A lead sheet for OneRepublic’s single ‘I Ain’t Worried” from the ‘Top Gun: Maverick’ soundtrack. Melody line, chords and lyrics included in a short, easy to follow format that allows you to create your own performance. ‘I Ain’t Worried’ is a “pop-fuelled, upbeat number driven by cheery whistling and buoyant percussion” (NME).
An arrangement of Chris Stapleton’s award winning song, “Starting Over”, which won Song of the Year and Single of the Year at the 2021 CMA Awards. This arrangement gives all parts an opportunity to shine, producing a performance that captures the spirit of Stapleton’s lyrics.
Buy Dirt (Voice and Piano)
Jordan Davis’ fantastic track, Buy Dirt was released in July 2021. Davis co-wrote this song with his brother Jacob, as well as brothers Josh and Matt Jenkins.
Davis was reflecting on his friendship with Luke Bryan, and how he was a great dad, husband and friend. This song draws on that, creating a song that is all about faith, family, friends and really finding your happiness.
Buy Dirt peaked at number 4 in the US Hot Country Songs, and number 6 in the Canada Country charts.
Head & Heart – Joel Corry ft. MNEK
British DJ and producer Joel Corry produced an awesome hit with “Head and Heart”. Reaching number 1 in the UK, it was both Corry and vocalist MNEK’s first chart topper.
With such a catchy vocal hook, I thought this would work really well as a choral arrangement. However, some of the vocal flourishes went a bit high in the original key, so I included an alternate arrangement in C minor as opposed to F minor. The lower key necessitated some changes in the vocal lines, but it has meant a reduced vocal range that lends itself to school choirs.
Head & Heart by Joel Corry ft. MNEK. List price: US$9.99. Available at Sheet Music Plus.
Orchestral Violin Challenge Week 2
I was aiming to get a video out each week, however it’s not going to happen this week. Things have cropped up where I am not in the stage where I’ve got enough footage, nor enough time to edit a video, that I think I will just aim at putting a video out every couple of weeks. But I still want to hold myself accountable, so I will provide a written update of my progress here.
Following some feedback from a Reddit thread where I posted my video, there was a suggestion to take some time to focus on my technique, particularly my scales and my shifting. They suggested that I look at Nathan Cole’s New York Philharmonic Audition challenge series, which was very enlightening. I took his 2 hour practice break up as the basis of my own practice for this week. This included introducing the first three pages of Schradieck, Kreutzer 9, and Dont 6 as my studies, a focus on vibrato and trills for technique, and a big section of work on my scales every day.
Tiredness and Exhaustion
This week saw my practice go backwards in many ways. I only had three days of actual practice out of the seven, with another day where I had a piano trio rehearsal but didn’t spend time practicing. The other days saw me being excessively tired, and just not wanting to practice. My son has been coming into my bed at night, and so it’s been quite common for me to be waking up around 2-3am, and not getting back to sleep. Even as I’m writing this I’m feeling tired. My other son came into bed around 2am, and while I did get back to sleep, I’m still feeling tired.
The other side of the equation – which is linked to my tiredness – is exhaustion. When I was practicing with this new schedule with a huge focus on technique, I found my body getting tired a lot quicker. My muscles were working a lot more than they were used to, and as such I didn’t complete the schedule once. This might mean that I need to think more about how I structure my practice as I build up into it – instead of 2 hours with a ten minute break, perhaps I should do an hour in the morning, and an hour in the afternoon. Or 4 half hour blocks. Given my current limitations, that might be more achievable than the solid two hour block. My body will be fresher, and my mind will be more focussed.
The other thing that I’ve been contemplating is that my body isn’t really ready for two hours of practice. I jump in and practice, but I’m not giving myself any preparation. I saw a composer on twitter suggest finding some benefit from adding in some stretches, particularly for his legs, as he is sitting most of the day. The stretching was increasing flexibility, and strength in his body, and allowing him to focus more on the task at hand, and not on the stiffness in his body.
