May 06

Violin and Fiddle: Are They the Same?

Fiddle players get a lot a lot of flack for being lazy violinists while violinists get teased for being snobby fiddle players. There’s even a joke: “What the difference between a violin and a fiddle? A fiddle is fun to listen to.”

So, what is the difference between a fiddle and a violin? At it’s core, nothing. Violin and fiddle players use the exact same instrument. The only difference that could occur is in the “set-up” of the instrument.

Itzhak Perlman, world famous violinist

Itzhak Perlman, world famous violinist.

Amplification set-up: Violinist tend to play in orchestras, quartets, trios and do not often have to use a mic to be amplified over other instruments. Fiddle players, on the other hand often play with bass, guitar and drums and often need a “pick-up” or microphone of some kind to amplify themselves over the other instruments.

String set-up: There are hundreds of kinds of violin strings. Each violinist or fiddle player will have their particular kind of string they like to use best. In general though, fiddle players prefer a steel string for their direct and clear sound. Violinists can talk for hours about different kinds of strings and why they use the type of string they do. It might be one of the reasons why violinists are considered snobby.

Bridge set-up: Often fiddle players have their bridge shaved down because fiddle playing has a lot of chords and double stops. Having a lower bridge helps to keep the strings on a more level plane, making it easier to hit chords. The classical violin style is associated more with single notes so having a more arched bridge is preferred.

So, what’s harder the violin or the fiddle? Violin players and fiddles players, while using basically the same instruments, have entirely different skill sets. A fiddle player is striving to often play super tricky rhythms and lots of doubles stops (playing two notes at once) and chords (playing three to four notes at once). A classical violinist, will be striving to produce clear tone, vibrato and learning the different positions on the violin.

I travel often and without fail whenever I am walking through an airport with my violin on my back a get the questions, “Is that an instrument?”. My response is always the same, “Yes, a violin.” I would say about five out of ten times the response back is, “Oh, my grandfather played the fiddle. Do you fiddle?” I always want to respond yes to this question, but instead I say, “I can fiddle.” I can fiddle and in fact I enjoy fiddle music but I was trained to play classical violin and know that my fiddle playing methods fall short compared to the great fiddle players.

The reality is that In whatever genre of music you play, being proficient at it requires practice, dedication and skill. This has very little to do with the instrument and more to do with the heart, focus and love of the genre of music you are playing.

Mark O'Connor-world famous fiddler.

Mark O’Connor, world famous fiddler.

Apr 22

Violin Parts: All About Fingerboards

As a luthier at Kennedy Violins, I spend hours a day staring at fingerboards–sanding them, smoothing them down, looking for the scoop (see below). As you can imagine, a stringed instrument would be impossible to play if there were no place to put your fingers. So, naturally, one of the most important parts of a violin is the fingerboard: the long black piece of wood that (hence the name) is a board on which you put your fingers.

fingerboardstevesnodgrass

A fingerboard painted black to look like ebony. Fingerboards made with less-dense white woods usually decrease the value of the instrument. (Photo by Steve Snodgrass)

IS IT EBONY? AND DOES IT MATTER?
The main reason ebony is used for fittings (chinrests, fingerboards, nuts, pegs, end buttons, tailpieces) on stringed instruments is not because it’s pretty or exotic, but because it’s STRONG. Each time your press a metal-wound string down in contact with the wood, the wood has to be dense and strong enough to be a firm platform and hold up to potential wear over time. For example, imagine if your teeth were made out of balsa wood instead of enamel. Each bite would wear your teeth away in no time.

SHAPE & CONSTRUCTION
If you look at the fingerboard, it may not look very special at a glance. But while this standard part may look like a simple addition to the body of a violin, it must be made with detail and meticulous precision in order to function as it should.

