Tuning Forks – Physics Geekery

So, even though I have several different tuners, not counting the ones on my phone, I decided to plunk down about $30 for a pair of A440 tuning forks, each attached to a resonance box. I wanted to see if I could make the forks vibrate sympathetically when I played a perfect A. The forks come in pairs so you can hit one and hear the other vibrate sympathetically. They are available from most scientific supply stores, but you want to get them pitched for music, not the 256 Hz that many kits come with.

Haven’t been totally successful, but my A ear training is getting better.

Quick Practice Log, and Happy 2019 a bit late.

Had a minor injury that kept me away for two days, but some heat and ibuprofen and I’m back on it. No, you don’t care about these minor old people matters, but as this is a blog about the challenges of playing in midlife, it’s somewhat relevant.

It also means I lost the beginning of my thumb position callouses.

My Intonation is rusty and focused today primarily on extended second position for the Humoresque. Lots and lots of target practice. Once I get that D to C shift on the A string, life will be peachy.

I also want to set my goal of paying more attention to my right hand, which is tricky at times because I’m left handed. I always wondered if I would play better with a Charlie Chaplin left handed cello. Unfortunately, those are expensive, and it’s more than a matter of just reversing the strings and moving the soundpost (which is itself not trivial).

Big Parts move the Little Parts

This has been my teacher’s mantra lately and is emphasizing that I get the arm into position early as I get near the third octave of my scales.   The arm should be guiding the fingers instead of the fingers finding the arm.  We are applying this to the C# minor scales. Does anybody know why we do melodic on the way up and natural on the way down, btw?

The scale is coming into focus now, although I’m still working on scales 30 minutes per session.   But I’m glad I’m tackling it instead of avoiding it.

Moving to the Suzuki Piece, Humoresque, I’m trying to use this idea to shift more confidently.

Quick Summary of Today’s Lesson


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Schroeder 27:  Keep working on dynamics markings; once the middle section feels comfortable, it will be done, then I can start thinking of it in much bigger chunks.

Humoresque: Play confidently, remember that forte can be played at a slow tempo. Trust your ears.  Focus on tone and rhythm this week.

Mechanics: Big parts move little parts.  Drive with your arms, not your fingers. Practice the ski lift, particularly on the scales.

Continuing to move through Mooney 4th position sections.  Nothing notable so far.  Sight read a couple of pieces.


When your teacher trusts you with G# melodic minor scale


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I put together a quick theory sheet so that I would remember which notes I was playing as I played them.  I also put the enharmonic Ab scales in as a way of checking myself. Those are on the right hand of each equals sign.  Note that in the descending scale there are no obvious tuning beacons (resonating open strings).  The value in this table was making it up; there are plenty of good graphics files on the scale that can be googled.

G# Major Scale

G# = Ab
A# = Bb
B#=C = C
C# = Db
D# = Eb
E#= F
F## = G
G# = Ab

Melodic Minor

flatten 3d going up, 3d, 6th, 7th going down)


G# =Ab
A# =Bb
B =Cb
C# =Db
D# =Eb
G# =Ab


G# =Ab
A# =Bb
B =Cb
C# =Db
D# =Eb
E =Fb
F# =Gb
G# =Ab


Keep the bow moving


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Had a lesson today focusing – here are the highlights

  1. Try playing scales given only the finger pattern.  This contradicts earlier teaching about always looking the note I’m playing while doing a scale, but it’s worth a try.
  2. Keep a steady tempo and avoid bow hesitations.  There are places where you can nudge the rhythm a bit but avoid awkward pauses.
  3. Focus on dynamics this week; no new material on Humoresque.  Even if the bow stops, the music keeps moving.  Try playing along with my breathing.
  4. Get to Third position accurately and keep a steady hand unit to do it.
  5. The final piece in the third position in Mooney – Etude – got the notes down but be careful of intonation in first three lines.

Right now in my life, I need to keep my projects moving at a steady pace.  Being my own supervisor is hard since there is no clear right answer.

Updated Lewandowski Kol Nidre


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I added the rest of the lyrics, accents, and tenuto markings, and brought the key to D-minor so that the fingerings similar to those on Bruch’s can be used.   I tried to be accurate, but there are likely still some mistakes.   Feel free to bring to my attention.

Everlasting gratitude again to Nils Liberg and his EasyABC program for Windows, without which this would have been considerably more difficult or more expensive.

And a happy dies-y-seis to any Mexican readers out there 🙂

PDF file:  kn_fixed.pdf

Kol Nidre, Lewandowsky Score

As my New Year’s gift to you,  I encoded Lewandowsky’s version, as ABC notation, which I am showing here, and also as a PDF file.  It is the baseline for the K-N that is commonly sung in Synagogue, with ornamentation added by the cantor as well.

I’m not quite done putting the words in, and you’ll notice that the number of notes per measure is arbitrary, as this is written in a free meter for one voice. I used EasyABC in Windows to do the work.

For those who like to see the answer first, here is the score as a PDF File: kolnidre2

This is still VERY rough. It’s meant to show what is possible, and I plan to edit this a bit further.  But if you know some abc notation, you can copy and paste and play with it rather than wait for me to be done.  I was a bit inconsistent with my use of note lengths; I have groups of four sixteenth notes encoded in different ways.  This is because I was exploring.  As I said, I’ll neaten it up.