I borrowed from the library a while ago Six Lessons with Yehudi Menuhin. I had an idea for a video of following these lessons and seeing how my playing improved. However, the first lesson starts with a number of stretches, one of which is a Yoga pose that I wasn’t confident of my ability to pull off. But given how my body is feeling, I am wondering if it might be worthwhile adding these exercises into my daily routine, warming up and building up the muscles in my body so that I can have greater stamina in my practice.
So Here’s my practice log for this week.
8/1/21 – No practice
9/1/21 – Piano Trio rehearsal (2 hours). Playing the Schubert and Saint-Saens piano trios.
10/1/21 – First day utilising Nathan Cole’s schedule. Practiced C Major scales from Flesch up to and including thirds, Schradieck pages 1 and 2 at 60BPM, Vibrato Work (From Simon Fischer’s Basics), Kreutzer 9, Mozart Concerto, Dont 6 and some trill work. 80 minutes practice in total.
11/1/21 – Same as the day before, but using A minor scales, with a focus on the one string scales and arpeggios, getting smooth shifts. Also did 10 minutes on the Bach St Matthew Passion excerpt, before exhaustion got the better of me. 90 minutes practice in total.
12/1/21 – I completely missed that this was a palindrome day, until just now. I only completed the first half of the practice today – E major scales, Schradieck, Vibrato, and Kreutzer 9.
13/1/21 and 14/1/21 – No practice.
Focus for next week – introduce some warm up stretches to get the body ready to practice. Break up practice more, with an aim for more days of practice, and completing the routine. Focus is still on technique, particularly on shifting. Instead of the vibrato and trill work section, introduce specific exercises from Basics on shifting.
Dealing with Criticism
I would be surprised if there is anyone who deals with criticism well. If someone actually likes being harshly criticised for work that they did, I’m sure other people might have some concerns about that person’s psychological profile.
Criticism is something that we deal with on a daily basis – whether it’s our own self criticism, or the criticism of a teacher or trusted mentor, or if you’re someone who releases your creative work to others, then you can be criticised by random people who may or may not have any concern for your mental well-being.Continue reading “Dealing with Criticism”
Orchestral Violin Challenge: My goals for the next two years
One of the things I absolutely love about playing the violin is playing orchestral music. I love the variety of repertoire that it brings – from Bach Cantatas to Tchaikovsky Symphonies, Bizet’s suites, and modern, cutting edge compositions. Orchestral playing is constantly interesting and challenging.
When I was going through my Bachelor of Music, I loved orchestral playing, and I even did a research project on what was required to win an orchestral violin position in an Australian orchestra. But my playing was never at the stage where I could consider applying for an audition, let alone winning that audition.
I went away from music for a few years, but now I’m back – currently studying to be a High School music teacher. I’ve got two years of study to go, so I’m setting myself a goal.
In two years, I want my playing to be at a stage where I could feel confident in applying for an audition. I’m not going to say that I’m going to win that audition – but to borrow a line from a hit musical, “I want to be in the room where it happens.”
So to start with, let’s look at what’s required for an Orchestral Violin audition.
First, you generally need to have two violin concertos prepared. These are broken up into two categories. The first is a Mozart Concerto – by which they will either specify, or at least expect either the Fourth concerto in D Major, or the Fifth concerto in A Major. The second category is either a Romantic or Twentieth Century concerto. These have a bit more flexibility in them, and do allow for a bit more choice, but most audition panels would be expecting to hear the Tchaikovsky or Sibelius Violin Concertos.
You then are required to play some orchestral excerpts, which allows them to see how you might fit in to the individual stylistic playing of the orchestra. Over the many years of orchestral auditions, there have been a number of excerpts that have proven themselves to be required more often than others, so even though you may not get a list of required excerpts until the audition is announced, or even closer to the audition date, you can still prepare these excerpts knowing that it is likely they will be included.
