I've passed with Merit

I just received my results and certificate for the ABRSM Music Theory exams (Grade 6) this evening when I went for music theory lesson. I have passed with Merit.

I did pretty well for the fourth and fifth sections of the Grade 6 exams. I almost scored full marks for these sections. However, based on the results, I would still needed more work on harmony and melody-writing. While I do acknowledge I needed more work on melody-writing, I had thought that my foundation in harmony would be reasonable enough to score me better marks. It looks like I have to study harmony in greater depth.

Whatever it is, I have passed with a merit. My tutor said one has to score from 80 - 89 to earn a merit, 90 and above to earn a distinction. I scored 82 marks.

It looks like I have to work smarter and harder to earn myself the Hedy King Robinson award when I take Grade 8 Music Theory Exams sometime next year. Cheer for me please.

Related posts:
Music Theory Exams
Hedy King Robinson award
Ups and downs of studying music theory

Music theory day

After double bass lesson today, I headed for HDB Hub for music theory class. I was already feeling tired from the week when I was on the taxi on my way rushing for the music theory class.

My music theory told me that from this month till later part of this year, I will be studying the related materials for Grade 7 music theory. A few weeks ago, I was introduced to the Neopolitian chord, notated either as ♭IIb or N6. I should now be able to recognise it if I were to see it on the scores and have the time to analyse the music. However, I wonder if my ears would ever recognise a Neopolitian chord from a piece of music that I were to listen to?

Sometimes I think it would be great to combine music theory, aural and practical lessons all in one. But to do that, I might still need to brush up on my foundation of music theory and aural skills.

Anyway, for today's music theory lesson, I felt so tired that I wasn't giving the lesson my full concentration. When I was assigned to identify the given chord found in Bar Two of a score, my mind drifted off and identified the first chord from Bar One!

Well, avoid me if you think you should. A tired yours truly is not an easy person to have around.

Music theory exams

It has been quite a while since I last sat for a written examinations. I think the last exams that I sat for was the MBTI® (Myers-Briggs Type Indicator®) Accreditation exams.

Today, I sat for the ABRSM Grade 6 music theory exams. I was allocated to a particular seat which had pretty dim lighting. It was quite dim lighting and I found myself having to strain my eyes to see. Looking back, I am glad that I had requested for help with the lighting. In the end, the invigilator and the steward ushered me to a seat with better lighting in an adjacent room. I am thankful for their kind assistance.

I had actually read briefly about arpeggiation when I revised earlier this morning, but when it came to the exams, I just did not recall the term. Anyway, hopefully the examiners could accept my explanation of this performance direction, at least partially.

Now the model answer:

To perform an arpeggiated chord, play the notes of the chord one after the other as quickly as possible, starting on the beat from the bottom note.

I am confident that I would pass this exams, unless things turn out beyond my expectations. If all goes well, I should get at least a merit. I don't really keep track of how well I have done for my previous attempts of past-year exams papers, so I can't have a good gauge of how much marks I could get for the paper. Anyway, I have done my best, and I shall just leave the marking to the examiners.

Meantime, I keep my fingers crossed that I could score at least 90 out of 100, and then I will able to win the Hedy King Robinson Award. Please keep your fingers crossed for me. I won't know the results until a few months later.

Performance directions

In one of my previous posts, My attempt to revise for music theory, I have included a glossary of the performance directions from the 3rd movement of Sibelius' Symphony No. 2. Now I shall attempt to write a glossary of the performance directions from the 4th movement of the very same symphony.

