Please listen and critique your performance of "Vanishing Pointe" that was made this morning. Include at least one positive and one constructive criticism.
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Click here for the recording.
23 comments:
I thought that the overall performance was relatively in tune and the rhythm seemed correct across the whole orchestra. While all the parts were in tune and together rhythmically, I felt that there were some balance issues; particularly in the viola and 2nd violin sections, the solos were difficult to hear. In addition, I thought that dynamic changes were completely lacking in the piece: everything ranged only from mp-mf.
The sections seemed like they knew their notes and music well and were able to stay on beat and together. The dynamic level and changes were very strong in the beginning of the piece but towards the middle and end, it was weaker and the changes seemed less drastic than they actually were. Also there were also sometimes where I felt people were anticipating the beat too much and playing slightly early.
The sections need to work on playing in unison, because they sound messy, and unorganized, where they should sound like one instrument. The dynamic changes were only present in the beginning, making the rest of the piece sound dull in comparison. We should all play notes distinctly and precisely, especially in the 16th note sections (measures 15,68,124) where it is vital to be quiet, yet distinct. Each section should perfect their melodies because they stand out, are important, and will make us all sound bad if random notes are being played. The 2nd violins should perfect the repeating melody that first appears in measure 31, because it makes up a big chunk of the piece. Although we did sound pretty good overall, there is still a lot to work on before the piece is concert ready.
I thought that the piece was overall pretty good, the rhythm was on or extremely close consistently and the notes were in tune throughout most of the piece. However, during certain sections of the piece, especially the solos, the sections weren't synced and it was hard to imagine that there was one violin, viola, or cello playing the solo. You could hear multiple individual instruments, even though they were very close. Also, as a bass, I feel that I should follow the dynamics more closely, but since I'm the only one, I should play a little louder than the given dynamic, but not too loud.
Overall, I think the performance was decent; for the most part, we stayed together and in tune, and a lot of times the music sounded very strong and confident (in a good way). However, like many people already commented, the dynamics were nearly nonexistent; except for the sixteenth-note parts which go from ppp to f, there wasn't that much change in dynamics, which made the performance sound very flat and monotone. I also felt that, like Monet mentioned, there were balance issues in the orchestra; the first violins always sounded the loudest, and the other sections sounded distant and not as confident or together (although, to be fair, the first violins were right next to the microphone). I think some of the transitions between parts of the piece need a bit cleaning up (they're often out of tune or fall apart a bit).
I feel like, in this piece, there is supposed to be a contrast between the faster, staccato, more dynamic sixteenth note parts and the more emotional, legato, and "longer note" parts; however, in the recording, there isn't that much contrast. I think that if we used dynamics more efficiently and obviously, and balanced the sections better, this contrast would be more audible and would make the piece sound better.
I think that, overall, we did a good job with the intonation and rhythm. However, I think that we definitely need to work on our dynamics in this piece. It is very important to pay attention to dynamics, especially in a piece like Vanishing Pointe, where there are many intense dynamic changes, and although we didn't ignore dynamics completely, our range of volume was much smaller than it should be. Specifically, we need to pay more attention to crescendos, especially those that are meant to be dramatic, such as measure 68 and measure 124. In addition, there are areas of the piece that should have strong dynamic contrast. For example, in the second violin part, in the section that begins in measure 58, there needs to be a dramatic distinction between the fortissimo of the open E and the sudden piano of the sixteenth notes. Because we haven't been paying thorough attention to these dynamic changes, it feels as if the piece lacks something. In addition, I think it would be useful for us to focus on increasing our precision in certain areas of the piece– particularly sixteenth note sections.
Each section mostly knows the rhythm and notes and can play the faster sixteenth note parts pretty well. At the beginning and end, the dynamics were strong and they contributed to the overall tone of the piece. In the middle there were not a lot of dynamics but the notes were played loud enough so they could be heard and none of the sections overpowered another. The second violin solo sounded weak and quiet and throughout the whole piece, sometimes a section would play an off tune note or have awkward timing. Also, in parts individual sections were not together so it sounded a little messy but overall, we did a nice job playing it.
The performance was good, but the lower strings sections were hard to hear. I also think that the dynamics were loud in general and each section could exaggerate the written dynamics a little more. One final detail is that the tempo is all over the place, getting faster then back to a tempo constantly. This can easily be resolved by the group occasionally looking at Ms. Minnie's tempo and not getting too distracted by the different parts around them. Though the intonation and togetherness were spot-on and I think it sounds very good so far.