When I consider my own playing and my own repertoire that I know at the moment, there are a few things that are missing. I’ve learnt the fourth concerto by Mozart, and I refreshed it in 2020. But I’ve not really learnt any of the major romantic concerti. And while my head knowledge remains relatively fresh, a lot of my technique has slipped. And if I’m to seriously tackle the Tchaikovsky concerto, then I need to address the weakest part of my playing – my double stops.
When taking on any challenge, it’s important to note the things that can get in the way, or make it more difficult. I’m heading into full time study this year, which is no easy feat on its own, but my studies will see me be required to complete three month-long practicums – two this year, one next year. That will take up a lot of my time. I have three kids, one who is diagnosed ASD, and one who is undergoing diagnosis. As such, there are a lot of appointments and therapy sessions to attend to. And while this is an important challenge to me, my family will always come first.
As such, I’ve come up with a plan that I feel is achievable despite these time constraints, but is still enough of a challenge that it will stretch me. I’ve divided it up into semesters, but it basically means the first half of the year, and the second half of the year.
|Semester 1||Semester 2|
|2021||Polish Mozart 4|
Technique focus on Double Stops
Excerpts: Bach St Matthew Passion; Beethoven Symphony 2, 3 and 9; Mozart Symphony 35 and 39
Learn Mozart 5
Technique focus on tone production
Excerpts: Brahms Symphony 1 and 4, and Variations on a Theme by Haydn; Elgar Enigma Variations; Prokofiev Symphony 1; Shostakovich Symphony 1
|All 2021||Kreutzer and Fiolillo Etudes|
|2022||Polish Mozart 5|
Technique focus on intonation
Excerpts: Prokofiev Symphony 5; Rimsky-Korsakov Scheherazade Solos; Strauss Don Juan; Tchaikovsky Symphony 4 and 5; Bartok Concerto for Orchestra
Technique focus on bowing
Excerpts: Mahler 3 and 5; Prokofiev Romeo and Juliet Orchestral Suites; Strauss Ein Heldenleben (Solos) and Der Burger als Edelmann (Solos); Tchaikovsky Swan Lake (Solos)
|All 2022||Rode and Dont etudes|
In terms of the amount of practice I am able to do, I am aiming to do two hours of practice a day. That might be a bit of a stretch some days, so it might only be one hour, but that is the aim.
One of the things that I am really trying to focus in on is learning the right way. So I will also be really looking at my practice techniques, utilising resources such as Practiceopedia by Philip Johnston (no longer in print); Youtube, and others, to improve my practicing and make it as effective and efficient as possible. I’ll be sharing these in my weekly videos as I share what I’ve been working on, how I’ve been working on it, and how well it has worked.
I’m excited to see what this program will be able to do for my playing, and for my teaching. I hope you’ll be able to join me for this journey by subscribing to my YouTube channel. But for now – I need to go and practice.
O Come Emmanuel (Lindsay Stirling and Kuha’o Case Cover)
Lindsay Stirling and Kuha’o Case created an amazing version of “O Come, O Come Emmanuel” (see https://www.youtube.com/watch?v=ozVmO… ). I performed their arrangement at Ellenbrook Anglican Church on 20 December 2020 for their Children’s Christmas service. Jemima Loveland on Piano.
#AMerryViolinChristmas – Away in a Manger
Time for our third video in the #AMerryViolinChristmas compilation – a collection of Christmas Carols arranged for beginner violin and Piano. If you haven’t yet, make sure you grab your copy today! Today, we’re learning “Away in a Manger”.
An exciting arrangement of “Ding Dong Merrily on High” that will challenge the choir whilst still providing interest and variety for all parts.
Arranged for SATB Choir (without accompaniment), this arrangement sees each part take the melody at some stage.
The verse is initially arranged in 5/4, which has a sort of Mission:Impossible, uneven waltz feel to it. Then in the chorus, it changes to 7/8 which brings the waltz feel into the other direction. The piece closes with a standard arrangement of the verse and chorus in 4/4, which utilises rich harmonies and intersecting parts that brings to life the “evetime song” that exclaims “Hosanna in Excelsis!” .
SATB Arrangement (Unaccompanied). List price: $9.99.