1. Curve
When you look at the fingerboard of a violin, you’ll notice that its not flat like a fretted fingerboard on a guitar or mandolin. The reason why the fingerboard is convexly arched on violins, violas, cellos, and basses is because these instruments are bowed rather than exclusively strummed or plucked.

fingerboardblindrobert

Violin fingerboards are not flat like the fretted fingerboard of a guitar or mandolin. (Photo by Blind Robert)

Think about it. When you’re playing a bowed stringed instrument, you’re normally playing one note at a time. Playing one note at a time means your bow is only touching one string at a time. If the fingerboard were flat and the strings level, drawing a bow across the instrument would cause all the strings to vibrate at the same time.

Therefore, the arch of the fingerboard (as well as the bridge) must be precisely shaped and measured so that individual strings may be played with ease.

2. Scoop
By just looking at a fingerboard, you probably won’t even notice the imperceptible dip in the length of the violin. While there is a convex arch across the width of the violin, there is a concave scoop along the length.

The scoop in the fingerboard leaves room for the vibration of the strings. Imagine pressing a string down on a completely flat fingerboard with a flat bridge. The string would lie flat along the length of the fingerboard making contact at every point, giving the string either no room to vibrate at all or just enough to buzz.

When luthiers (violin makers) plane and carve the scoop into a fingerboard, they start by placing a straight-edge along the length. They slowly carve a dip into the fingerboard until it meets precise measurements. This will keep the strings from buzzing when played.

Ébano

Raw Ebony (Photo from Wikimedia Commons)

3. Smoothness
Fingerboards (as well as every part of the violin) are smoothed with wet and/or dry sandpapers, micromesh, steel wool, and scrapers to be extremely smooth to the touch. Who wants to press their fingers down on rough, splintery wood? Ouch!

Smoothing and scraping out any bumps also prevents buzzing. If you sight down the fingerboard, it should look smooth, not wavy or ripply.

CRACKS & IMPERFECTIONS
Most cosmetic imperfections on the surface of a fingerboard can be corrected. First, check and see if your fingerboard is made of ebony or a white wood painted black. If the wood is anything other than ebony, it will be approached differently because it is coated with a finish. A fingerboard not made of ebony lessens the value of an instrument.

1. Cracks
For cracks, the key is depth. Is the crack large enough that it opens when you put pressure on either side, the fingerboard will need to be either 1) clamped and glued, or 2) replaced. Fingerboards are typically glued on with hide glue, a water-soluble glue used by luthiers so instrument parts can be removed, repaired, or replaced.

2. Chips, Scratches & Surface Cracks
Because not all pieces of ebony are perfectly smooth, and some may be splintered in the planing process (especially if the wood grain isn’t forgiving), one trick luthiers use is filling imperfections with a clear glue (or even fingernail polish) mixed with ebony dust. Black dyes can also cover any discoloration in the wood.

______________________

So next time you pull out your violin, take a look at your fingerboard. Look to see if its ebony or wood, then look for the scoop, observe the shape, and check its smoothness.  Who knew there was so much to it?

Apr 01

The Musician’s Résumé – Part 2: Writing & Distributing

A well-written résumé can be your ticket to the job of your dreams. (Photo by woodleywonderworks.)

A well-written résumé can be your ticket to the job of your dreams. (Photo by woodleywonderworks.)

In “The Musician’s Résumé – Part 1: Getting Started” on our Kennedy Violins blog, we brainstormed ideas on how to get started with a musical résumé. Now that we know the direction we’re headed, it’s time to put it all together.

____________________

WHAT TO INCLUDE

Keep in mind that your résumé should include a combination of the information below whether you are a performer or teacher.

THE BASICS

Everyone needs to include the same basic information to start, regardless of your end goal:

  1. Full name
  2. Contact information (phone, e-mail, address)
  3. Educational background and degrees/certifications obtained
  4. Primary Instrument and style (classical, jazz, folk, rock, etc.)
  5. Secondary instrument(s). Note: Only list instruments you can play fairly well–not the oboe you played for one year in middle school. As a rule of thumb, honestly consider your capabilities: could you perform in an ensemble or teach beginner/basic music lessons on this instrument? If so, list it.