Pros:
The strongest facet of this performance was the sharpness early on in the piece. The sections articulated well, played proper dynamics, and overall blended the sound together for a very good start to the performance. Additionally, I did not notice any major moments of poor intonation throughout the piece, indicating that we are strong at this aspect of the performance.
Cons:
The second violin melody in the middle of the piece needs to be stronger, as this seemed not as passionate or loud as when the first violins took over the melody directly after this moment.
Work on improving the dynamics in the 16th note sections at measure 68. There should be a larger contrast from pianissimo to the forte. Additionally, these sections should be more precise and played confidently like the motif at 31 is played throughout the piece
Maintain articulation and bite to the song on the last page. While legato sections are stong, the parts where we should be attacking are not strong enough.
Our performance of Vanishing Pointe by Richard Meyer has its high and low points. In general, there is a lack of dynamic variation within the piece. For example, the transition from measure 49 to 50 should fall from fortissimo to subito piano, but the volume stays at mezzo forte. Vanishing Pointe would benefit from differences in volume, because it would draw the audience's attention, and also create subtleties in our emotional performance. A strong point of the piece is the steady tempo that pulses throughout, and which helps us to refrain from rushing. It is helped, in part, by the sixteenth notes that run through the piece.
Maggie Skeats
The dynamics in the piece are noticeable, but could be emphasized a little more. However, I think the most important aspect that we need to work on is having each section sound like one instrument. Players are off by a milasecond or using too long of a bow, causing the sound to not be completely in sync. Once the sections are all in sync the piece will be even more entertaining. Overall, the piece sounded great but could use some improvement.
Overall, I thought we played it pretty well. At the beginning after the solos, the violas still need to come in more confidently which will allow more fluidity from the solo portion to the tutti portion. The cello pizz section and other sections throughout the piece were not played as 'one voice' which will be very obvious to the listener. Also intonation in the violins can definitely be improved upon. I don't think it's the first violins more than the second violins, but the harmony between the sections that is making it sound out of tune. Also in certain parts throughout the piece, sections were hesitant to enter and we temporarily lose the structure of piece. As for dynamics, I feel like the only kinds of dynamics we play are the crescendos in the repeated sixteenth note section and forte for the rest of the piece. There isn't a sharp contrast between fortes and pianos.
In my opinion, our greatest weakness was our dynamic level. Across the board, there were some moments, like 39 for the viola section, that were not at the recommended dynamic level. Our greatest strength seems to be our unity. Although there were a few moments when we separated, especially at 77, we were able to come together and listen to one another. For most of the song, we played very well together and sounded pretty decent.
I feel like the orchestra did a very good job with intonation, and in general did a good job playing the piece. After pieces with long strings of 16th notes, the cellos often mistimed the next note played, which caused one eighth note to sound like several different notes.
This happened several times, and during the non divisi portion the cellos sounded out of tune.
For the rest of the song the dynamics were okay but need work, and just some small fine tuning would get this piece to change from decent to great.
It was very dark. I staggered into the dimly lit room, stumbling over an empty box labeled "Luck's Music Library." I surveyed the orchestra room. Where was Miss Minnis? She never turned off the lights like this -- it took too long for them to regain their full luminescence. I was alone. I set down my backpack and let out a slow breath in mild frustration. Unfortunately, I could not simply leave -- my business was pressing. I sat down at the iMac to get a head start on the orchestra homework. The backlit screen glowed a harsh blue in the lightless abyss of the rehearsal space. After making twenty-three clicks on the pesky new website, I arrived on Miss Minnis's blog. It appeared the homework was some kind of performance critique. I would need sound, I supposed, so I scooped up the broken Marshall headphones. I clicked the hyperlink labeled "Click here for the recording." (Finally, a website that was comfortably predictable.) As I clicked play, I leaned back as far as the headphone cord would allow as I prepared to follow along with my cello part. The volume was too loud -- I jumped in my seat and dropped my music as the crisp sound of a violin harmonic filled the battered Marshall headphones. Frantically, I swiped at the pause button with the computer mouse as I pecked at the volume down button on the keyboard. Time to try that again. I gathered up my sheet music. This time, the confident solos sounded at a volume better suited for intelligible listening. I sat back again, feeling the tug of the headphone cable on my ears as I read my music along with the recorded track. My volume reduction frenzy had been a bit over zealous, so I tapped the volume up button as the cellos came in at measure sixteen. I winced as the song progressed to measure nineteen, where the cellos played pizzicato. It was very jumbled, probably requiring more practice than what we were currently allocating the section. I wrote it down as a constructive criticism: "The cello plucking segment from measure nineteen to thirty-one is not as syncopated and weaker in volume than it should be. With further time spent practicing this section, the low octave 'base' that the cellos and bass are supposed to provide in this part of the music can be better achieved." I hit play on the iMac and continued listening. Around measure 73-ish, I was struck by the dynamic contrast achieved by the orchestra. While not perfect, I still needed a positive observation, and I felt this was a reasonably appreciable aspect. "Throughout the duration of the recording, the dynamic contrast creates an appealing effect that is pleasing to the ear." Done, but Miss Minnis still hadn't appeared. I resumed the recording, as I would need to wait for Miss Minnis to yet longer.
