VIOLA & PIANO/MUSIC THEORY LESSON XII. GRADE 0.

And so the learning continues, in-between my other duties.

*Theory Portion.

A new interval:
Minor Third.
There are 1.5 tones between the notes, within the interval minor third. Therefore, there are 3 semitones between notes. This is comparable to the Major Third. With 2 tones between the notes. Therein, there are 3 tones between the notes. A Major Third, is one semitones less in comparison.

This is demonstrated, very clearly on the piano .

I am now familiar with 5/12 of the standard intervals:
Major third, major fourth, perfect fifth, perfect octave and minor third.


Homework:

* Music Craft Preliminary Lessons 24.1 and 24.2.

* Annotation, and revision of F Major scale with chords.

* Annotation, and revision of treble, alto, and bass clef.

* Composer spreadsheet: Giachino Rossini, and an extended question to Johann Christian Bach (Violin Partita).

* Musescore composition sheet: Variation 2 (augmented rhythm), and 3 (C Major and 4/4 metre).
+ For advice. Keep with one idea. If one is doubling all of the notes in a variation–one must follow through, and keep that consistency. Therefore. Double all of the notes. The audience expects one to stick to that convention. We are fine tuned to seek out patterns.

For an augmented rhythm, one relies on the notational value. Augmented rhythms are increased, in their note value. This is in comparison to diminution… which does the inverse. Harmony will be added underneath these variations, later.

* Practice conducting to a 4/4 meter to better acquaint self with rhythm:

Practice to Resphigi.
4/4 conducting pattern.


Speaking of conductors. God damn, that’s a hot conductor.

Damned sexy.
That’s my type of man.
Hands down. Give me.

Looking like Shostakovich’s son. I would lick his face, gladly.

Oh come on! I would ask for permission FIRST. And like…
we’d get to know one another–and-and. Okay, I’m daydreaming too much. Moving on…

*Pianistic Portion.

This week, my instructor has agreed to give me a brief introduction into piano work. That is, technique, to ensure that I am not wading into misinformed territory. He however urges, that I gather tutelage under a more experienced instructor. As a refresher however… by his instruction: the pianist plays with their fingers, but the strength is sourced from their wrist. The wrist should not be tensed in any manner–nor should the arms be led to move. Take tension off of the fingers, so that you can play fast notes. Flexing one’s fingers leads to flexing the forearm, which is the incorrect way to play. All weight should be applied to the keys. Head straight. One moves from the core. The knees are just slightly under the keyboard. Ensure, that, if you’re moving forward. Tilt from the core. When you’re looking at the keyboard–look down with your face. This will create magnificent double chins. It is said, that the more double chins a pianist has… the faster their hands can move (Note: not really. I’m joking.).

Pianists and their double-chins. Heueheuheuheue~ SOOOOHHH CUTTTTEEEE~~~~

My instructor has given me contact of a colleague of his, who is pursuing a Masters degree in piano. They are Yoda, and I’m a damned Jedi. I will be gathering her tutelage, next week on Saturday. I look forward to it.

Here is the layout for my learning this week:
1) G position.
2) Sharps.
3) G Major and D 7 chords.
4) Inverted C chord (from the G position).
5) Using the damper foot pedal.
I am now up to page 70 of Alfred’s Basic Adult Piano Course, Level One.

*I now spend one hour to two hours practicing on piano. Viola is now pursued, at 30 minutes, each day.

*In the first lesson, for my piano teacher, next week we will explore:
Posture details, basic notes, sight-reading, scales for technique and some repertoire.
As well, as the discussion of short and long term goals. I have also issued her, a workbook that she will write in, from week-to-week.

Ultimately, once I have acquired all of the basic and intermediate skills of piano, then we will delve into exploring more complex and detailed repertoire–as well as concepts. A solid basis in pianistic knowledge, and technique will be built firstly… before anything else. Speaking with my family, and my supervisor. I had asked him during the last meeting we had together, “Why did you say I would suit piano?” He said, and I paraphrase “Because you have long, beautiful fingers.” My Father says the same, of my fingers. I’ve also heard mentions of the years, of my having piano fingers from people. As for my sister, she mentioned that piano would suit me better, past viola. I asked her, “why?” She said it was an elegant instrument, and that I was elegant. HEUHEUHEUHEUHE~

Plus, if you were to ask me… for my personal opinion, I am more suited to the piano due to my double chins. I have four of them, to be exact.

THEREFORE, I MUST BE PIANIST. PIANISTIC JOURNEY, AWAITS! MY DOUBLE CHINS DEMAND IT.

*Viola Portion.

Revise what was learnt last week, and pages .31 to .33 in Stephen Chin’s “My First Pieces”.


Three months into this musical journey, here is an update to my progress.

Piano (Alexandre) has been adopted as my primary instrument, and will have more time invested into practice as well as lessons. I will take to practicing piano for many hours a day, in comparison the the viola. Viola (Gaspar), has been relegated now, to an accompaniment instrument. I choose to still learn the instrument, due to it allowing me the ability to appreciate the world of strings.

Between these two instruments, music theory is still being learned with diligence.

+ I now possess the ability to sight read from the treble, alto, and bass clefs… albeit slowly, I had not possessed the ability to do anything of the such, three months prior.


Music is truly a beautiful thing. Everyone should have music in their life. For me, although it has been a short time. My life has been made infinitely better with music in it. I want to do this for the rest of my life.

I found this… and my god. How heartbreaking this is… No doubt. This is programmatic.
Libet’s Delay is the phenomena of registering touch, as a sensory experience–that is, through a conscious perception of it.
Oh… God… Consciousness. Ah~ anemoia.

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