I believe that in the past, string breakages on the Bass guitar seem to be associated with the quality or the age of the strings given to us. If I'm not wrong, in 2000, we're still using an old stock of strings as ancient as 1990. Well, after 10 years of oxidisation, it's no wonder why they give way after a few harsh plucks.
Bass guitars these days don't seem to exhibit so much string breakage, but more on intonation problems which are even more annoying to correct. Every string seems has different tendencies at the octave and it's a pain to tune the basses with the rest of the gutiar parts.
I don't believe in down tuning instruments; I think the instruments need time to season to the tension of the strings and stabilise. Warping may occur if we continuously alter the tension experienced by the wood which may lead to horrendous intonation.
Friday, September 29, 2006
Tuesday, September 26, 2006
Experiential Learning
Managing a group has never been more exciting. Not just musically, but also administratively. I think I’ve had the privilege of experiencing this through Expose, and I must say I am grateful for this experience.
- Planning the repertoire which doesn’t not end at just purchasing them over the internet or obtaining them from the library; you’ve got to arrange them yourself.
- Attendance during rehearsals can be heart-wrenching when absences are concerned. Parts may go missing and it’s difficult to balance; to top it off, everyone’s sound projection is different on the instrument.
- Performance during weekdays are not exactly easy to co-ordinate. With more 80% or more of the members as working members, logistics and sound test can be quite tricky. Sound test was scheduled at 6pm and I had only about slightly more than half of the members for the concourse performance, and with zero Alto 1 parts (2nd evening, Queen of Sheba).
- The numbers per part are constantly shifting, due to absences, leave, etc. I try to manage this part by taking in more players so that I have greater freedom with numbers, and also with the hope of training newcomers.
- Spreading solo parts to many more members is one of the policies I try to keep up to in order to expose more members to playing lead voices. Avenue for training provided almost equates to hearing more unusual stuff rendered.
- Rhythmic cohesion is probably one of the greatest hurdles for the group. I think Expose should aim to match Tsu ensemble’s standard, if not better. Anything less than that is basically somewhat acheivable by the main ensemble. This is not exactly a smooth sailing task; working with the members from different music training and background, can sometimes prove to be rather uphill. Reculcitrant mistakes and relentless laziness to count are some of the killer moves. - Patience is the essence, and some occasional begging.
- Projection trivia. Essentially it’s rather interesting to try to balance anything in a guitar ensemble. First it’s the highs versus mid versus bass, next is the funny thing about seeing 4 hands moving but only hearing 3 or 2.5.
I sure hope one day we can get engaged in some competition preparation, esp. if it’s overseas, like some guitar festival or something. That would be absolutely fantastic.
- Planning the repertoire which doesn’t not end at just purchasing them over the internet or obtaining them from the library; you’ve got to arrange them yourself.
- Attendance during rehearsals can be heart-wrenching when absences are concerned. Parts may go missing and it’s difficult to balance; to top it off, everyone’s sound projection is different on the instrument.
- Performance during weekdays are not exactly easy to co-ordinate. With more 80% or more of the members as working members, logistics and sound test can be quite tricky. Sound test was scheduled at 6pm and I had only about slightly more than half of the members for the concourse performance, and with zero Alto 1 parts (2nd evening, Queen of Sheba).
- The numbers per part are constantly shifting, due to absences, leave, etc. I try to manage this part by taking in more players so that I have greater freedom with numbers, and also with the hope of training newcomers.
- Spreading solo parts to many more members is one of the policies I try to keep up to in order to expose more members to playing lead voices. Avenue for training provided almost equates to hearing more unusual stuff rendered.
- Rhythmic cohesion is probably one of the greatest hurdles for the group. I think Expose should aim to match Tsu ensemble’s standard, if not better. Anything less than that is basically somewhat acheivable by the main ensemble. This is not exactly a smooth sailing task; working with the members from different music training and background, can sometimes prove to be rather uphill. Reculcitrant mistakes and relentless laziness to count are some of the killer moves. - Patience is the essence, and some occasional begging.
- Projection trivia. Essentially it’s rather interesting to try to balance anything in a guitar ensemble. First it’s the highs versus mid versus bass, next is the funny thing about seeing 4 hands moving but only hearing 3 or 2.5.
I sure hope one day we can get engaged in some competition preparation, esp. if it’s overseas, like some guitar festival or something. That would be absolutely fantastic.
