This Sunday, 3pm at the Chicago Waldorf School. Lots of great music on the program — it’s very exciting!
This Sunday, 3pm at the Chicago Waldorf School. Lots of great music on the program — it’s very exciting!
marathon string recording session last night at soapbox. seven hours! violin, viola, cello and double bass. it was great to play with some really talented chicago musicians: becca wilcox, emma dayhuff and billie howard. and we got four paver songs down for our acoustic release. the strings with real harpsichord sound great. just waiting on vocal overdubs and then it’s off to be mixed. can’t wait!
Wheeeee!
Check out Jamie Fiste’s website, www.celloprofessor.com.
Jamie was also a student of Laurien Laufman’s in Champaign, and like her approaches cello technique in the style of Janos Starker. Jamie’s analyses of cello mechanics are very thorough and thoughtful. I particularly like the attention he gives to tension-free playing.
I’ve been dealing with the issue of a weak left hand pinky recently, so I can appreciate his approach to the ‘slanted’ vs. ‘box’ left hand problem. I agree that the solution lies in fluid rotation of the arm and elbow and a rebalancing of the hand, so that the more powerful upper-arm and back muscles stay engaged when the pinky plays.
Coincidentally, I’m finally getting around to reading some Strings magazines that Billie gave me, and there’s a little write-up of the same issue in one. The article recommends using a kinesthetic visualization technique similar to one used by athletes. Essentially, you transfer the sense/feeling of power in your first and second fingers to your fourth.
Pinky Power: my practice goal for the week!
zirafa on the drums
truman sleeps – philip glass, arranged for 5 celli
Just sat in on Footsteps with my buddy Tom Madeja’s jazz trio! Actually it was a quintet at the time, since there was a second guest on sax. I’ve been wanting to jam with Tom for a while, and to sit in with some ‘real’ jazz musicians for quite some time as well. So two birds! I was incredibly nervous but I’m glad I did it!
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I’m arranging a Whitney tune for cello. Mostly because the soundtrack to The Bodyguard (1992) pretty much defined what singing is about for me at a deep neurological level, and I gotta rep that. Well, defined emotive singing to synthy soul ballads, at least. And it’s true, the human voice and cello perform an imitative dance. So what better to arrange for cello, now, than a little Whitney?
Actually, it’s an old Dolly Parton tune. Never heard the original til today. The nice thing is that the band backs Parton right from the beginning, which will make transcribing the first section much easier. I was worried I was gonna have to sort out what Whitney was up to, structurally, as she free-forms it up acapella-style in the intro…
http://grooveshark.com/#!/s/I+Will+Always+Love+You/45Voif?src=5