Comments for Rebecca Hartka http://rebeccahartka.com/blog cello Thu, 16 Jun 2011 17:45:03 +0000 hourly 1 http://wordpress.org/?v=3.1.1 Comment on New Directions inside the “Bachs” by rebecca http://rebeccahartka.com/blog/?p=185#comment-332 rebecca Thu, 16 Jun 2011 17:45:03 +0000 http://rebeccahartka.com/blog/?p=185#comment-332 Yes, a world music pedagogy book would be great. I think you should do it!! I do have the alternative strings book and have even taught a bit from it when I taught string techniques at Montana State. obviously I did allot of research for my Folkfire CD on various world styles, but I was limited by the composers interpretation of these styles and my general desire to stay true to what they had written. For a future CD I hope to have the money to commission several new works that explore this intersection with a little stronger nod to the "folk" or aural styles, while making it still possible for the music to be within my area of specialty. Yes, a world music pedagogy book would be great. I think you should do it!! I do have the alternative strings book and have even taught a bit from it when I taught string techniques at Montana State. obviously I did allot of research for my Folkfire CD on various world styles, but I was limited by the composers interpretation of these styles and my general desire to stay true to what they had written. For a future CD I hope to have the money to commission several new works that explore this intersection with a little stronger nod to the “folk” or aural styles, while making it still possible for the music to be within my area of specialty.

]]> Comment on New Directions inside the “Bachs” by Jon Silpayamanant http://rebeccahartka.com/blog/?p=185#comment-331 Jon Silpayamanant Thu, 16 Jun 2011 16:57:14 +0000 http://rebeccahartka.com/blog/?p=185#comment-331 From what I understand, Mark O'Connor, who recently authored a series of fiddle method books that bring together all the diverse styles of fiddle playing in the US, has also authored a cello method series incorporating that. I've yet to get a copy of it, but have heard good things about it (from those cellists who are open to those kinds of things). I'm still toying with the idea of developing a world cello method book, or possibly some kind of edition of interviews from cellists that play in non-Western styles as I think it would be nice to have this "new" (yeah, right--some of these have been around for a couple of centuries) set of skills outlined in a pedagogically approachable way for cellists interested in learning or using to supplement their teaching. You might also check out the Alternative Strings book/CD which is a great overview of string playing styles from all over the world. I blogged about it a bit as well as a few Alt String programs at Denison University, Berkeley, and NEC (which you mentioned in your post) here: http://silpayamanant.wordpress.com/2011/03/05/alternative-strings-and-the-new-golden-age-of-string-playing/ Oh, and the jumping off point comment wasn't meant to imply you don't land--you just land in a spot a little bit further from where you started! :) From what I understand, Mark O’Connor, who recently authored a series of fiddle method books that bring together all the diverse styles of fiddle playing in the US, has also authored a cello method series incorporating that. I’ve yet to get a copy of it, but have heard good things about it (from those cellists who are open to those kinds of things).

I’m still toying with the idea of developing a world cello method book, or possibly some kind of edition of interviews from cellists that play in non-Western styles as I think it would be nice to have this “new” (yeah, right–some of these have been around for a couple of centuries) set of skills outlined in a pedagogically approachable way for cellists interested in learning or using to supplement their teaching.

You might also check out the Alternative Strings book/CD which is a great overview of string playing styles from all over the world. I blogged about it a bit as well as a few Alt String programs at Denison University, Berkeley, and NEC (which you mentioned in your post) here: http://silpayamanant.wordpress.com/2011/03/05/alternative-strings-and-the-new-golden-age-of-string-playing/

Oh, and the jumping off point comment wasn’t meant to imply you don’t land–you just land in a spot a little bit further from where you started! :)

]]> Comment on New Directions inside the “Bachs” by rebecca http://rebeccahartka.com/blog/?p=185#comment-330 rebecca Thu, 16 Jun 2011 15:43:23 +0000 http://rebeccahartka.com/blog/?p=185#comment-330 And I agree whole heartedly that the free improvisation is a great place for classical musicians to do some healing while staying true to their passion for Brahms, etc. Also in terms of time commitment, I find I just can't do it all and I want to focus on what I really want to play, as well as fulfilling the requirements of the various playing engagements I am hired for. And I agree whole heartedly that the free improvisation is a great place for classical musicians to do some healing while staying true to their passion for Brahms, etc. Also in terms of time commitment, I find I just can’t do it all and I want to focus on what I really want to play, as well as fulfilling the requirements of the various playing engagements I am hired for.

