So, astrologically speaking, we are about to cross from the creative, fun-loving sign of Leo into analytical, hard-working Virgo (disclaimer: I am not saying that Virgos are no fun, nor am I inferring that Leos are lazy good-for-nothings...hopefully you're all aware that when I start talking astrology, my tongue is usually firmly in my cheek). School is also starting up for many of us....coincidence? Perhaps not... And, I'm in denial. Big time. And when I say denial, I mean the sad kind that isn't quite convincing enough to prolong the glorious dream that is summertime. Tomorrow morning, I know I am going to need to haul myself out of bed, make myself presentable, and go be somebody...when I would so much rather have just one more teensy week of watching The View while wearing waffle-weave pajamas and sipping tea on my couch.
The only thing preventing my descent into full-on whinery is also the carrot I dangle in front of my eyes to keep me moving: my wonderful circle of friends up on campus. Now, I know that the work I'm doing is also wonderful, and I'm lucky to be doing it, but the idea of work seems pretty lame when juxtaposed with the waffle-weave-clad-couch-ensconced wonderfulness described above, no matter how great the work is. And ain't it just how that is sometimes? Sometimes you need inspiration and motivation with skin....in the form of people who will hug you and prod you and tell you over cocktails that you need to get your behind in gear, that it's dumb to think you can't do it, and who promise to help you persevere because they can see that you need their help.
So, while last week's post was a plug for discipline, this week is all about having the wherewithal to reach out for help when you need it, and encouraging you to involve others in your endeavor to grow as a musician. We all need it. We all need to reach out and let others help us sometimes, because without this, we will not only lose steam, we'll lose perspective. It's part of having ZK's big four: a well-trained ear, a well-trained heart, a well-trained hand, and a well-trained intelligence. It's part of having a balanced musical and human life -- and I don't know about you, but it's become really clear to me lately that I don't want to get to the end of all this and have to say that I majored in music and minored in life. We are humans first, and humans need other humans to be healthy....and we can't exactly be the kinds of artists and craftspeople we want to be if we aren't healthy to start with. So:
All Levels:
Find a buddy for this week's assignments. If you can track down someone with whom you can get some actual in-person time, that's ideal. But phone, Skype, FaceTime....all of these will work in a pinch! Your buddy doesn't have to be in the same level as you -- heck, s/he doesn't even have to be in the program!
Rising Level 2's
Confer with your buddy and choose parts for these duets:
Go nuts with the dynamics and the overall shaping of these little pieces. Have a scholarly discussion about the harmonic language. If you get ambitious, take a stab at the German.
Rising Level 3's
Bust out your Classical Canons book at take a look at:
2b (Note that this is a diminution canon at the fifth -- for practice purposes, you can both practice 2a on your own, and the person who eventually takes the high part can transpose it up a fifth),
14 (Confer with your buddy to choose D = re or D = la)
30 (Conduct in 4! Don't let those half notes push you around!)
44 (Conduct in 4! Don't let that weird opening measure trick you into choosing a tempo that is too quick -- in fact, read through the rhythm of the whole piece one time without the first three notes and confer with your buddy before you make a firm decision about tempo)
104 (Another one to conduct...and to confer over)
Rising Level 4's
Ok, so this is a big bite, but I think you all can handle it...
Dig up your 15 2-part Exercises and take a look at nos. 12 (which we analyzed and learned together), 13, and 14.
Using your analysis of #12 as a guide and in conference with your buddy, take a stab an analyzing and singing both #13 and #14. Here are some hints:
In both:
Solfa changes don't necessarily need to be simultaneous, but consult with your buddy because you may find that both parts being in the same key sometimes provides moral support...and by moral support, I mean a friendly tonal/harmonic underpinning that will help your buddy find his/her notes help both of you have good intonation.
In #13
The theme is the first four bars plus one quarter note. It eventually occurs in: i, v, III, and VI. There is a suspicious-looking C-minory thing in the second-to-last system, lower voice, but I think you should just stay in B-flat until the second measure of the last system when the E-naturals return.
B-natural is not ALWAYS an indicator that you should change solfa.
Some of the solfa changes in this one are quite brief.
In #14
The first four bars are the theme, and the repeated note is exactly what the key signature leads you to believe it is. When the upper voice enters, you will want to call the repeated note something else because of the B-natural looming on the horizon....also because it's not a "real answer".
You will make it as far from the home key as E-flat Major/C minor in the flat direction (but only in the lower voice) and as far as A minor in the sharp direction.
Good luck!
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