A Short Story Suzuki Piano School bk 2 Deep Lesson With Sarnia Free Audio Class Podcast Online.
hi everybody let's do the first line of the number two piece in suzuki book two for piano a short story let's do the left hand first because that's quite often the bit that we find the hardest but it's also the part that usually holds the tempo so it's really useful if we know it already we're going to start on middle c and there's nothing too much to think about except that we have to move in the second little group of four nodes down to a b

and then back up again

and then we've got to leap down and do this rather grand shift so the hardest bit is going to be that bar there so when you practice this when you sit down to practice if you're doing the 20 times challenge which is each bar 20 times do that bar maybe more and do it first do the hard bits first because it's the bits you do first that always have time spent on them and purpose okay but let's go back to the beginning when you're learning a piece you wouldn't start in the middle but when you're practicing it you might so middle c

and then these lines these smooth lines these smiley face sort of lines really mean to do these in sort of groups and what i do is i think of them as little breaths so um or don't breathe with them because you might pass out um but little um uh conversations so hello

do you see what i mean if you do that it kind of helps with that beautiful um smooth rhythm and you're keeping it all in in a sort of tidy way that's something i do you might have another idea that you use let's do that really slowly and try and get the shift now let's look at the shift so we we're at bar three and we're coming right down it's a big stretch you may not be able to reach you may have to do a little jump

that's okay as long as you keep it

as smooth as possible and you could mark with a marker pen that you're needing to shift there now it's going down into the bass clef so we're reading all of this quite differently we're back to bass clef because of course this part really you're stealing the clef from the uh right hand or borrowing not stealing because we're going to give it back it's 13 hours thank you that's one of my robots telling me the time so let's do that really slowly now what i'm doing is i'm holding the first note down to give it a bit the first note of each uh group of four quavers uh semiquavers uh cuevas sorry um i'm holding them down to um it just gives adds a bit of resonance so if you're on an electric piano um and you want to do that i'm going to suggest that you do but it doesn't say pedal or anything like that on the piece so have a listen to the way it is produced on the um recording the official suzuki recording i don't like the way an electric piano can be a little bit stunted and lacking in feeling and because this says expressive um i think it sounds more expressive if i do that you don't have to so we've sorted out our movement we know the time that's common times it's one and two and three and four and one and two and three and one plus two plus two c so that's where you get the four but these um quavers obviously are half notes so they're um i'm going to do some theory classes by the way um i'll start those in a short while i think we need to start um using the note names now that we're on to book two and i've avoided them now but i think it's important so but there's no point in um you know throwing you in at the z pen so we're going to start quite gently hopefully you know what clefs are hopefully you know what the stave is and hopefully you understand whole beats quarter beats half bits etc

so let's have a look at this right hand don't be frightened it's very pretty now we're starting on this top g

and the next note is an f

and the next note is an f as well but there's no rest in the middle so we're going to hold that while we play two...

Suzuki Piano Book 2 Ecossaise Line One Deep Lesson with Sarnia Free Audio Class Podcasts.
hello darlings welcome to the episode for suzuki piano book one now what i'm going to do is i'm going to do the right hand and the left hand but only of one line and i i think it's important to split our days up for doing these pieces into phrases and this is a perfect phrase now i'm going to start with the left hand first and the reason i'm starting with the left hand is because the left hand is our sort of time keeper and also a lot of people find the left hand throws them a bit so i like to start with the left hand and it feels almost like i've got that difficult bit over and done with it's in c major and it was written hundreds and hundreds of years ago it's a very traditional piece there's nothing too unexpected in it it's going to stick to chords and triads that we probably know because we've been doing our c major scales and our arpeggios it's a lot of arpeggi arpeggio chords and thirds all the way throughout it's not going to be too difficult is it well there are a couple of shifts that might throw us a little bit but we're going to really study those so let's have a look at that first bar to staccato try uh two staccato thirds in a row and then look ahead there's another one

let's count one and two and one and two and okay that's going to be your rhythm for the piece so that looked quite easy but look i hope you've got your second and your fourth finger there why would you have that well because in bar three we are going to play with our thumb so we need our thumb free so let's do that again and then play the adjacent note with our thumb one and two and three and four and one and easy peasy nothing too difficult there but the next bit is a shift and a shift can throw us a bit so what we're going to have to do is play this f and then shift down for our d and g so just practice that now the f and the move down to the g and the d okay let's try it again

