Thank you maestro, for humbly sharing your +$500k Julliard education along with your decades of playing and teaching experience with all of us. We are all so lucky to be able to watch your videos. You have made this unlikely experience possible to all of us. Thank you so much!
This sounded great! Compared to the Libon no.8 etude, I assume we should use more of our practice time on this one to get a good tone? Thanks for the references.
Well, we want to get a good tone for everything, but the Simandl has a dynamic marking of forte and fortissimo. The Libon only goes a loud as mezzo forte, so there is a need for MORE tone on the Simandl.
I heard it too, but my no means did it ruin the magic I was hearing. My Canon 6D will make similar noise if I forget to turn off lens image stabilization. Also enjoyed your explanation of 6/8 time.
Hey Nick! I'm glad to have the opportunity to explain. I changed the bowing because it helps the bow distribution and removes the gaps of a retake that otherwise the last rhythmic gesture of every two bars calls out for. A strict reading of Simandl's (if it really is Simandl's) tempo indication would make the 3/4 sections deathly slow (44 BPM). TMEA is asking for the beat to equal 75-85 BPM. I took the artistic liberty of playing the 6/8 sections at approximately 75 BPM, and the 3/4 at approximately 85 BPM (maybe a little faster)in an effort to make a not particularly inspired etude a little more musical. Simandl's own piano accompaniment in the 3/4 sections strongly suggest something more scherzando.
Dr. Morton, I have a question about the timing of the eighth notes. Are the eighth notes played with the same tempo, or the unit beat in the same tempo in two sections?
Good question. According to the edition, the beat remains the same and the eight note changes, though I played the 3/4 sections in a somewhat different tempo than the 6/8 sections. I think it works better musically.
Playing starts at 3:10 Inportant notes start at 0:10 Thank you for the video Dr Morton
Thank you maestro, for humbly sharing your +$500k Julliard education along with your decades of playing and teaching experience with all of us.
We are all so lucky to be able to watch your videos. You have made this unlikely experience possible to all of us. Thank you so much!
Thank YOU!
Please record all of them! I’m beyond your videos now In the etude book.
Great job, Mark!
Glad you liked it!
This sounded great! Compared to the Libon no.8 etude, I assume we should use more of our practice time on this one to get a good tone? Thanks for the references.
Well, we want to get a good tone for everything, but the Simandl has a dynamic marking of forte and fortissimo. The Libon only goes a loud as mezzo forte, so there is a need for MORE tone on the Simandl.
I have a question regarding tempo, I can’t see to find the right beat even though the piece suggest 75-85. What should I set my metronome to?
There's some strange tapping going on you can hear through heaphones. Kind of throws the whole thing off unfortunately.
Yeah, off time so I’m guessing the mic amp circuit is crapping out... Recording audio with a Zoom H1 could help avoid having to get a new camera
Yes, in the days of Corona virus, I was not able to get access to my usual camera & mic. Sorry about the tic.
Ok, good! Just wanted to let you know we’re listening 🙂
I heard it too, but my no means did it ruin the magic I was hearing. My Canon 6D will make similar noise if I forget to turn off lens image stabilization. Also enjoyed your explanation of 6/8 time.
Please recording storch 22
Why change Simandl's bowing and why change the tempo of the pulse when Simandl explicitly marks that dotted quarter in 6/8 = quarter in 3/4??
Hey Nick! I'm glad to have the opportunity to explain. I changed the bowing because it helps the bow distribution and removes the gaps of a retake that otherwise the last rhythmic gesture of every two bars calls out for. A strict reading of Simandl's (if it really is Simandl's) tempo indication would make the 3/4 sections deathly slow (44 BPM). TMEA is asking for the beat to equal 75-85 BPM. I took the artistic liberty of playing the 6/8 sections at approximately 75 BPM, and the 3/4 at approximately 85 BPM (maybe a little faster)in an effort to make a not particularly inspired etude a little more musical. Simandl's own piano accompaniment in the 3/4 sections strongly suggest something more scherzando.
There are better bowings and fingerings then simandl’s new method.
Thank you for this video! Which strings are you using for this bass in this video?
D'Addario Kaplan
Dr. Morton, I have a question about the timing of the eighth notes. Are the eighth notes played with the same tempo, or the unit beat in the same tempo in two sections?
Good question. According to the edition, the beat remains the same and the eight note changes, though I played the 3/4 sections in a somewhat different tempo than the 6/8 sections. I think it works better musically.
Arghhh...why didn’t anyone record the etudes after 20?
It's all about what TMEA wants for All-State auditions. Maybe someday I will record them all.
@@DrMarkMorton please do. The hooked bowings on 21 are challenging.
When will you have the state cuts out?
I hope to have them out in the next couple of weeks. Stay tuned!