"道德"重要? 还是"得到"重要?
In response to Hiong Gai Gai's recent encounter with the laptop charger, I've decided to give an insight on the school situation.
In school, I've also encountered many such cases. Not between teachers of course. Well, being a NT class form teacher for 3 years, it's no wonder to anyone that I have such cases on hand. Handphones and wallets are usually the prime target items of theft, they both boil down to one simple incentive. Cash!
There was even a time when we had a group of students working together to steal phones from athletes and participants of Sports Day, since it's highly unlikely that one will take good care of their belongings while cheering and competing. They had a network of who does the stealing and who holds on to the phone and all that. Sale of the phones is almost immediately done on the day itself, and cash would be distributed to all participating members.
There was another case who stole from a teacher while submitting homework. This same student stole from the dentist stationed in school to do health checks.
Who gets the lousy end? the parents, of course. and who they have to blame? themselves, in my opinion. If you allow your child to carry a 24K gold necklace to school, don't expect me to take care of it for you. If you think your child is responsible enough to take care of the expensive electronic device then you replace it when it's stolen.
Children are more easily blinded by greed. Their developing morals(if any is developing) do not exert a strong influence on their decision. Unless of course, we are talking about VERY well brought up kids, which are rather hard to locate these days. And most of the cases of theft, the parents are just too soft-hearted to cane the child. Most of the time it's just a stern scolding, some even went on to rationalise with the imbecile teenager. If my child were to be caught stealing, I'll beat the living daylights out of him/her.
The leniency of the parents these days makes the teachers work so much harder. Sometimes, I feel that I am stricter to my students than their parents are to them. I will not hesitate to slap them if they are defiant or rude to me. I have had parents call me up and ask me to talk to their child about matters, simply because their child won't listen to them but listens to me. Unfortunately, the parents don't understand. I am just a temporary substitute; I can't be disciplining your kid forever, one day they will grow up and leave the school.
Spare the rod and spoil the child!
I agree with one aspect my colleague tells me. One of the reasons parents shun from beating their children is because they feel pain when they dish out corporal punishment, and they don't want to feel the pain in their hearts. What they often forget is that if they don't teach their children well, the emotional pain to come later is even worse to bear.
In school, I've also encountered many such cases. Not between teachers of course. Well, being a NT class form teacher for 3 years, it's no wonder to anyone that I have such cases on hand. Handphones and wallets are usually the prime target items of theft, they both boil down to one simple incentive. Cash!
There was even a time when we had a group of students working together to steal phones from athletes and participants of Sports Day, since it's highly unlikely that one will take good care of their belongings while cheering and competing. They had a network of who does the stealing and who holds on to the phone and all that. Sale of the phones is almost immediately done on the day itself, and cash would be distributed to all participating members.
There was another case who stole from a teacher while submitting homework. This same student stole from the dentist stationed in school to do health checks.
Who gets the lousy end? the parents, of course. and who they have to blame? themselves, in my opinion. If you allow your child to carry a 24K gold necklace to school, don't expect me to take care of it for you. If you think your child is responsible enough to take care of the expensive electronic device then you replace it when it's stolen.
Children are more easily blinded by greed. Their developing morals(if any is developing) do not exert a strong influence on their decision. Unless of course, we are talking about VERY well brought up kids, which are rather hard to locate these days. And most of the cases of theft, the parents are just too soft-hearted to cane the child. Most of the time it's just a stern scolding, some even went on to rationalise with the imbecile teenager. If my child were to be caught stealing, I'll beat the living daylights out of him/her.
The leniency of the parents these days makes the teachers work so much harder. Sometimes, I feel that I am stricter to my students than their parents are to them. I will not hesitate to slap them if they are defiant or rude to me. I have had parents call me up and ask me to talk to their child about matters, simply because their child won't listen to them but listens to me. Unfortunately, the parents don't understand. I am just a temporary substitute; I can't be disciplining your kid forever, one day they will grow up and leave the school.
Spare the rod and spoil the child!
I agree with one aspect my colleague tells me. One of the reasons parents shun from beating their children is because they feel pain when they dish out corporal punishment, and they don't want to feel the pain in their hearts. What they often forget is that if they don't teach their children well, the emotional pain to come later is even worse to bear.