_____________________

Below your contact information you will clarify your emphasis in the first (and main) section. Group information in a logical way: chronologically, in order of significance (recommended), or in a combination of both (i.e. categories with information within the category in chronological order).

FOR PERFORMERS

Performers will emphasize performance experiences on a shorter, focused, résumé that doesn’t need wordy descriptions. According to The Musician’s Résumé Handbook by Bob Borden and Kathy Ivy of the Eastman School of Music, “Performance résumé must be limited to one page and should include only educational training and performance experience. All material should be listed in order of performance, without any description or list of duties.”

However, while its up to you how much and what information you include, you might consider noting your roles as either a section player, principle, or soloist, unless you’ve exclusively been a section player only and repeatedly mentioning it is unnecessary.

What to include:

  • Ensembles with which you’ve played: orchestras, operas, bands (be selective–don’t mention your garage band to a professional symphony admin or anyone you want to take you very seriously).
  • Teachers of note
  • Master classes in which you’ve performed or taught. Mention notable artists with who you’ve worked.
  • Freelance work and recording gigs. Note studio names and other meaningful specifics about the nature of the gig.
  • Major recitals and other solo performances.
  • Major artists with whom you’ve performed or accompanied.
  • Touring experience.

FOR TEACHERS

  • Workshops and masterclasses you’ve led.
  • Private teaching experience, whether at a studio, a music school, or in your home.
  • Non-music teaching experiences that reflect your capabilities.
  • Certificates and memberships with associations like MENC or Suzuki.

ADDITIONAL SKILLS & INFORMATION

Ttowards the bottom of the page, include info that shows you’re a well-rounded individual with other marketable skills:

  • hobbies
  • languages you speak
  • community service involvement
  • achievements
  • computer/recording skills
A modern résumé layout by Conor Luddy. Choose a style and readable font that reflect the impression you hope to give about yourself.

A modern résumé layout by Conor Luddy. Choose a style and readable font that reflect the impression you hope to give about yourself.

MAKE IT LOOK GOOD

There are many ways to take advantage of the space on the page of a modern résumé, limiting white dead space and including all the important information you can. Working with columns and even spreadsheet cells can help distribute information evenly across a page.

Using light colored paper, like a classy off-white, can also give it a nice touch. However, as most résumés are distributed online now, you may not need to worry about paper. Still, you could make the background of your résumé a non-white, unassuming color for interest in your PDF or digital file.

DISTRIBUTING YOUR RÉSUMÉ

Now you’re ready to send! Send this résumé (along with a brief cover or introductory letter of inquiry) by e-mails or snail-mail to orchestra managers, school administrators, or other potential employers. You might even Include a recording (on a CD or as a sound file attached to e-mail) or yourself performing.

TIP: Once your résumé has been handed over, don’t just wait for a response, be ready to perform! Have audition pieces ready, to play, be brushed up on your conducting, or have a first lesson for students prepared.

_________________

Once your music résumé is complete, we would love to see it here at Kennedy Violins! Feel free to contact me at liz@kennedyviolins.com with questions or with your résumé for review. As supporters of the music community, we want to see you succeed.

All the best!

The KV Team

Mar 29

The Musician’s Résumé – Part 1: Getting Started

Photo by Nguyen Hung Vu

Photo by Nguyen Hung Vu

In a previous post on our Kennedy Violins blog, “How to Find Gigs: Musical Networking,” I talked about ways to make connections within a music community when searching for performance opportunities. Diving further into the networking process, I want to zone in today on a specific and powerful networking tool: the musician’s résumé.

DO I NEED A RÉSUMÉ?

Anyone and everyone looking for work needs a résumé, including musicians and performers. When you’re a student, you rely heavily on your transcript as a reflection of your accomplishments, but once you’ve graduated from high school or college, your work experience becomes the substance of your marketability.