Still to do: Some marks such as “ad. lib” and some cello fingerings, as well as finishing entering the lyrics.

Want to know more about abc?  Here are some Links:

T:Kol Nidre
C:Traditional, Notated by L. Lewandowsky(1821-1894)
E,6E,2|(E,2^D,4)(3.D,.D,D,|(^D,2B,,4) (3B,,B,,B,,|(B,,2^D,4)(3D,D,D,|
w:Kol nid-re_ ve-e-sa re_ va-cha-ra-mei_ ve-ko-na-mei_ ve-chi-nu-yei_ ve-chi-nu
w:mei_ ve-chi-nu-yei_ ve-ki-nu-sei__ u-she-vu-ot
(A,B,CB, A,DCB, A,2E,2 )(E,2 F,2)|[M:4/4]G,4zG,3/2G,/2|(G,2B,4) [L:1/16]A,G,F,G,|[L:1/8](A,2G,2)F,2z F,3/2F,/2|
w:din - - - - - - - - dar __ na. u- de ish_ta - - - va - na u-de
F,2A,4 (G,/2F,/2E,/2F,/2)|(G,2F,2) E,2 z E,|(E,2^D,4) D,2|[L:1/4]^D,B,,2B,,|(B,,^D,3)|
[L:1/8](D, (3D,)D,D, (3(D,E,F,){E,F,} (E, D,)z z (B,, (3B,,)B,,B,,|[L:1/4]D,C,B,,A,,G,,A,,B,,A,,!fermata!zG,,/4B,,/4(D,2E,F,|G,2)|(E,2F,2)|G,3z|G,2(F,E,)|D,2B,,G,,|(B,,2B,,)z|
(E,2F,2)|[L:1/8](G,6(3E,F,G, (3A,G,F, (3G,E,G, B, [L:1/16]A,G,F,G, [L:1/4]A,G,F,)zB,,/2|(G,(3F,/2E,/2D,/2){E,F,}(E,B,,)z/2B,,|
[L:1/8](E,3B,,) (E,2 D,^C,B,,2) z B,,|(E,3B,,) (E,2 D,^C,B,,2) z D,/2D,/2|(D,2(3D,)D,D, (D,2E,)E,{E,F,} (E,2B,,)|
B,,3 C, [L:1/16](D,C,B,,A,,)[L:1/8]G,,2zB,,|D,3 D, (E,F,)|G,6z2|E,4F,4G,4 ((3E,2 F,2 G,2|
(3A,G,F, (3G,E,G, B,2 [L:1/16]A,G,F,G,) [L:1/8]| (A,2G,2) F,2 z B,,|G, (3 (F,E,)D,{E,F,} (E,2B,,)z|
B,,3 C, [L:1/16](D,C,B,,A,,[L:1/8] G,,2B,,2)A,,4|G,,A,,/2B,,/2 (C,/2D,/2E,/2F,/2) (G,D, E,F,) G,3 z|
[L:1/16](G,F,A,G, B,A,CB, (D8 D2)CB, A,G,F,E,| [L:1/8]D,3) D, (E,2 F,2)|!fermata!G,8|

The PDF file is a little choppy, but once I install a proper ghostscript, this should be working a lot better:

SCOR! Evangelism (unsolicited)

It’s been a month since I got back from SCOR! New England.  I thought I would have written about it immediately upon return, but It is tough to condense an intense week of workshops and making new musical friends into a few paragraphs. OK, it’s not tough for good writers.  But I needed some prompts to get over the writer’s block, and Beth and Kyle were kind enough to provide some:

[Note: I did not discuss the workshops or the Orchestra Practice in this article.  I will address those separately]

  • How did your Scor! Experience help your playing?
    • I felt more confident in facing new material and in sight reading.
    • My expectations for the future were set higher when I saw people accomplishing the level of playing I hope to reach near retirement
    • Mistakes bothered me less
    • Focusing on sharing rather than performing meant that I could be myself.  I put enormous pressure on myself in general.
  • Has your private teacher noticed any difference?
    • She said I was “faster to follow her instructions”.  I’ll let that sink in.
  • How has your approach to playing changed?
    • I am generally braver, and I also scan for how I want to handle rests when I read a piece for the first time.
    • I look forward to playing in group settings now.
  • How has your ensemble playing changed from Scor!?
    • It’s still too early to tell.  But I know to focus on setting and keeping my own pulse, and to focus on breathing as well as bowing.  This is true of the playing in general.

Although the message in the adult learning workshop was a consistent “you must accept where you are now”, I really was hoping I would be capable of higher grade pieces by now. Our first attempt at working a quartet piece was hilarious.  We were all lost by measure 3.   The experience of getting four strong personalities to communicate effectively was as satisfying as making the music.  I definitely want more, although I think I’ll make the 3-hour drive to Rochester next year instead of a 6 hour one to Rhode Island.   Still, the people were terrific and the schedule fit a lull in the workplace, so who knows.  It may indeed be RI again.

The other significant experience for me was my private lesson.  I recommend everybody take a yearly private lesson with somebody who is not your regular teacher.  They will notice things that will enhance your playing, and they know not to disrupt your existing pedagogy.  In my case, Carly Fleming pointed out that my tone was too forced, and that I need to let the string ring a little more.

Oh, and book early, especially your hotel.