one and two and we may as well carry on because that is where our fingers lie so you could mark these shifts with a marker pen if you felt you needed a bit of warning it's quite a useful tool to get a highlighter and put a a green or a yellow mark fluorescent mark just to tell you and remind you that you've got to move something we do this with our cellos a lot there's no reason we shouldn't do the same technique with our piano it's very very helpful actually let's do that again from the beginning

okay i think if you play with a metronome it may be helpful but for the moment for today let's just focus on finding the notes and working on those shifts let's look at the right well i can see that there's a lot of broken chords going on in this piece as well as thirds so if you prepare get your thumb ready on the g after c and then your pinky ready on the g above um that an octave higher you'll be able to play this chord a g c e g it's a c major inverted chord or you could think of it as a as an arpeggio maybe if you find that easier and i hope you're doing your arpeggios really i do so let's have a look at the fingering if your fingers are there where i said two four two four five four two one and then there's going to be a movement down to four some under and then where your fingers lie pretty much it's getting easier isn't it because you've worked out where you have to shift and move when you put hands together there's going to be quite a bit to think about but don't worry about that now when we put hands together we'll be doing little bits at a time so there's nothing to worry about at the moment let's do that again easy peasy i think we did really really well and i think you should practice that as much as possible hands apart and if you feel really courageous you could direct hands together as well tomorrow we will go on to the next line from bar five and we'll finish the first section it's very exciting catch you then

Upper 2nd Position Rick Mooney Cello Fanfare Deep Practice Study Free Music Lesson with Sarnia

hi guys let's have a look at the fanfare from mick rooney's book um this is upper second uh position this is um our uh grasp of second position it's going to really help it gel and understand the cello map so we've got an open g and then the g that we would we're so used to playing with our um pinky we're going to play with our second

okay

and now we're going just nice close position nothing fancy where they lie

okay easy peasy nothing to worry about what you've got to make sure as you get that first g that is your key that's your key to success that g okay so for second position upper second position you need because uh you could put the first there couldn't you but this is up as we're putting our second this plane of notes the adjacent notes are a c next to it a d oh sorry a d one side a c the other and an f the other and if you try and um keep that as part of your map imagine it's the london underground that's going to put you in good stead for today we're going to learn just this um this g g with our second finger okay now let's um when you get to that g look ahead you've got to move up back to first position so lift your finger now your hand now shift

so that you're ready okay so

okay and you're going to bring your bow a little comma there bring the bow back up to the base now you're on this b

the d with the with the fourth that we're so used to you're going to now use your second it's that easy okay from the b to the second on the d and then the open now you've got a string crossing darlings look in the mirror

it's easy peasy but look in the mirror so string crossing fourth down okay string crossing now we're coming back up to first and back down to second so we've got some acrobatics but it's okay it's okay so okay easy peasy so we're down on this uh second open string crossing uh keep the they're quavers so keep the uh don't spend too much bow on them

open back up so when you've played this g lift up your left hand so you're all ready to go into that first position

okay

easy peasy when you know the map it's easy when you know the map now when you're coming down this this position this normal i call it normal you know what i mean fourth position when you come down to play these other notes your hand shape the distance between each note has to say the same it feels like they're closer together but they're not and the reason it feels like they're closer together is because you're coming at it from a different angle or actually they might feel i shouldn't say that for me it feels like they're closer together it might be that for you they feel further apart but you need to them to be exactly the same distance apart there's no difference until we get further down to the harmonic when everything shrinks by a half okay i think that was okay it was okay for me and um i'm very lazy with the second position and it's it's made life difficult for me so i really really enjoy um you know going back and really focusing so um i do hope that was help helpful and please do it and you know once you've done these you can now start on the uh the actual piece okay so um i think i've already done some podcasts about the actual piece but we can we can do more you know we can go back over over old ground there's no such thing really as old ground when you're a musician music is music it doesn't really get old for us does it