Allegro moderato: Moderately quick

fz: (forzando) forcing, strongly accenting

poco stringendo: gradually getting slightly faster

pesante: heavy

riten: (ritenuto) held back

a tempo: in time, indicating a return to the original speed

un poco con moto: a little with movement

a tempo ma tranquillo: in time, but calm

Moderato assai: At an extremely moderate speed

dim. poco a poco: gradually getting softer, a little by little

allargando: broading, i.e. getting a little slower and probably also a little louder.

marcato: emphatic, accented

largamente e pesante: broadly and heavy

poco largamente: a little broadly

molto largament: Very broadly

ten.: tenuto held

tremolo: trembling, a direction for the rapid reiterations of a single note


**
Question: Does anyone know what Meno moderato e poco a poco ravvivando means?
I have no clue what ravvivando refers to.

**
I looked back to the time when I had first started out rehearsing Sibelius' Symphony No. 2, I think it is pleasant to know that I now can better relate to Sibelius musical ideas. I used to be clueless on what his music was trying to convey.

According to the programme notes by Marc Rochester which I had came across some time ago, Sibelius wrote this symphony outside his homeland, Finland. He was setting off wth his family in 1901 to Italy when he decided to write the second symphony. "Sibelius' Symphony No. 2 is the most unambiguously nationalist of all his seven symphonies." Perhaps the act of having to work on this symphony in a country so very different from his homeland could have fired Sibelius' nationalist sentiments.

I suppose I did not know how to relate to this symphony at the very beginning because I don't live in Finland nor have I been to Finland!

Anyway, here's a suggested recording to listen to:

Symphony no 2 in D major, Op. 43 by Jean Sibelius
Conductor: Paavo Berglund
Orchestra/Ensemble: Helsinki Philharmonic Orchestra
Period: Romantic
Written: 1901-1902; Finland
Release Date: 11/20/2001
Label: Emi Classics
Catalog #: 74485
Spars Code: n/a



**


Or you can listen to the 3rd and 4th movement of Sibelius' Symphony No. 2 live in Singapore, on 16 Mar 2007 (Fri).

Please click the following URL for more details:
http://www.sistic.com.sg/cms/events/index.html?content=698

References:

• Eric Taylor's The AB Guide to Music Theory.
• Programme notes by Marc Rochester, found on Singapore Symphony Orchestra's programme booklet for SSO 28th Anniversary Concert held 6 Jan 2007.

Related posts:
My attempt to revise for music theory
Hindemith's Trauermusik

Hindemith's Trauermusik

I have a liking for music that sounds dark. Life has its ups and downs, and dark music, in my opinion, provides an outlet to express the darker side of the human emotions: the agony, the misery, the sorrow, the pain, the torment and so forth.

When contrast against such dark moments, one can actually learn to appreciate the beauty that can be found almost everywhere, even in dark music. Maybe life isn't about being plain smooth sailing, but is about rising above the odds? It is not about being painless, but about being alive by experiencing the full magnitude of life's ups and downs?

Enough about my rambling, I shall take this chance to offer my readers some information regarding Paul Hindemith's Trauermusik for Viola and Orchestra (written in 1936). It will be performed live for the first time in Singapore on 16 Mar 2007, 7.30 p.m. in a classical music concert by NUS Symphony Orchestra. More details on the concert can be found here: http://www.sistic.com.sg/cms/events/index.html?content=698

If the English subtitles on my double bass scores are right, Trauermusik should mean Funeral Music.



There is a recording of Hindemith's Trauermusik by Cpo Records. Up on one of the pages of Amazon.com, one can listen to samples of this work for the viola and orchestra. I personally think that the sound of the viola can be more moving than that of the violin.

Opening this work is a passage marked Langsam (Lento) which means "slow". Later, the performance directions indicate Ruhig bewegt which means "calm with movement" or "quietly moves". The third section is marked Lebhaft (Vivo) which basically means "lively (quick and lively)". The performance directions on the last section of the work indicate Sehr langsam which informs the performers to play that section very slowly. With that, the work eventually ends with silence.

I read a bit about Hindemith's philosophy of music on http://www.answers.com and I like this part of his philosophy: "To express what has never been said before, the musician must enter another dimension. He must explore the heights and the depths, the heights of the spiritual and the depths of the human soul."