A SENSE OF DIRECTION

Where do you start when drafting your résumé? The first step is not to focus on where to begin, but where you want to end up. Think about your direction, motives, and professional goals. What kind of work are you looking for?

If you’re primarily a performer looking for gigs, your résumé will highlight your performing experience. Or perhaps you are primarily a music educator looking for private students or a position as a professor, conductor, or school orchestra teacher. You may be interested in an administrative position with a music-related organization. There are so many different opportunities, so your résumé will target the type of employment you’re looking for.

WHERE TO BEGIN

If you’ve come down with a case of writers block before you’ve even started, here are a few ideas:

  1. Make a list of your career goals and the types of jobs/gigs you’re looking for.
  2. Make a second list of specific employers or companies you’re targeting. For example, if you want to play in a professional symphony, look up open positions first so you know your options. The music union (the American Federation of Musicians) is also a helpful resource for finding work opportunities.
  3. Make a third list of major experiences and jobs you’ve had in one column and your skills in a second column. Don’t think too hard, just free flow stream-of-consciousness-style, jotting down anything and everything of import in your life.
  4. Weed out the unnecessary. Underline or highlight the most significant information to include in your résumé. Make decisions about what information is important to keep by asking yourself whether or not your future employer would find it relevant.
  5. Work on your layout first, then fill it in. Sometimes its easier to fill in the blanks (perhaps in a template) rather than stuff your content into a layout later.
  6. Look for examples. Ask to read résumés by people you know or Google résumé examples, templates, and tips online.

FIND EXTRA HELP

Gleaning knowledge from other people can be extremely helpful as they offer you some extra perspective.

  1. Sit down with someone who knows you well to evaluate and point out the marketable skills you have that are apparent to them but not always to yourself.
  2. Meet with a professional adviser who can help you put together your résumé, review your current résumé, and offer editing suggestions.
  3. Meet with a professional who does what you want to be doing. Discuss your goals with someone who has achieved them. Someone experienced in your field is sure to have advice and direction to share.

GET READY TO BRAG

Creating a résumé is a chance to highlight your best. This is the magical opportunity to put your best foot forward, make a memorable first impression (without even being present!), and highlight your greatest achievements. Don’t be humble! Any relevant experience counts–even that one time you subbed with a specific orchestra or played in that masterclass you completely forgot about. Adding up all these details–even one-time experiences–will create a full and impressive résumé.

For information about specific items to include in your musician’s résumé, stay tuned for “The Musician’s Résumé – Part 2: Writing & Distributing.”

 

Mar 26

Music Theory Basics Part 4: Scale Degrees

This is the last installment of Music Theory Basics.  Why?  Well, beyond this you are getting into more intermediate and advanced concepts of music theory.  Even this entry is pushing the limits on what is “basic,” which is why I strongly recommend taking sometime to review the previous three entries before reading this one.

In Part 3 of Music Theory Basics, we discuss how our modern day musical scales developed from the musical modes used by the ancient Greeks.  For today’s purposes, here is a “textbook” definition.

  • Scale: a series of notes arranged, ascending or descending, by pitch.

Most scales are arranged in 8 notes (octave) and there are 7 different pitches within the modern musical scale of the Western world.  Each pitch serves a specific function and a name describing that function. Take a look and the scale degrees of a C major scale.Scale Degrees

  • Tonic: As the first scale degree, the tonic is the strongest tone within the scale and is the pitch that the melody and harmony center around.  Musical phrases usually end on the tonic.
  • Supertonic: The second scale degree which is on step above the tonic. This note is usually used as a passing tone to resolve to the tonic.
  • Mediant:  The third scale degree.  The mediant is halfway between the tonic and the dominant and is often used to harmonize either tone.
  • Subdominant: The fourth scale degree derives its name from being just below the fifth note (dominant) and being a fifth below the tonic.  It’s placement makes it a fairly strong note often leading to the dominant or tonic and sometimes it finishes a musical phrase on its own.
  • Dominant: The fifth note in the scale is the second strongest to the tonic.  In many cases, other notes will resolve to the dominant rather than the tonic and the end of a musical phrase.
  • Submediant: The sixth note of the scale is known as the submediant because it is halfway between the subdominant and tonic.  It’s function is similar to the mediant.
  • Leading Tone:  The last note on the way up to the tonic the leading tone creates the most dissonance and just begs to resolve to tonic.  A great way to torture musicians is to end a musical phrase with the leading tone.

