Bizet, why do you hate me so?Actually, that exposed bit in the Overture? I sound surprisingly good. I suspect I am playing D sharps where I ought not to play D sharps, however, and am about to check with the CD. I am dragging my feet and muttering "don't wanna" about practising that tenor/treble passage in the Carillon, though. Because Bizet and I, we don't get along when we hit that particular point. I'm going to listen to the recording of that section till my ears bleed to internalize the theme, because I suspect that I am one tone off at that point.
I'm really enjoying this new guest conductor. You can tell she's a cellist, because she's chosen pieces with really juicy cello bits for us. Problem is, they're exposed juicy cello bits, and I don't particularly deserve to sit second chair, and these are only highlighting that fact. Also, she pays attention to us, for which I am grateful. Most of the time.
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* Owls' Court: the main journal
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2 comments:
I know the Bizet hate issue well. Have fun, and realize that it's these nerve-wracking times that make you grow as an ensemble performer. It's hard to make tangible progress when you're advanced (that is, progress you can really see and feel) and this is how it happens. I'm actually shopping for an ensemble to be in, myself, just so I can feel that flush of panic and properly kick its ass. Until then, could I ask you do do it for me?
:)
It's one of the reasons I don't totally suck at this point, actually: being in orchestra has kept me playing and has forced me to improve whether I liked to or not, just to keep up. Of course I've developed dozens of bad habits in the meantime that my new teacher is now training out of me, but at least I'm playing, and I'm at a different level than I would have been had I just noodled about at home with no situation to challenge me!
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