I think the challenge would also be on the listeners to listen out for the heights of the spiritual and the depths of the human soul. If you would like to make the attempt to take up the challenge, do check out the concert on 16 Mar 2007 to hear Hindemith's Trauermusik live in Singapore!

Sturm und Drum
Date: 16 Mar 2007 (Fri)
Time: 7.30 p.m.
Venue: University Cultural Centre Hall, NUS
Ticket Price: $11 each (including $1 Sistic Booking Fee)

And here is some information about the (viola) soloist who will be playing in the above-mentioned concert:

Born in Russia, Anatoly Zelinksy studied at the Moscow Conservatory and the Kiev Academy of Music. He was Principal Violist of the National Symphony Orchestra of Ukraine and was conferred The Honored Artist of Ukraine in 1985. He was also the Principal Violist/Soloist of the Kristiansand Symphony, Norway and the Malaysian Philharmonic Orchestra. He has premiered many viola works and involved in many CD recordings. He is currently Principal Violist with the Christchurch Symphony Orchestra.

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References:
http://www.8notes.com
http://www.answers.com/topic/paul-hindemith
http://en.wikipedia.org/wiki/Paul_Hindemith
http://en.wikipedia.org/wiki/Viola

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Related post:
My-attempt-to-revise-for-music-theory

Hedy King Robinson award

The Hedy King Robinson prize is an award that rewards students who have performed exceptionally well for Theory of Music examinations. International students who score a Distinction for their Grade 6 - 8 Theory of Music examinations will be eligible to earn this very award, and it certainly is one motivating factor for me to put in an extra bit of effort for my upcoming Theory of Music exams held on 10 Mar 2007. One needs to score 90 marks out of 100 to get a distinction in Theory of Music, if I am not wrong.

I learnt that the award was generously endowed by the late James T Robinson Jr of Phoenix City, Alabama, USA, and is named in memory of his late wife.

The award is a reminder that theory is a very important part of practical musicianship too! Check out this article by Philip Mundey, the Associated Board's Director of Examinations, which writes about the links between theory and performance: Theory: a very practical matter

If you don't see much post on this blog for the week, it is probably because I am either practising on the double bass or revising for the music theory exams. Lots of good luck would be appreciated.

I shall work towards achieving the Hedy King Robinson award. Admittedly, this gets a little bit stressful.

Whatever it is, I look forward to be able to say: "Hedy King Robinson award, mine!"

My attempt to revise for music theory

I will be sitting for music theory exams (Grade 6 ABRSM) on 10 Mar 2007.

In my efforts to revise for the music theory, I have decided to write this post consisting of a glossary of the performance directions found in the 3rd movement of Sibelius' Symphony No. 2.

Perhaps someone could enlighten me on why many of the performance directions commonly found in Western music tends to be in Italian, Latin, French or German language. I think if I were to learn all four of these languages, I can score instinctively well for my understanding of foreign words used for performance directions!

For these few weeks, I shall attempt to write a series of posts on this topic of the definitions behind the various words used for music performance directions. To start the ball rolling, I have decided to work on a work that I will be performing in an upcoming concert. Details can be found right below:



If you were to come for the concert, try listening out for the following in the above-mentioned symphony:

Tying in with Sibelius' philosophy on the art of the symphony, the work grows almost organically out of a rising three-note motif heard at the opening of the work, which, after appearing in many guises throughout the entire symphony (and indeed forming the basis for most of the material) forms the dramatic theme of the finale.

(the only thing is that we won't be playing the first movement of the symphony!)

For more on Sibelius' Symphony No. 2, refer to: http://en.wikipedia.org/wiki/Symphony_No._2_(Sibelius)

***
Now for the glossary of performance directions from the 3rd movement of Sibelius' Symphony No. 2:

Vivacissimo: With vivacity, very lively

div.: (divisi) divided. To divide into two or more groups.

unis.: (unisono) in unison, with everyone performing the same notes. a direction to cancel divisi.