Monday, September 25, 2006
好心没好报
今早起来有点病病的, 好象感冒了.
想到中午要给学生科学补习, 好吧, 就抱病上场吧.
哪知道,有几个王八为了要去别班同学的生日会, 而放我鸽子. 说都没说一声, 定是怕我不准, 干脆一走了之. 还好还是有一些学生不去生日会, 来上补习了.
那些没来的混帐东西, 看我明天怎么收拾你们!
他妈的! 没爹娘教养的烂孩子! 让我来替天行道!
想到中午要给学生科学补习, 好吧, 就抱病上场吧.
哪知道,有几个王八为了要去别班同学的生日会, 而放我鸽子. 说都没说一声, 定是怕我不准, 干脆一走了之. 还好还是有一些学生不去生日会, 来上补习了.
那些没来的混帐东西, 看我明天怎么收拾你们!
他妈的! 没爹娘教养的烂孩子! 让我来替天行道!
Friday, September 22, 2006
Majullah Expose!
2 months of rehearsal. Yes, it's finally done.
I had a good time performing at the concourse in the past 2 days. And I'm starting to get used to announcing pieces! I hope there weren't any of Mr. A's friends there... less they inform him that I dug myself a grave by saying he's got "better things to do" and hence left GENUS..... gosh.....
Malaguena and Nocturne were fantastic, Polovetsian Dances was good too, except that Alto 1 didn't seem to acknowledge the quavers in the melody very well. Some annoying rushing there. ZQ's pedal A note was marvellous. Spanish Coffee was fine, though could do better with a bit more tempo and spunk. The "enhanced" or actually "reduced" version of Zapin was more palatable in my opinion, addition of percussion and all, I personally liked the flavour. Sheba soloists were good, and with the help of the soloist mikes, they were able to play more dynamically. I think if we went a bit faster, it might have worked even better. Spirited Away shone during the 2nd night, beautifully crafted. As expected, In the Mood was the one to kena the most, perhaps more Jazz pieces in the future for the group then.
Well, let's hope we get a slot for Beautiful Sunday!
I had a good time performing at the concourse in the past 2 days. And I'm starting to get used to announcing pieces! I hope there weren't any of Mr. A's friends there... less they inform him that I dug myself a grave by saying he's got "better things to do" and hence left GENUS..... gosh.....
Malaguena and Nocturne were fantastic, Polovetsian Dances was good too, except that Alto 1 didn't seem to acknowledge the quavers in the melody very well. Some annoying rushing there. ZQ's pedal A note was marvellous. Spanish Coffee was fine, though could do better with a bit more tempo and spunk. The "enhanced" or actually "reduced" version of Zapin was more palatable in my opinion, addition of percussion and all, I personally liked the flavour. Sheba soloists were good, and with the help of the soloist mikes, they were able to play more dynamically. I think if we went a bit faster, it might have worked even better. Spirited Away shone during the 2nd night, beautifully crafted. As expected, In the Mood was the one to kena the most, perhaps more Jazz pieces in the future for the group then.
Well, let's hope we get a slot for Beautiful Sunday!
Tuesday, September 19, 2006
精武门
一胆,二力,三功夫.
如果没胆把音乐奏出, 即使功夫了得, tone 再好也是一场空.
如果没力, projection 欠佳, 奏出的音量只够自己听, 那么加入一个合奏团,简直是浪费时间. 但是浪费时间是个人的选择, 高兴就好, 重点是不要浪费别人的时间.
如果没胆把音乐奏出, 即使功夫了得, tone 再好也是一场空.
如果没力, projection 欠佳, 奏出的音量只够自己听, 那么加入一个合奏团,简直是浪费时间. 但是浪费时间是个人的选择, 高兴就好, 重点是不要浪费别人的时间.
闯一闯吧!
Saturday’s rehearsal wasn’t entirely all smooth sailing.
I loved the fact that we got to use the auditorium, but alas, it would prove to be a rather morale stifling venue for the last rehearsal. The group was too used to previous reverberations and did not adjust sufficiently and was much disturbed by the clarity the room had to offer.
I really have to attribute at least 20 % of the success of a performance to the rehearsal venue a music group gets. Constantly playing in sound enhancing areas is never going to help efficiently with cleaning up any piece; actually quite the same with my quartet as well, come to think of it.
