2/16/17

SMILE, open the jaw, so much tension

Schumann
- Needs to be more special, go WAY quiet, like, what was that piece???
- Palate sort of thing, between N&E and Al

Sevilla
- Make climbing passage clearer
- Hold last chord a little longer, feels rhythmically funny
- Tendency to over play the first note of a group in the quiet section

Caprichio
- Do the extremes of the dynamics you have, dont lose interest, more shape
- Free at the end, more extreme at Adagio

Cordoba
- Dont rush ascending line right before return to chords
- Octaves after major section were really punchy
- Beginning gradually got punchy too

Now and Ever

- High tremolo section can be more weepy
- Tremolo can be more introspective, hold over voices
- Chords shouldnt be in tempo, can be broad
- Energy should change in second to last section, new day
- Play a lot slower before 6s
- More pianissimo in high harmonic section
- In general, have more tender moments, doing great with the loud stuff
- Intro to mvmt 1 can start even quieter

Gigue
- More short upbeats

Gavotte
- Should be more over-weight, more bass
- Too fast, shoot for half note = 65

Sarabande
- Dont cheat the dotted half note
 - Got plodding in the second half, think longer phrases
- More contemplative, like a prayer, play with your eyes closed

Courante
- Shorter notes in ascending opening, and in general, articulation!
- Measure 26 to end of section: decresc, more elegant, dont crash, same with the end
- Runs more like the wind, not like an etude

Allemande
- More tenderness, not agro
- Start most of your lines with less attack, warm up sound

Dowland
- Write out every phrase

2/13/17
Dowland

m. 12: not quite so loud on subject

m. 33: figure out timing
m. 60: quieter inner voice
m. 97: much more uncertain
m. 107: work out new fingering
m. 125-6: shifts
m. 134: fingering
m. 140: more liberty with time
m. 150: start dying sooner

Prelude

m. 7: stretch
m. 74: more time!
m. 78: time to change??
m. 83: not bad, always needs work though
m. 94: needs to be even
m. 99: more time on last chords

Allemande

m. 4: take time
m. 6: I keep shifting down
doesnt feel very improvised any more, meet in the middle
m. 10: slur
m. 15: chord

Courante

m. 1: stronger start, steady tempo

m. 23: still tough
m. 6: dont rush
m. 41: more time on top note
m. 52: still tough
m. 63: look over
end: off after one beat

Sarabande

m. 15: take time instead?

m. 22: push through second beat

Gavotte I

m. 9: clean up
m. 19: decide what youre doing
m. 26: NICE

Gavotte II

m. 8: get used to just the D

end: figure out timing back into I

Gigue

m. 11: still tough

m. 15: dont rush
practice with metronome!
m. 32: short D
m. 65: of course

Now and Ever I

m. 8: more time before

m. 13: no roll!!!
m. 21: gotta nail that high note
GOTTA DOWNLOAD THAT APP
m. 44: work on shift to here
m. 95: quieter/slower longer
end: less time on the F#

Now and Ever II

m. 1: get that thumb in there

need to practice it at this tempo (fast)
m. 48: either memorize or look at it
m. 85: reach it
m. 120: maybe quiet but stay fast?
m. 147: go here first
m. 228: fuuuuuuuuuuuuuuuuuuuuck
m. 274: listen to the Bs and Gs, subdivide

Auf einer Burg

m. 3: get that A
m. 5: the harmonic
m. 10: start quieter, bigger climax
m. 14: start with bass and then fast role of upper four strings

Cordoba

make Seymour changes

m. 18: figure out a way to connect chords
m. 30: these chords
m. 46: mark string!
m. 100: work on transition
m. 141: this transition too
end: the harmonics are hard, maybe do Seymours version

Capricho Catalan

a little faster
m. 12: look at fingering
m. 31: connect chords better
m. 67: chords
m. 71: loud, then second time through recap its quiet
m. 104: faster roll
m. 107: slower

Sevilla
m. 18: dont buzz the first one
m. 26: this shift
m. 30: get used to 1-3 first
m. 56: roll this shit!
m. 67: first finger!
m. 72: look at this again