Lento e soave: slow and smooth

ten.: (tenuto) held (a slight degree of separation between notes so marked.)

poco accelerando: gradually getting slightly faster (?)

largamente: broadly

allargando: broading, i.e. getting a little slower and probably also a little louder.

atttacca: go straight on, indicating an immediate move to the next section of the music

References:
http://www.8notes.com/glossary/Vivacissimo.asp
Eric Taylor's The AB Guide to Music Theory.

Ups and downs of studying music theory

My music theory tutor seemed quite worried yesterday when I had scored only 50% of the marks for Question 4 and 5 for one of the Grade 6 Music Theory Year 2002 exams papers that I had attempted for this week. I was rather inconsistent when it came to my scores. On good days, I can score close to full marks; On not-so-good days, half of my answers were wrong.

Hopefully, practice would make perfect. I seem to have inconsistent performance when it comes to deciphering which key a particular section of the music is in. I also appear to have a difficulty in getting the right answer if I were to be presented with an abstract of a score and asked if it were written during the Classical or Romantic era. My ears are quite good in telling the difference, but my eyes don't seem to differentiate well.

On the good side, transposition appears a component where I can score. I can also identify the chords accurately if I have managed to determine the key that the music is in for a given section.

There's three months before it is music theory exams. I hope I brush up on music theory so that I can pass when I sit for the exams next March.

My tutor commented that there's a difference between a young child who is studying music theory, and an adult who is studying music theory. What do you think?

I would like to interpret it as a young child will tend to learn music theory by finding time to read and study what the theory guide books say. The adult understands music theory by comprehending the concepts and learning to apply the concepts. I don't find myself spending much time to read and remember the definitions of the numerous musical terms or the books. I also often struggle to find time to do my music theory assignments due to other competing interests and demands.

Anyway, here's presenting the ups and downs of studying music theory.

Music Lessons this week

For this week's double bass lesson, my tutor demonstrated for me and guided me to play the sections from Dragonetti's Solo in e minor that require the use of harmonics. I gained a slightly better appreciation and knowledge of the use of harmonics. He reminded me to bow the bow nearer the bridge when I play harmonics. This makes a lot of difference to the sound quality.

Much of the rest of the session was spent on Keyper's Romance and Rondo. Playing the notes is easy, playing the music is a greater challenge. Anyway, I sensed there was some slight improvements in my playing. I wish I could have more time to practice so that I can work on Romance and Rondo with greater depth. More time to practice would also mean that I could work on playing the entire Dragonetti's Solo in e minor.

Double bass lesson was interesting and I found myself humming Keyper's Romance and Rondo after the lesson.

**
In the evening, it was music theory lessons. For a change, I requested my music theory tutor to guide me on how I could analyse Keyper's Romance and Rondo. He showed me how to work out the key, the chord progressions, the structure and the other characteristics of this work. It was insightful. The music theory lesson today has helped lend me some pointers on how I can work on writing the programme notes for my diploma exams. I am keeping my fingers crossed that I would be ready for it by August or September next year.

My music theory tutor suggested that I could study William Lovelock's Two-Part Writing and First Year Harmony so that I can better appreciate the harmony behind whatever work that I decide to play.

I like today's music theory lessons. It showed me how I can apply what I have learnt from music theory lessons onto my actual playing on the double bass.

How to pace myself?

Yesterday had been a day where I was travelling from one place to another. Now my hips hurt a little. Yesterday, I had to visit the music school where I am taking music theory classes at. This is so as to submit my personal particulars and to make payments to register for the ABRSM Grade 6 Music Theory exams.

The registration for the Music Theory exams has yet to start, but I had to submit my details and the payments because I will be overseas from 9 - 13 Nov 06, and the dateline for students of the music school to submit their payments for the music theory exams registration is 15 Nov 06.