Suzuki Bk 2 Cello Free School Prep Study for Minuet 1 Bach with Sarnia 2nd Position Mapping.
hi guys i'm going to do the um the shift and suzuki uh book one in preparation for the minuet the first minuet so this is um we're doing lots of um shifting and learning second position exercises you have to get this right before we move on i absolutely insist that you get this really you know ingrained so uh fourth on the g that's the shift so four two one zero rest and as does that open the string

you pass your hand down to get to that sea now people do do it differently however you do it whatever way you do it becomes your way and all that matters is you get there okay it's target practice we're going to do some target practice in a minute as well um so the next section now i'm probably going a bit fast let's sit down shift and the a okay so once you're on the second you can get to that a different bow that's that [ __ ] you need to do it over and over again until you get this really slowly i'm going too fast i'm rushing i shouldn't

shift

back

up and there again all you're doing is you're repeating the pattern on a different string it feels different because your cello is at a slight angle if you put it on the same horizontal plane you'll be flat because your cello is not a the the plane is not dead straight okay so if you're going a bit wrong that's what you're doing that's what you need to check for play with the drone always play with the drone c drone on the back i've noticed actually that this um i've started to turn off the violins on this this is the automated um backing that you get with garageband on an ipad and lots of people are using it on tv programs and advertising and it's infuriating it's a very recognizable but boring sound and i can't believe they're you know musicians i don't believe they're real musicians i think they've paid somebody um you know twenty dollars and said could you do um you ban some uh incidental music out and they've literally just gone to garageband and recorded this so i've started turning the violins off because it sounds very the arpeggio what it is about arpeggios and contemporary music i've no idea they're robotic and uninteresting and while i insist that you do your arpeggios i certainly would be disappointed if you're a composer and all you did was um use arpeggios over and over again i nobody could it's not fooling anyone um even the public will get really bored of your music if you do that by the way but i'm coming from a composer's angle there and you're a performer we use um arpeggios sparingly in in interesting music there's really it's dull and if you sit in front of a piano and you just do a string of arpeggios the sweet the arpeggio sweet they call it and that's all you can do you're really not a musician you're a monkey in my opinion um but there we go that doesn't mean to say i don't want you to practice i want you to be really good at them um so uh come back in a minute and i'm going to do in a minute i'm going to look at um a rather fabulous book by um i've forgotten who it's by but i'll tell you in the it's by rick mooney who is the the god of um cello shifts and this book i'll recommend it position pieces for cello um is absolutely the best thing you will ever um come across in terms of perfecting your shifts okay so there we go that's this class done enjoy it over and over again please

Biographical Notice Of Nicolo Paganini 5 History of the Violin Free Audiobook Music School
chapter three part three of a biographical notice of a nicolo paganini by francois jose fatis this librivox recording is in the public domain chapter three nicolo paganini part three with the people so imaginative as the italians so extraordinary a looking person as paganini his wondrous talent and the eccentricity of his mode of life naturally conduced to superstitious ideas and the belief in the supernatural many believed he had entered into a compact with the devil in germany these prejudices were a greater even than among the italians it has been seen in his letter already given what was said of him at vienna when he played his variations on the witch's dance at leipzig the tune for the elegant belt gave the following account of one of his concerts in the hotel de palone resided a lady of exceeding beauty whose trusses were the object of much admiration but whose features were an aspect of deep melancholy though a sweet yet sad smile was ever playing on her lips i had seen her once this sufficed to imprint her features upon my memory and i sought every means to see her at all times the evening paganini gave his last concert i was near the stage and although my eye wandered all over the theater i did not discover her i sought so anxiously paganini appeared can i describe the magic of his bow the marvelous tomes he extracted from the melancholy and plaintive g string touched every heart and upon this occasion more so than i ever remember at this moment the sound of a sigh such as proceeds from some person dying struck upon my ear i looked around and saw my incognita white as marble unconscious apparently of the tears which fell in showers down her cheeks i uttered a cry of surprise which was heard throughout the theater every voice of being at the time hushed into silence paganini who was only a few paces from me turned round and looked at me an extraordinary smile such as i had never before seen played upon his face and it did not seem either intended for me or the lady i watched its direction and perceived not without emotion dressed in the english fashion and seated next the lady my not very reputable acquaintance of el bingado who returned the smile with one no less extraordinary they within intimate i understand that smile now in reality it had been generally observed and for a long time surmised that paganini and satan were most intimately connected or that they were one and the same person my discovery made me forget my lady but judge of my horror when upon turning round i saw her neighbor take her hand squeeze it with affection and the lady grow paler than before i was thunderstruck but at this moment the applause increased paganini had finished playing the audience rose as did the lady and her friend i followed them to the door before which stood a carriage with two black horses the lady got in followed by her cavalier when the carriage flew off bright flashes of lightning bursting from the horse's eyes greatly agitated i returned to the theater but paganini's marvels no longer astounded me the concert concluded i left by the same door through which the mysterious lady had passed and then found there was no place where a carriage could stand paganini was deeply affected by these rumors which not only detracted from his position but tended to render his talent valueless it is not improbable that in his youth he had himself contributed to the propagation of such fabrications by his eccentricities but when age crept in when honors and successes had accumulated he discovered that none however great his fame however favored by fortune could be great when general esteem is withheld with the view of ending the ridiculous reports concerning his origin he published at prague the following letter which his mother had written to him on the 21st of july 1828 dearest son at last after seven months have he laughed since i wrote to...