By knowing the names and the roles each scale degree plays in the scale, we can better understand the relationship of melodies and harmonies which can aid in composition, improvisation, and analysis.  You no longer have to say, “I like that song, it sounds pretty.”  Instead, you can say, “It sounded like the composer was going to resolve to the subdominant, but instead he moved to the dominant and then resolved to the tonic.  That move created a little bit of tension, but not too much. I liked that.”  Impressive.

Mar 04

Kennedy Violins Opens Its First Retail Location

Founder Joel Kennedy in front of our the new Kennedy Violins store in Vancouver, Washington.
Founder Joel Kennedy in front of our the new Kennedy Violins store in Vancouver, Washington.

For over a decade, Kennedy Violins has been one of the nation’s premiere sources of affordable string instruments through kennedyviolins.com, an online store for instruments, accessories, sheet music, and more. Kennedy Violins is now opening its first retail store serving the Portland-Vancouver area. Located at 508 SE 117th Avenue in Vancouver, Washington, this new location is easily accessed from the Mill Plain Exit off of I-205, just across from Cinetopia.

In addition to string instruments for purchase and rental, Kennedy Violins offers lessons in its private studio and instrument repair by a staff of professional luthiers in a full-service violin shop. The large showroom of Kennedy Violins’ extensive line of instruments also serves as an acoustically vibrant performance venue for recitals and concerts by local performers.

Grand Opening Concerts
A grand opening concert featuring 2011 National Oldtime Fiddlers Contest winner Aarun Carter will be held on Saturday, March 2 at 1:00pm and 2:00pm. Admission is free with a reception to follow. A second grand opening concert featuring violinist Emily Wu will be held on Friday, March 15 at 7:00pm, also with free admission and a reception following.

 

aaruncarter

Fiddle champion Aarun Carter performs at Kennedy Violins’ first grand opening concert on Saturday, March 2.

How It All Began
Joel Kennedy, founder and president of Kennedy Violins, is an Oregon native and professional violist. After completing his education at the Eastman School of Music in New York, he began his career as a music educator and professional violist. Joel currently plays with the Portland Opera and privately instructs up-and-coming youth performers.

The seed for Kennedy Violins was planted years ago when Joel became frustrated by the overpriced and poor-quality string instruments his students were purchasing. These mass-produced violins made with poor materials and improper setup were hardly playable—especially for beginners. He quickly became determined to find instruments for his students that not only cost less, but were of higher quality.

Joel discovered that the only way to provide genuinely superior instruments was to work directly with the makers, ensuring that each individual instrument be built according to his specifications and standards. By forging relationships with instrument makers around the world, Joel established a way to provide students with superior violins and violas at a lower cost.

A Unique Approach
This unique approach to purchasing directly from the maker led to the formation of Kennedy Violins, which since 2000, has brought an impressive collection of high-quality, low-cost string instruments to musicians throughout the U.S. and Canada. These instruments are not only satisfying to play, but also beautifully handcrafted.

The ability to find unique solutions to common problems is a skill Joel learned in his childhood. While a young and rapidly advancing music student, Joel needed a high-quality viola. At the time, however, advanced student violas cost between $8,000 and $12,000—far out of the range of affordability for his family. Tom Kennedy, Joel’s father, happened to be a skilled woodworker who knew how to solve the problem. Although he had never built a musical instrument, he learned the luthier trade to craft a viola for his son.