***
Talking about music exams, my double bass tutor is keen on the idea of preparing me to be assessed for DipABRSM (Diploma of The Associated Board of the Royal Schools of Music) in August/ September next year. I don't know if I could work towards achieving a good pass by then without having to push myself too hard. I needed time to work on improving my sight-reading abilities, and I did not want to push myself too hard that I end up not enjoying the music itself.

I wonder if it might be better that I sit for DipABRSM Double Bass in Apr/May 2008? But it seemed too prolong a wait.

Then again, it may not be that long? I had started my first official music theory class in Dec 05 and will only be sitting for the music theory exams in Mar 07, but at least I feel ready for it. If I work consistently and diligently on studying for the music theory exams, I am quite confident that I can secure a good pass.

Sometimes, trying to find an appropriate pace can help. Too fast, one may panic. Too slow, it gets boring. If the pace is just right, one feels ready when it is time to put one's skills to test.

Whatever it is, if I were to register for DipABRSM Double Bass (Practical), I think I need to figure out how to write satisfactory programme notes for each of the works that I would be performing for DipABRSM. Anyone care to share a tip or two on writing programme notes?

Mesmerised by Music

This morning, I just felt an urge to hum. To hum some tunes. It is as if the words in this world are not sufficient to fully express the feelings and thoughts that run through my mind. But music can do so!

**
In the late afternoon, I had double bass lesson with MJ. Double bass lessons are fun and full of things to learn. Today's lesson focused on the left-hand technique. MJ constantly checked and corrected the shape of my left-hand. My left thumb often had the bad habit of being placed at the wrong angle and that had actually affected the dexterity of my playing. As such, part of the lesson worked on getting me to be more aware of my left thumb and on placing it at a more natural angle.

The good news is that I can clearly hear the improvements in my playing. Compared to the version that I have played during my grade 8 music exams, my rendition of the first and second movements of Marcello's Sonata in g minor today sounds better and more musical.

I guess that writing about the differences in the two rendition can't truly get the idea across. You might have to hear and compare the two renditions. However, my apologies that I do not have any recording devices to record my playing on the double bass as yet. I can only wish that either I get a hefty end-of-the-year-bonus or I win a grand-prize in some lucky draw, then I can happily have enough money to be willing to buy a recording device? Wish me luck. By the way, what kind of recording device is good for recording the sounds of the double bass?

Anyway, some hours of this weekend shall be spent on practising. Music can mesmerise one, doesn't it?

**
At 8 p.m. today, music theory lesson started. I spent a bit of time correcting some of the mistakes that I have made in the assignment that I had done over the past weekend. The music theory tutor told me that I should spend more time working on the sections related to Harmony. As such, I was instructed to take time to correct the mistakes that I have made in this particular Harmony-related section. It seems like Harmony is an important component in the learning of music theory?

Whatever it is, I can remember that I felt fairly hungry by the end of the 45-min music theory lesson. I had no time to take my dinner!

**
I had Japanese food for dinner at about 9 p.m. If you have been following my blog closely enough, you should be able to make a correct guess at where I have taken my dinner tonight.

I was quite famished and was muttering my orders such that it took a while before the staff at the counter understood me. Anyway, I ordered the Sashimi Special Set. I like the sashimi. It certainly tasted nice this evening, especially when my mind was full of tunes and musical thoughts.

Music updates for this week

Ever since my double bass lessons have been scheduled on Thursdays, Thursdays mean double-dosage of music for me. In the afternoon, it would be double bass lesson. In the evening, it would be music theory lesson.

According to my music theory tutor, the practical and theoretical aspects of music are inter-related. I suppose I could trust his words. However, I have yet to learn to fully integrate the two aspects in one.

**

Double bass lesson with MJ this week continued to work on vibrato and achieving inaudible bow changes. MJ said that the act of performing vibrato can be good for the muscles of the arms.