“In the mood” got it worst; a spectrum of “jazz”, “semi-jazz” and “non-jazz” rhythmic renditions popped out. I would almost put the standard of this piece at about 70% of Gelato con Caffe; rhythmically challenging and not exactly the easiest piece to achieve cohesion. The group did pretty well, considering it’s the 4th or 5th time we’ve rehearsed it formally. I think the guys did a good job on the effort, perhaps the piece simply needed more time to mature under the players’ fingers. Well, partly my fault, due to my ambitious programming of the performance as well.
I’ve also come to the conclusion that the next one who’s joining us will be required to audition, unless it’s enlistment by invitation. Many reasons entail:
Genus has limited instruments.
The group is sufficiently big in numbers, and rather proportionate as it is.
I need volume!!!
The group needs to keep up its standards, and I don’t have time to give sectionals.
Anyway, the concourse performance will give the group a good boost in exposure and performance expectations. Not to mention the nurturing of 默契.
I loved the fact that we got to use the auditorium, but alas, it would prove to be a rather morale stifling venue for the last rehearsal. The group was too used to previous reverberations and did not adjust sufficiently and was much disturbed by the clarity the room had to offer.
I really have to attribute at least 20 % of the success of a performance to the rehearsal venue a music group gets. Constantly playing in sound enhancing areas is never going to help efficiently with cleaning up any piece; actually quite the same with my quartet as well, come to think of it.
“In the mood” got it worst; a spectrum of “jazz”, “semi-jazz” and “non-jazz” rhythmic renditions popped out. I would almost put the standard of this piece at about 70% of Gelato con Caffe; rhythmically challenging and not exactly the easiest piece to achieve cohesion. The group did pretty well, considering it’s the 4th or 5th time we’ve rehearsed it formally. I think the guys did a good job on the effort, perhaps the piece simply needed more time to mature under the players’ fingers. Well, partly my fault, due to my ambitious programming of the performance as well.
I’ve also come to the conclusion that the next one who’s joining us will be required to audition, unless it’s enlistment by invitation. Many reasons entail:
Genus has limited instruments.
The group is sufficiently big in numbers, and rather proportionate as it is.
I need volume!!!
The group needs to keep up its standards, and I don’t have time to give sectionals.
Anyway, the concourse performance will give the group a good boost in exposure and performance expectations. Not to mention the nurturing of 默契.
Tuesday, September 12, 2006
Engine warming up
Life’s been pretty much a whirlwind these few weeks really. I have actually spent a lot more time with my students over the past month, activities ranging from fights at other secondary schools and chalet at Downtown East just last week.
Am not going to blabber on the details, I’ve got enough of the neck/heart pulsations as it is now. Fortunately, my staff lounge has a blood pressure device available and it seems I’m in optimal condition.
Didn’t mean to slave drive on Saturday, but it just seems like I need to clean up quite a bit of parts for the music here and there. Oh well, partly my fault, perhaps I was over ambitious to dump so much new repertoire into the Esplanade performance; if we had relied on our usual play-till-rotten pieces, maybe it would be better. But I was thinking, what the heck, since the people are gonna learn some pieces, might as well be new ones. In fact, I was on the verge of distributing the first 5 pieces of Carmen Suite No. 1 last Sat, for fun reading; of which later I thought perhaps not, less I get maimed unknowingly. I’ll give them out after the Esplanade episode. Well X-posed people, if you are reading this, practise hard and be prepared to practise harder!
Oh well, back to my whirlwind!
Am not going to blabber on the details, I’ve got enough of the neck/heart pulsations as it is now. Fortunately, my staff lounge has a blood pressure device available and it seems I’m in optimal condition.
Didn’t mean to slave drive on Saturday, but it just seems like I need to clean up quite a bit of parts for the music here and there. Oh well, partly my fault, perhaps I was over ambitious to dump so much new repertoire into the Esplanade performance; if we had relied on our usual play-till-rotten pieces, maybe it would be better. But I was thinking, what the heck, since the people are gonna learn some pieces, might as well be new ones. In fact, I was on the verge of distributing the first 5 pieces of Carmen Suite No. 1 last Sat, for fun reading; of which later I thought perhaps not, less I get maimed unknowingly. I’ll give them out after the Esplanade episode. Well X-posed people, if you are reading this, practise hard and be prepared to practise harder!
Oh well, back to my whirlwind!
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