]]> Comment on New Directions inside the “Bachs” by rebecca http://rebeccahartka.com/blog/?p=185#comment-329 rebecca Thu, 16 Jun 2011 15:40:23 +0000 http://rebeccahartka.com/blog/?p=185#comment-329 Thanks Jon. I will certainly slowly develop my improvisation and fiddle skills over the years, but as I said in my post, I more committed to new directions in old forms than new forms. What I love playing most, at least at the moment, is Romantic era music and 20-21st century music that explores the intersection of classical and folk. So I don't see Classical as a jumping off point. I see it as my home and a place that I will keep making larger and more comfortable slowly over the years. A separate issue is allowing space in our institutions for other kinds of music. When and if I am in a position to make such decisions, I will push for this. Meanwhile, being a "straight but not narrow" classical musician, using creative improvisation in my lessons with students, and taking the time to examine the box I am in is the best i can offer without straying from where my core passion is. Thanks for your thoughts. Thanks Jon. I will certainly slowly develop my improvisation and fiddle skills over the years, but as I said in my post, I more committed to new directions in old forms than new forms. What I love playing most, at least at the moment, is Romantic era music and 20-21st century music that explores the intersection of classical and folk. So I don’t see Classical as a jumping off point. I see it as my home and a place that I will keep making larger and more comfortable slowly over the years. A separate issue is allowing space in our institutions for other kinds of music. When and if I am in a position to make such decisions, I will push for this. Meanwhile, being a “straight but not narrow” classical musician, using creative improvisation in my lessons with students, and taking the time to examine the box I am in is the best i can offer without straying from where my core passion is.
Thanks for your thoughts.

]]> Comment on New Directions inside the “Bachs” by rebecca http://rebeccahartka.com/blog/?p=185#comment-328 rebecca Thu, 16 Jun 2011 15:35:22 +0000 http://rebeccahartka.com/blog/?p=185#comment-328 Thanks for your suggestions! Glad to know that my writing resonated with you! Thanks for your suggestions! Glad to know that my writing resonated with you!

]]> Comment on New Directions inside the “Bachs” by Jon Silpayamanant http://rebeccahartka.com/blog/?p=185#comment-327 Jon Silpayamanant Thu, 16 Jun 2011 15:20:47 +0000 http://rebeccahartka.com/blog/?p=185#comment-327 I'm glad you got the chance to go to the festival, Rebecca! I actually haven't had the opportunity to make it there myself yet, but would like to attend sometime. Don't fret (heh) the new skills--it can be a steep learning curve, but rewarding in the end. our classical training was never very good for teaching us the improvisation and/or learning music by ear skills but it won't take long to build up a solid foundation for doing those things. And yes, in a way, our classical training is probably one of the best foundations for taking these kinds of jumping off points. Being able to get around on the instrument is crucial for being able to get around on the instrument in a different way, after all. For example, most of the training seminars and workshops for Arabic music around the US will want musicians that already have a strong classical music background as a foundation for continuing studies in learning maqamat (Arabic scales) with their microtones and taqasim (improvisation). Definitely look into Music for People, as Constance suggests--one of my former cello profs, Eric Edberg, got heavily into improv especially through that organization and it became the foundation for the improvisation classes he taught while I was in school (he also made his cello majors do some improv in our studio classes as well). Good luck with your journey and hope to read more about your cello explorations!! I’m glad you got the chance to go to the festival, Rebecca! I actually haven’t had the opportunity to make it there myself yet, but would like to attend sometime. Don’t fret (heh) the new skills–it can be a steep learning curve, but rewarding in the end. our classical training was never very good for teaching us the improvisation and/or learning music by ear skills but it won’t take long to build up a solid foundation for doing those things.

And yes, in a way, our classical training is probably one of the best foundations for taking these kinds of jumping off points. Being able to get around on the instrument is crucial for being able to get around on the instrument in a different way, after all. For example, most of the training seminars and workshops for Arabic music around the US will want musicians that already have a strong classical music background as a foundation for continuing studies in learning maqamat (Arabic scales) with their microtones and taqasim (improvisation).

Definitely look into Music for People, as Constance suggests–one of my former cello profs, Eric Edberg, got heavily into improv especially through that organization and it became the foundation for the improvisation classes he taught while I was in school (he also made his cello majors do some improv in our studio classes as well).

Good luck with your journey and hope to read more about your cello explorations!!