Biographical Notice Of Nicolo Paganini 6 History of the Violin Free Audiobook Music School.
chapter four of a biographical notice of nicolo paganini by francois jose fetis this librivox recording is in the public domain chapter four a paganini appreciated as a composer analysis of his works long air the talent of paganini had acquired popularity beyond italy a collection of studies for the violin under his name still unknown to french violinists had been published and created a deep impression so many novelties were there accumulated and the difficulties they presented were so problematical and under formed so peculiar that many professors doubted the possibility of their execution and went so far as to look upon the publication of that work as a mystification however the composer andreyotze who had brought to paris the copy from which pacini published his edition attested that there was in italy a man who executed those difficulties as though they were mere trifles and who would astound the professors and pupils of the conservatois if they heard him this man was the author himself it was paccanini at the same time blangini on his return from italy also spoke of this artist with enthusiasm and likewise attested that his art bore no affinity with the manner of playing the violin that all great masters had propagated until his day that all was the invention of his talent and that he was destined to revolutionize the style of playing the violin some young artists among whom was haberneck attempted to solve these musical enigmas but finally abandoned them as they could not discover the application of these novelties to the pure music of the great composers the struggle between la font and paganini resuscitated the confused recollection of his name and the prodigies he affected were the subject of serious conversation insensibly the fact of his success became patent the journals confirmed it and the name of the artist gradually acquired popularity however fame blaze and forth his name as a violinist only not as a composer the 24 studies of the first work were only known in france more than 20 years after it was published it was only after he had enchanted all paris and had traversed france gaining triumphs wherever he played that the value of his compositions attracted some attention they were then sought after italy and germany were written to for copies of his concertos his fantasias and his heirs with variations but none of them had been published the list of this artist's work which appeared comprise the following only one venti cuatro capricci per villino solo dedicated

these studies or capriccios and various keys consist of arpeggi secati trills and octaves and scales in octaves tense and combinations of double triple and quadruple chords etcetera two say isa nate per violin

ibid paganini said of this work to mr harris that it was not his but was formed from some of his themes badly arranged these are the only positive productions of paganini published up to the present day june 1851 all that has appeared since must be considered as commercial trickeries as extracts from the preceding works or simply as fugitive recollections of some artists such are the following variations

these variations are those which form the 24th capriccio in a minor of the first work twis

accompaniment de piano par gustav caruli these are recollections arranged by the author of the accompaniment introduccione variasione and sol sultema nel corpu nomi

this piece published in the work of gur upon the art of paganini is noted nearly from memory media de paganini o duo por la viola this is also from gore he is published at paris and at berlin the canaval de benizzi telca le jouer paganini and zibori have also given as exact traditions of this musical pleasantry versions differing more or less which give rise to discussions in the newspapers the publication of the veritable carnival de venise...