Since then, Joel has played exclusively on violas that built by his father. Tom Kennedy’s handcrafted violas are now being played in professional symphony orchestras around the world.

When Joel began Kennedy Violins thirteen years ago, he has had the pleasure of extending his father’s determination by providing instruments to students around the country. Now Joel’s youngest six-year-old daughter plays on a Kennedy Violins instrument. The love of music and determination to make it accessible to everyone has now reached a third generation.

More Than Just a Music Store
Over the years, Kennedy Violins has become more than just a music store; it represents the entire music community. In addition to selling and renting instruments, Kennedy Violins has been a long-time supporter of school and community music programs across the country through the donation of instruments, cases, and bows to students in need. Beyond these and other charitable contributions, the organization is a resource for music education and performance opportunities.

In a world where the arts are being pushed from center stage, organizations like Kennedy Violins bring promise to the music community both in the Northwest and throughout the country. More than ever, the affordability of musical instruments matters to budgeting families hoping to provide a musical education for their children. And thanks to visionaries like founder Joel Kennedy, these hopes are being brought to fruition—one violin at a time.

Mar 02

Kennedy Violins GRAND OPENING: Today!

20130302-140113.jpg

Special Guest Performances!

20130302-140130.jpg

Try out our amazing lineup of instruments!

20130302-140142.jpg

Call us if you’d like to schedule a performance in our recital space!

20130302-140544.jpg

See some wall art by Liz Lambson!

20130302-140610.jpg

See handcrafted woodwork by Joel Kennedy himself!

Feb 22

2013 Poetry Contest…WINNER Announced!

heart-music

This year, our entrants really brought their A-game!  It was difficult for the judges to come to a decision, but a winner has finally been announced!  The winner is Elizabeth Ryan and her poem “The Beauty of Music.”

A well worn case sits on a shelf, its surface framed with dust. Its leather covering is old, its handle and hinges rust.
In side this case such beauty lies, that’s yet to be untold. The beauty of an instrument, which such rare treasures hold.
The case is lifted gently up, and placed with loving hands. Upon a wooden table near, it finds a place to land.
Its lid is opened to reveal a wooden object there. A Violin, this treasure is, a treasure O so rare.
A small child picks it up, and plucks the strings to tune. A smile gently plays her lips, as fresh as a day in June.
The bow she takes and rosins it, to play her music fair. The Violin on her shoulder she places with such loving, tender, care.
Now, hark! a single string she plays, alive with beauty bright. A melody than slowly forms, it fills every heart with delight.
The music slowly fills the room, with fullness to behold. The melody’s a minuet, from the Great Masters of Old.
The music grows in rapid course, now slow, and now it’s fast. The scenes that dart before your eyes are years of long time past.
Now it’s spring time in the meadows, now it the warm, hot, summer, days. Now the leaves are falling gently, now a visit to winter is paid.
O, the glories of such music, O, the treasures it can hold. O, the joys the Lord has given us, O, such wonders to behold.
We should thank the Lord for music, and remember with each string, that even playing music, should glory to him bring.

The judges really liked her descriptive imagery.  Elizabeth has won our Premium Accessories Package.  Congratulations!

We are also pleased to announced two honorable mentions.  Cecille Lee Gove and her poem “It’s Music.”

What is beautiful and soothing to the ears,
A treasure that brings both laughter and tears.

It comes in all sizes, shapes, and sounds,
And has trillions of fans all around.

It’s high and low, flat and sharp,
And brightens even the dimmest heart.

It’s country, gospel, classical, and rock,
And something no living creature can mock.

It’s the piano, organ, piccolo, and flute,
Violin, viola, mandolin, and lute.

It’s the fiddle, banjo, guitar, and xylophone,
Oboe, clarinet, drums, and saxophone.

It’s bass, treble, soprano, and alto,
Whole, quarter, half, and eighth notes.

It’s better than bronze, silver, and gold,
And anything the ears can ever behold.