]]> Comment on New Directions inside the “Bachs” by Constance E Barrett http://rebeccahartka.com/blog/?p=185#comment-326 Constance E Barrett Thu, 16 Jun 2011 14:15:46 +0000 http://rebeccahartka.com/blog/?p=185#comment-326 Dear Rebecca, WOW! I could've written this! Well, not this exactly, because you wrote it and they're definitely your words, but I understand where you're coming from! I went to the first NDCF in 1995 and haven't been able to get back there since due to one conflict or another, but loved what I got there. I then found myself working with David Darling in Music for People, a place where there are "NO WRONG NOTES: each note lives in harmony with all the others." I still have difficulty playing over chord changes and still find myself in "student crisis mode" when working in a jazz or rock vocabulary sometimes. It does get better, but I love spending time with Haydn, Mozart, Bach, Brahms, Mahler, and all of those Renaissance composers, too, as well as anything that is written down. I also love Celtic music, and love to spend time working in improvisation in that Music for People style; here's a drone, play over it. Here's an ostinato, improvise a melody. Begin with one quality sound and follow it with another. Listen to what you are hearing from your colleague and offer it back. If you haven't been there already, check out MfP's Art of Improvisation at SUNY Fredonia in August. www.musicforpeople.org Thanks so much for posting, Rebecca! Connie Barrett Dear Rebecca,
WOW! I could’ve written this! Well, not this exactly, because you wrote it and they’re definitely your words, but I understand where you’re coming from!
I went to the first NDCF in 1995 and haven’t been able to get back there since due to one conflict or another, but loved what I got there. I then found myself working with David Darling in Music for People, a place where there are “NO WRONG NOTES: each note lives in harmony with all the others.” I still have difficulty playing over chord changes and still find myself in “student crisis mode” when working in a jazz or rock vocabulary sometimes. It does get better, but I love spending time with Haydn, Mozart, Bach, Brahms, Mahler, and all of those Renaissance composers, too, as well as anything that is written down.
I also love Celtic music, and love to spend time working in improvisation in that Music for People style; here’s a drone, play over it. Here’s an ostinato, improvise a melody. Begin with one quality sound and follow it with another. Listen to what you are hearing from your colleague and offer it back. If you haven’t been there already, check out MfP’s Art of Improvisation at SUNY Fredonia in August. http://www.musicforpeople.org
Thanks so much for posting, Rebecca!
Connie Barrett

]]> Comment on New Directions inside the “Bachs” by rebecca http://rebeccahartka.com/blog/?p=185#comment-325 rebecca Thu, 16 Jun 2011 12:56:30 +0000 http://rebeccahartka.com/blog/?p=185#comment-325 Thanks Mike for reading and responding! Free improvisation has indeed been the most wonderful thing for a Classical cellist such as myself as a way to tap into my creative impulses. While I do on occasion incorporate this into my practicing, I certainly could do it more often. I also agree about Celtic music at concerts. I did perform a bagpipe chanter recently at an unaccompanied concert as an encore. I do find exploring other styles and genres informs all of the folk inspired music that is present in classical-for example Frank Martin Trio on Popular Irish Melodies has some wonderful jigs and it is great to be able to play these with a good style. As you may have noted, if you read my article in Strings in April about speaking cello with a Japanese accent, I whole heartedly agree about culturally authentic "accents" in classical playing. I think this notion of authentic style in Baroque music is a good example of this. I wanted to add that my experience for the most part in conservatories was positive and I had some amazing teachers who changed my life. Most importantly, I stuck it out because I love the music. That is the most important thing here. PEOPLE SHOULD PLAY THE STYLE OF MUSIC THAT THEY LOVE!!! While you grew up falling in love with heavy metal, I would blast Vivaldi cello concertos and weep over the notion that maybe one day i could play them. I also listened and listen to allot of folk, and world music. Thanks for the conversation. Thanks Mike for reading and responding! Free improvisation has indeed been the most wonderful thing for a Classical cellist such as myself as a way to tap into my creative impulses. While I do on occasion incorporate this into my practicing, I certainly could do it more often. I also agree about Celtic music at concerts. I did perform a bagpipe chanter recently at an unaccompanied concert as an encore.

I do find exploring other styles and genres informs all of the folk inspired music that is present in classical-for example Frank Martin Trio on Popular Irish Melodies has some wonderful jigs and it is great to be able to play these with a good style. As you may have noted, if you read my article in Strings in April about speaking cello with a Japanese accent, I whole heartedly agree about culturally authentic “accents” in classical playing. I think this notion of authentic style in Baroque music is a good example of this.