Biographical Notice Of Nicolo Paganini 4 Free Audiobook Music School History Arts Library.
chapter three part two of a biographical notice of nicolo paganini by franz josef feites this librivox recording is in the public domain chapter three nicolo paganini part two in may 1821 paganini left rome to return to naples candler met him here during the summer he gave concerts at the fondo and at diatro nuovo this literary musician has given an account in the morgenblot 1821 number 290 of the extraordinary impression this hercules of violinists as he called him made upon him the account is filled with expressions of unbounded admiration from naples paganini went to palermo and gave concerts which were but poorly attended attributed by the correspondent of the leipziger musa khaleesha taitung to the indifference of the sicilians for instrumental music his stay here was a short duration for we find him at venice then at placentia at the commencement of 1822. in april of the same year he gave concerts at milan his return being hailed with the warmest tokens of delight and with a success surpassing all his former visits he was now seriously preoccupied with his visit to germany as projected by count metternich but during an excursion to pavia he again fell seriously ill in january 1823 and his life was despaired of he had scarcely recovered when he proceeded to turin where a similar welcome and success awaited him his health was however extremely delicate and the necessity of repose so manifest that he was obliged to return to his native heir some months of inaction and calm passed at genoa renewed his health and strength sufficiently to enable him to give concerts at the tiatras and augustine to which his fellow townsfolk flocked in crowds these concerts took place in the month of may 1824 after which he repaired to milan here he played at la scala on the 12th of june of the same year and was received with acclamations which denoted the intense interest his health had excited some days after he returned to genoa and gave two concerts the first on the 30th of june the second on the 7th of july following paganini seemed to have recovered all his pristine health and strength for in the month of november in the same year his talent seemed to be greater than ever at the concerts he gave at venice the title of philarmonico which then followed his name on his concert bills gave rise to polemical discussions enemies which a great talent invariably creates pretended that the genoese violinist sought to induce the belief that he was a member of the academy of philharmonics of bologna although such was not the case his admirers replied that the academy would be honored if paganini condescended to become one he terminated the discussion by declaring that his assuming the addition to his name was merely a declaration of his love for the art in january 1825 paganini gave two concerts at trieste thence he proceeded to naples for the third time and met with a renewal of his former triumphs in the summer he returned to palermo and this time his success was unparalleled the delicious climate of sicily was so agreeable to him that he remained here a year giving here and there occasional concerts but enjoying long intervals of repose this lengthened sojourn in such a favorable climate restored him to better health than he had experienced for a long period and he returned to his project of quitting italy however before doing so he wished to return to several towns of which he retained so many delightful reminiscences and went to trieste in the summer of 1826 then to venice and finally to rome where he gave five concerts at the tiatra argentina each of which was a separate ovation on the fifth of april 1827 pope leo the 12th decorated him with the order of the golden spur in token of his admiration of his great talent from rome he went to florence where he was detained by a disease in one of his legs which remained uncured for a very long period he...

Biographical Notice Of Nicolo Paganini 3 Free Audiobook Music School History Arts Library

chapter three part one of a biographical notice of nicolo paganini by francois jose feites this liberbox recording is in the public domain chapter three niccolo paganini part one genius talent whatever its extent cannot always count upon popularity susceptibility of the highest conceptions of the most sublime creations frequently fail in securing the attention of the multitude how is this most coveted point to be attained it would be difficult to arrive at any precise conclusion from the fact that it applies to matters totally differing from each other it is however perhaps possible to define the aggregation of qualities required to move the public in masses by calling it sympathetic wonderment fortunate boldness is its characteristic mark originality its absolute condition the most renowned popularities of the 19th century have each differed in their speciality napoleon bonaparte rossini and paganini many other names doubtless recall talents of the finest order and personalities of the highest value yet notwithstanding their having been duly appreciated by the intelligent and enlightened classes they have not called forth those outbursts of enthusiasm which have been manifested towards others during an entire generation the truly popular name appears surrounded by its prestige even to the lowest degrees of the social scale such was the case with the prodigious artist who is the object of this notice nicolo paganini the most extraordinary the most renowned violinist of the 19th century was born on february the 18th 1784 his father antonio paganini a commercial broker or simply a broker's clerk according to some biographers was passionately fond of music and played upon the mandolin his penetration soon discovered the aptitude of his son for this art he resolved that study should develop it his excessive severity would have probably led to results contrary to those he expected had not the younger paganini than endowed with the firm determination of becoming an artist from the age of six years he was a musician and played the violin the lessons he received from his father as may be presumed were not given in the most gentle manner the ill treatment to which he was subjected during this period of his youth appears to have exercised a fatal influence upon his nervous and delicate constitution from his first attempts he was imbued with a disposition to execute feats of strength and agility upon his instrument his instinct urged him to attempt the most extraordinary things his precocious skill exciting the astonishment of his young friends his confidence in the future was not to be shaken from the fact of his mother saying to him one day my son that you will be a great musician an angel radiant with beauty appeared to me during the night and addressing me spoke thus if thou which proffer a wish it shall be accomplished i ask that you should become the greatest of all violinists and the angel promised the fulfillment of my desire his father's lesson soon became useless and sevetto a musician of the theater at genoa became his teacher but even he was not possessed of sufficient ability to be of benefit to this predestined artist paganini received his instructions for a short period only and he was placed under giacomo costa director of music and principal violinist to the churches of genoa under whose care he progressed rapidly he had now attained his eighth year when he wrote his first sonata which he unfortunately took no care of and has been lost among many other of his productions his countrymen neko a distinguished composer encouraged the visits of the boy and tendered to council which doubtless aided him materially in his progress costa only gave him lessons for six months during which period he obliged his pupil to play in the churches but the master's instructions were not at all satisfactory to the pupil who had already...