What’s the answer – do you know it ?
It’s God’s gift to us all – it’s music !

As well as, Paolo Ferrer and his haiku “Sound Post.”

A Breath. Bow meets strings.
The being’s essence expressed
Soul soars, woes fleeting

Thank you to everyone that participated!  Stay tuned to the blog and our Facebook page for news of upcoming contests.

Feb 12

A Brief History of the Serenade

Photo by Elin B

Photo by Elin B

With Valentine’s Day less than 48 hours away, you might be sweating bullets trying to come up with some way–any way–to impress that special someone.

Well, I’m going let you in on a little secret. There is nothing that wins someone over like MUSIC. Sure, you could always gift your sweetheart a violin. But it’s also prime time for serenading and the singing telegram. And this strange tradition of awkwardly showing up at someone’s door to sing songs (think Christmas carolers) is nothing new. It all began with the serenade.

A BRIEF HISTORY OF THE SERENADE

Going back to prehistoric times, there is evidence that music existed. Like verbal language itself, music is similarly a natural and essential form of communication. The oldest known musical instruments include a collection from China even dating between 6,600 and 7,000 BC. Now those are some serious oldies.

If you think about it, almost any piece of music could be considered a serenade in the sense that all music is intended to be performed for an audience, whether it be a hall of concertgoers or simple an individual.

But when it comes to the traditional serenade, this form developed in Medieval times as a way for an eager gentleman to serenade his lady love of choice. This was typically done in the evening through a window (Romeo-and-Juliet style) with self-accompaniment on a lute or guitar.

These medieval serenades developed into an art form of its own kind. During the Baroque era the serenade evolved into a lyrical piece still sung and played outdoors, but for an an audience rather than a courted lady. By the Classical and Romantic eras the serenade further evolved into a form in concert literature for string ensembles and orchestras, like a light symphonic work with multiple movements and varying tempos, but free of heavy, dramatic orchestration. The serenade kept it’s lyrical, evening-song character.

AND IT’S STILL HAPPENING

Going back to the original serenade with that young man singing at the window, this form of the serenade is still performed today. There is no shortage of young men wooing girls on the guitar. One of my old roommates was even proposed to via song. Singing telegrams, caroling, Italian men singing from gondolas, mariachi band specials, and even Elvis impersonators serenading couples down the aisles of Vegas wedding chapels are today’s popular way to send messages of love.

Now, you can even serenade your loved ones online. For example, my friend Fresh Big Mouf will send his original song, “Secret Crush” to your very own secret crush as a digital message of love. There’s modern serenading at its finest.

Serenade your secret sweetheart with a virtual valentine.

Serenade your secret sweetheart with a virtual valentine. (Photo by Marcello Ambriz)

____________________________

So if you really want to win over the one you love, you may find that harmony is the key (signature) to the heart. Ditch the chocolates and warm up your vocal chords because now is the time to confess how you really feel. And while you’re ditching your chocolates, send them to me. I can help you out with that.

Feb 04

How to Use a Metronome

Photo by Mrs Logic

Photo by Mrs Logic

Instrument, bow, stand, music, pencil–that’s all you need when you sit down (or stand) to practice, right? Wrong. One of the most essential and useful tools for the wise, efficient practicer is this marvelous, magical machine: the metronome. The timekeeper. That thing that clicks.

As a string bassist who grew up classically trained, I was used to bending the tempo, slowing with ritardandos, stopping for fermatas and railroad tracks, slightly altering the tempo based on the lyricism of the piece, and sometimes completely throwing the beat out the window to play a cadenza.

When I went to music school in college, I was introduced to jazz, and I realized I was on a completely different playing field, playing a completely different ballgame. As a player used to hashing up melodic solos, playing jazz forced me back to the bassist’s primary role: keeping the beat. I remember my teacher telling me that a bassist who can’t keep time is useless. A musician might have perfect pitch and stellar chops, but without a sense of rhythm . . . well. Good luck.