I wanted to add that my experience for the most part in conservatories was positive and I had some amazing teachers who changed my life. Most importantly, I stuck it out because I love the music. That is the most important thing here. PEOPLE SHOULD PLAY THE STYLE OF MUSIC THAT THEY LOVE!!! While you grew up falling in love with heavy metal, I would blast Vivaldi cello concertos and weep over the notion that maybe one day i could play them. I also listened and listen to allot of folk, and world music.

Thanks for the conversation.

]]> Comment on New Directions inside the “Bachs” by Mike Lunapiena http://rebeccahartka.com/blog/?p=185#comment-324 Mike Lunapiena Thu, 16 Jun 2011 05:28:32 +0000 http://rebeccahartka.com/blog/?p=185#comment-324 I love this entry & am glad to hear that you had such a transforming experience at NDCF! For what it's worth, I don't think that being a New Directions Cellist means you need to be amazing at Jazz AND Fiddle Tunes and have a master ability of imitation and arrangement and all that ... I think just exploring at all & improvising & trying new styles is all that's required. You love celtic music (I do too by the way) ... play lots of celtic music ... get really good at it ... have fun with it! BUT don't play it like a classical player ... figure out how to play it like a fiddle player (it's like learning a foreign language & speaking with an American-English accent instead of learning the accent of the language) ... one thing I love about NYC is that there are so many opportunities to hear great fiddle players or Celtic Traditional players! Maybe include some celtic tunes some of your classical programs (even as an encore ... Inbal Segev - a classical cellist - often plays Sean Grissom's arrangements of some celtic tunes as an encore) One philosophy on improvisation is that there are no right or wrong notes ... sometimes it's good to do that kind of improvisation, even just for 10 minutes a day... One of the funnest ways to get good at playing over chords or improvising is to use a loop station (you'll create some of the most beautiful music ever!) I hate that in the Conservatory world, Improvisation = Jazz - as if an American art form less than 100 years old is the only style of improvisation ... I love your suggestion about Baroque improvisation/Ornamentation & wholeheartedly agree... Of course, I don't want to be a part of the conservatory world (for exactly the reasons you mentioned) For me, playing classical music or Jazz music is going outside of my box, but it's always a good idea (though really I feel so little connection to jazz at all...) ... I fell in love w/ Rock/Heavy Metal long before I had any idea what the cello was... Let me know if you're going next year ... I'll definitely be there! All the bestest! -Mike I love this entry & am glad to hear that you had such a transforming experience at NDCF!

For what it’s worth, I don’t think that being a New Directions Cellist means you need to be amazing at Jazz AND Fiddle Tunes and have a master ability of imitation and arrangement and all that … I think just exploring at all & improvising & trying new styles is all that’s required.

You love celtic music (I do too by the way) … play lots of celtic music … get really good at it … have fun with it! BUT don’t play it like a classical player … figure out how to play it like a fiddle player (it’s like learning a foreign language & speaking with an American-English accent instead of learning the accent of the language) … one thing I love about NYC is that there are so many opportunities to hear great fiddle players or Celtic Traditional players!

Maybe include some celtic tunes some of your classical programs (even as an encore … Inbal Segev – a classical cellist – often plays Sean Grissom’s arrangements of some celtic tunes as an encore)

One philosophy on improvisation is that there are no right or wrong notes … sometimes it’s good to do that kind of improvisation, even just for 10 minutes a day… One of the funnest ways to get good at playing over chords or improvising is to use a loop station (you’ll create some of the most beautiful music ever!)

I hate that in the Conservatory world, Improvisation = Jazz – as if an American art form less than 100 years old is the only style of improvisation … I love your suggestion about Baroque improvisation/Ornamentation & wholeheartedly agree…

Of course, I don’t want to be a part of the conservatory world (for exactly the reasons you mentioned)

For me, playing classical music or Jazz music is going outside of my box, but it’s always a good idea (though really I feel so little connection to jazz at all…) … I fell in love w/ Rock/Heavy Metal long before I had any idea what the cello was…

Let me know if you’re going next year … I’ll definitely be there!

All the bestest!

-Mike

]]> Comment on Shine On You Crazy Diamond by rebecca http://rebeccahartka.com/blog/?p=166#comment-285 rebecca Wed, 20 Apr 2011 22:58:09 +0000 http://rebeccahartka.com/blog/?p=166#comment-285 Yeah! It can be rough out there! Keep your head up! Yeah! It can be rough out there! Keep your head up!

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