Biographical Notice Of Nicolo Paganini 2 Free Audiobook Music School History Arts Library study, academy, school, lectures, university,sarnia-de-la-mare,lectures,read-aloud,
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Child Life in Colonial Days by Alice Morse Earle 10 Free Educational Audiobooks Children's Free Library.

chapter 10 of child life in colonial days by alice morse earl this slipper walks recording is in the public domain old time discipline my child and scholar take good heed unto the words that are here set and see thou do accordingly or else be sure thou shalt be beat from the english schoolmaster edward coote 1680 the manor of old-time children differed as much from the carriage of children today as the severe and arbitrary modes of discipline of colonial days differed from the persuasive explanations the moral inculcations and exhortations by which modern youth are influenced to obedience parents teachers and ministers chanted in solemn and ceasing chorus foolishness is bound up in the heart of a child and they believed the only cure for that foolishness was in stern repression and sharp correction above all in the rod they found abundant support for this belief in the bible their constant guide john robinson the pilgrim preacher said in his essay on children and their education quote surely there is in all children though not all alike a stubbornness and stoutness of mind arising from natural pride which must in the first place be broken and beaten down that so the foundation of their education being laid in humility and tractableness other virtues may in their time be built thereon it is commendable in a horus that he be stout and stomach full being never left to his own government but always to have his rider on his back and his bit in his mouth but who would have his child like his horse in his brutishness unquote

the chief field of the breaking and beating down process was in school english school masters were proverbial for their severity and from earliest days the monks with their classes are never depicted with the rod we find agnes paston in 1457 writing in london for word to be delivered to the schoolmaster of her son clement who was then 16 years old quote if he hath not do well no will not amen pray him that he will truly belash him till he will amen and so did the last master and the best that ever he had at cambridge and say i will give him ten marks for his labor for i had lover he were berighted than lost for default unquote she herself had quote born on hand unquote on her marriageable daughter beating her every week sometimes twice a day quote and her head broken in two or three places unquote this seems to have been the usual custom of the british matron in high life lady jane gray when she was 15 years old never came into the presence of her father and mother but she was quote sharply taunted cruelly threatened ye punished sometimes with pinches nips bobs and other way unquote elizabeth lady falkland as long as her mother lived always spoke to that rigid lady while kneeling before her quote sometimes for more than an hour together though she was but an ill-kneeler and worse riser unquote poor elizabeth she was an only child an inheritance but she could truthfully aveer she never was spoiled an early allusion to school discipline is in the boy's bishop sermon from the press of wyken the word who died in 1535 it runs with us quote there is no fault he death but he is punished

sometimes he ringeth him by the ear sometimes he giveth him a stripe on the hand with the feral sometimes beateth him sharply with the rod unquote

great cromwell was sent off to school with injunctions to the master dr beard to flog the boy soundly quote for persisting in the wickedness of the assertion unquote that he had had a vision and prophecy of his future greatness dr johnson told of the unmerciful beating he had by one master hunter who was quote very wrongheadedly severe unquote he said the man never distinguished between ignorance and negligence and beat his heart for not knowing anything as for neglecting to know it and as he whipped with shout quote this i do to save you from...