Another time I was preparing for a blind audition and was given a tip to keep in mind. When you can’t see the adjudicators listening from behind a screen, you won’t see their faces, but you also won’t see their pencil lightly tapping on their knee checking the consistency of your tempo. Hopefully all panel judges aren’t that cruel, but my paranoia of that “one” judge made me reconsider my relationship with my metronome.

We needed to become best friends.

____________________________________

USING YOUR METRONOME

If you don’t have a metronome, now is the time to keep time. My personal favorites are metronomes with a dial (rather than digital metronomes) such as the Wittner MT60 Quartz. But anything that keeps steady time will do.

Here are a few things your metronome can help you do to become a better musician:

  1. Understand tempo markings. I like metronomes with a dial that show you the numerical ranges for common tempo markings like largo, andante, moderato, presto, etc. The metronome can help you get the feel for the overall tempo of a passage or piece.
  2. Set the tempo. Sometimes composers and conductors mark the music with a specific numerical tempo marking in addition to a general tempo marking (like “largo”). Identify the appropriate tempo for your piece of music. This doesn’t mean you’ll start practicing at that tempo. It’s just what you’re aiming for. (See number 5.)
  3. Warm up. When you pull out your instrument, start with long, slow tones to warm up the rosin on your bow and smooth out your tone. Typically you’ll start with scales. Warming up with a metronome is like getting your musical heartbeat pumping again. Wake up the rhythm in your body! Ole!
  4. Practice scales and arpeggios with different rhythmic patterns. After playing scales with whole notes, half notes, and quarter notes, change it up a bit, moving up the scale in triplets (one triplet per bow) or groups of sixteenths. Then practice arpeggios at a slow tempo, gradually turning up the speed.
  5. Perfect difficult passages. For all music, whether you’re playing scales, arpeggios, orchestral excerpts, or solos, START SLOW. Only increase the speed on your metronome once a passage or lick is free of error. You can apply this principle to even a single measure, a group of notes, or even a single shift between two notes. Zone in on exactly what you’re tripping over and then conquer it with your metronome.
  6. Subdivide. Your metronome beat doesn’t have to just be for a quarter note. Set it four times faster to click on the sixteenths, or three times faster for triplets. This will help you decipher tricky rhythmic passages, steady your dotted rhythms, and keep a steady beat overall.
  7. Learn vibrato. A great way to get your hand and fingers comfortable with the physical motion of vibrato is the slowly roll your wrist, forearm, and/or fingers in time with a slow beat. This will develop a vibrato that vibrates consistently rather that shaking uncontrollably. (See “String Instrument Techniques: How to Learn Vibrato.”)
  8. Sight read. After regularly using your metronome, you should get a good feel for basic tempo markings. Remembering that “60″ means 1 beat per second, if you can get the feel for the timing of seconds, this can be your baseline reference. When you get a piece of music to sightread, always identify the expected tempo before taking off. (See “15 Tips to Successfully Sightread.”)
  9. Prepare your accompanist. Whether you’re playing with a pianist, a duet partner, a small ensemble, or an orchestra, you can set the tempo specifically to what you’re comfortable with. It’s the worst when your accompanist rushes ahead of you at a pace that makes you stumble over your tricky passages. Even five extra beats per minute could throw you off if it’s faster than you’ve prepared. It’s also torture when you accompanist drags behind you. Give them an exact number so you can play in rhythmic harmony.
  10. Conduct. If you conduct music, all of these principles apply to your ability to lead musicians in time. Just like I was saying how a bass player who can’t keep time is useless, a conductor who can’t keep time is even MORE useless! Conductors have to be the rock when it comes to keeping the beat. If you tend to rush or slow down, spend more time with your metronome.

______________________________

 Now, off you go to the practice room. Have a great TIME!

Older posts «

Welcome Kennedy Violins Blog

Log in

Lost your password?