it is imagination that goes on a fantastic ride when you listen to music, and it is vivid as heaven. Sometimes it is not the imagination but the reality of senses, when I play for instance. I love it when I am able to see all the movements and the walls and myslef in the midst of it all in the dance class.
Truth is I don't really care. I want my gloves back they were so cool and so warm.
Saturday, February 03, 2007
re: Nucleus: How amazing could it be?
I was lucky to have been asked to play music for a contact dance duo.
This is the email I sent out few days back:
-------------------------------------------------
Hi all,
I will be performing improvised music for Diana Groenendjik and Suzanne Liska (both amazing contact dancers).
info as follows
have a great February
- k o u s h a
- - - - - - - - - - - - - - - - - - -
Marie France Forcier's
NUCLEUS
A DanceWorks coWorks series event
FUNDRAISER PARTY
Friday February 2nd 2007
The Ice Lounge, 560 Danforth Ave.
(1 block East of Pape, at Carlaw)
Performances by:
Diana Groenendjik
Elke SchroederCube 3
Crazyfish Collective
Larchaud Dance Project...and more
MC David Kraft
Doors open at 8:30 pm
$10 advance/ $12 door
-------------------------------------------
Diana and Suzanne were absolutely amazing. I was perhaps a bit too much in my head, but what needed to be done was done, they both (Suzanne especially) mentioned the support of the music and the connection.
I remember a spot or two where I was not in a relationship that I relished, I was perhaps critical of it and of course the dance was absolutely amazing. They can start dancing any time and handle anything that comes their way. I suppose that would translate to amazing ear and technique in music; that is exactly what knowing your instrument ( ~your body) and its possibilities, and limitations, rules (~ grammar, style, progressions) and trusting the partner, and of course listening (used in both music and dance practices).
I must say this was by far greater and more involved and stronger that all the other pieces. Both virtuosity and emotional richness and some very unexpected things. You guys are great!
I was quick to disappoint myself because of my physical tightness. A trigger that was pulled and I got stuck (still) with the tension.
I was also jealous of the dancers because I wanted to dance as well, to be part of this. That makes me think I should for sure experiment with moving and playing at the same time. Why haven’t I done this yet? So obvious! I need to get this other violin set up and then we’re ready. I used to play with much more physicality.
For example baroque dance and music would be completely possible in terms of safety of the instrument and bow. So I must give it a try.
Another note to myself:
I’d like a wider spectrum of sounds at my hand. It feels necessary that I might need more sounds to support different things different contrasts not only in content and approach but also colour of sound.
I think buying a looper and experimenting with overdubbing (live or recorded) and effects, can bring out options, open doors, vocabulary, etc.
This is the email I sent out few days back:
-------------------------------------------------
Hi all,
I will be performing improvised music for Diana Groenendjik and Suzanne Liska (both amazing contact dancers).
info as follows
have a great February
- k o u s h a
- - - - - - - - - - - - - - - - - - -
Marie France Forcier's
NUCLEUS
A DanceWorks coWorks series event
FUNDRAISER PARTY
Friday February 2nd 2007
The Ice Lounge, 560 Danforth Ave.
(1 block East of Pape, at Carlaw)
Performances by:
Diana Groenendjik
Elke SchroederCube 3
Crazyfish Collective
Larchaud Dance Project...and more
MC David Kraft
Doors open at 8:30 pm
$10 advance/ $12 door
-------------------------------------------
Diana and Suzanne were absolutely amazing. I was perhaps a bit too much in my head, but what needed to be done was done, they both (Suzanne especially) mentioned the support of the music and the connection.
I remember a spot or two where I was not in a relationship that I relished, I was perhaps critical of it and of course the dance was absolutely amazing. They can start dancing any time and handle anything that comes their way. I suppose that would translate to amazing ear and technique in music; that is exactly what knowing your instrument ( ~your body) and its possibilities, and limitations, rules (~ grammar, style, progressions) and trusting the partner, and of course listening (used in both music and dance practices).
I must say this was by far greater and more involved and stronger that all the other pieces. Both virtuosity and emotional richness and some very unexpected things. You guys are great!
I was quick to disappoint myself because of my physical tightness. A trigger that was pulled and I got stuck (still) with the tension.
I was also jealous of the dancers because I wanted to dance as well, to be part of this. That makes me think I should for sure experiment with moving and playing at the same time. Why haven’t I done this yet? So obvious! I need to get this other violin set up and then we’re ready. I used to play with much more physicality.
For example baroque dance and music would be completely possible in terms of safety of the instrument and bow. So I must give it a try.
Another note to myself:
I’d like a wider spectrum of sounds at my hand. It feels necessary that I might need more sounds to support different things different contrasts not only in content and approach but also colour of sound.
I think buying a looper and experimenting with overdubbing (live or recorded) and effects, can bring out options, open doors, vocabulary, etc.
Recording
I might not have said here before, but I'm in the process of recording a solo album. This was Vanessa Hanson's (a friend from the improv class and an amazing singer and musician) suggestion and it is her budding label that has taken the initiative.
We've already had two recording sessions, and it has triggered some interesting things in my creative process, and thinking.
you can look forward to hearing some things in the blog about it.
now we move on to the next entry.
We've already had two recording sessions, and it has triggered some interesting things in my creative process, and thinking.
you can look forward to hearing some things in the blog about it.
now we move on to the next entry.
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