Overall, I think we did pretty well, however the sections were not entirely in sync. Each section individually sounded like multiple different instruments, rather than the ultimate goal of each section sounding like one instrument. These slight discontinuities in rhythm also led to the sections being somewhat out of sync with each other. It's important to listen to your own section, along with the other sections to create the most precise performance possible (haha I used alliteration @boobear). Some of the parts that need work specifically are the plucking part at 19, and measures during which the cellos have eighth notes. The notes in both of these sections are particularly jumbled and disjointed. Also, when the violas come in, they need to be more concise...and CONFIDENT. Piano, but CONFIDENT.
I think overall we did pretty well! We were able to include dynamics (at least at the beginning) and for the most part our intonation is pretty good (just ignore that random wrong notes from the cello section -- that would be me). All that being said, there are areas in which we could improve. For example: our dynamics. Although they're great at the beginning and kind of there in the middle/end I think it would really elevate our performance to include stronger changes in dynamics throughout. There are a few spots where intonation is iffy, but I think most of all we should work on staying together. There are certain parts where it sounds as if each section has an "echo" where other members are just *slightly* behind. If we were able to firm up those areas and sound crisper (like granola) then we would have a really great performance.
Overall, I believe that the group played this piece with exceptional intonation and tone, communicating the feeling of the song well. Also, each section had its rhythms, melodies, and articulations correct for the most part; however, the transition from the solo to tutti in the beginning could become more precise through practice on the rhythm in measures 14 to 23. The major issue with this piece was the balance in dynamics. While the group started out strong in emphasizing fortes and pianos, the variation in volume began to lack as the piece continued, and some sections were overpowered. It is especially important to practice these changes in dynamics when beginning melodies, for example the 2nd violins at measure 77. After that, the piece will be concert ready.
Generally, I think we performed fairly well. The dynamics in the very beginning were very good, but later in the piece, there was little difference in dynamics. While we mostly had good intonation (except for maybe a few spots where we had difficulty with accidentals/key signature), we sounded somewhat flat and robotic rather than soaring and in a singing manner. Within each section, the instruments weren't completely in sync with one another, creating a slightly disconnected sound. However, I think it sounded nice and was quite pleasant to listen to.
I think the piece's strongest point was the dynamics, especially in the beginning. The crescendos had a great range. I think this was stronger in the beginning, but not as noticeable starting at measure 124. It might be because we're getting tired, but we need to reinforce those dynamics throughout the entire piece. At measure 19, the cellos need to work on the pizzicato. It sounded very off and not cohesive. In measure 47, the first violins need to come in stronger, because I could barely hear them in the recording. Even if the dynamic is piano, they sounded jumbled because the lack of power in the measure. The second violins need to play louder at measure 77, especially since this is their solo in the song. The first violins dominated, therefore we need to increase our dynamics severely at this measure. Measures 86 through 95 sound great for the first violins, but a mess for the rest of the orchestra. I payed closer attention to the background notes, because I noticed this in class as well. The first violins sound great, but the other groups need to practice this section more, because it is different from a majority of the rest of the piece in some sense.
Listening to the cellos in particular, we don't sound like a single instrument, especially in the early pizz and the soli highlight parts. The violins were pretty good overall without too many outstanding errors, and the violas were audible, which is fantastic. As a whole we seem to forget dynamics as the piece progressession (it is a 6 minute piece), so we should consider adding reminders for that.
Listening to the cellos in particular, we don't sound like a single instrument, especially in the early pizz and the soli highlight parts. The violins were pretty good overall without too many outstanding errors, and the violas were audible, which is fantastic. As a whole we seem to forget dynamics as the piece progressession (it is a 6 minute piece), so we should consider adding reminders for that.
Better late than never...?
I think that throughout the whole piece, we have a great steady pulse and rhythmic energy. I feel, though, that we could have a little more energy in the articulation. Especially in the second violins, the sixteenth notes could be even crisper (maybe even a little separation between each note).
Of course dynamics could always be better, but I don't think that the recording captured our dynamics that well. I remember listening to parts in class, especially the upwards scales, that really crescendoed.
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