When we work on the Marcello's Sonata in g minor, the focus was on how to achieve a good sense of phrasing. Phrasing, MJ said, is most important. Good phrasing makes it easier for listeners to relate to the music. On the other hand, playing the right notes with poor phrasing makes a piece of music sound difficult to understand.

To demonstrate the difference between good phrasing versus bad phrasing, MJ played two versions of the double bass solo from the 3rd movement of Mahler's First Symphony. One of the versions has good phrasing; The other is poorly phrased. Indeed, with good phrasing, the solo passage makes musical sense.

I don't know why, but there seems so many things to assimilate from the lesson that my head felt heavy after the lessons.

**
When I had music theory lesson in the evening, I was clearly feeling tired and mentally drained.

That evening, the music theory tutor checked the exercises that I have completed on the topic of modulation. Almost all of the exercises that I have attempted need to be reworked upon. What had seemed to be fairly easy actually proved more difficult than it seems. Other than being careless in a few of the exercises, I was also quite ignorant to the option of using this chord progression: Ib, V7c, I.

In addition, my tutor said that where possible, it is better to use the "Ib, Vc, I" chord progression rather than the "Ib viib, I" chord progression. I wonder if the former sounds nicer?

**
It is Saturday today. I have just spent some time practising on the double bass.

About 15 minutes was spent on sight-reading. My attempts on sight-reading felt average, and mediocre. I was playing with a metronome clicking away. That has helped the tempo, but I was playing at a slow tempo of 40, and the performance directions indicated on the score reads Allegro. I can only coax myself: step-by-step, I will become more proficient in sight-reading.

In the attempts to learn strategies to improve on sight-reading, I've found these online resources:

-http://www.improveyourmusic.com/sight-reading-tips/
-http://www.geocities.com/Athens/Marble/9607/sight.htm
-http://perfectfifths.com/archives/2005/10/13/improving-your-sight-reading-skills

This week with music

Double bass sectional was held this Wednesday evening. Double bass sectionals are worth looking forward to. At the very least, there is much delight to be derived from learning to play as an ensemble and to understand how to play the passages from the orchestral works more musically.

The "Storm" section from the Beethoven's 6th symphony is still something I have yet to manage to play decently. The golden words are: Practice, Practice and Practice.

***
Yesterday afternoon, I finally made purchases for the season tickets to Singapore Symphony Orchestra's (SSO) concerts for year 2006/7. Obviously, I am quite a loner, I've bought only one single ticket for myself to most of concerts that I will be attending. Then again, it might be better. I find it fairly hard to find good company who would be free to catch certain concerts with me.

I am hoping that the concert on 29 Sep 06: The Creation, would be a good one. That should be the first SSO concert that I will be listening to for the new season.

***
In the late afternoon yesterday, I had double bass lessons with MJ.

We continued to work on basic techniques. I worked a fair bit on the right-hand techniques. One of the tasks required was to bow and achieve a fairly even tone throughout ever single note of the G major scale. I was asked to aim to make all bow changes as inaudible as possible. This may sound easy, but it takes a lot of practice to master.

MJ also spotted a bad habit of mine. Strangely, I have a tendency to move my left-elbow before I move my left-hand when making shifts in positions. MJ said that the natural way is to move the hand first, before the elbow. I think it would help if I practise making shifts in positions in front of a mirror.

During the lessons, MJ shared with me that for certain works, I need not need to work too hard. For example, I have a tendency to use a lot of force to stop the notes when I play the Marcello's Sonata in g minor. I was told that the effect was ungainly as the notes that weren't meant to be accented felt as if someone had use a hammer to produce those notes. I shall learn to go easy where needed.

***
Right after double bass lesson with MJ, I took a cab to go for music theory class. This week's music theory class focuses on the subject of elementary modulation.

I attempted to do one of the exercises in the chapter. I did fairly well according to the tutor. My homework for the weekend would be four more exercises on the subject of elementary modulation.

***
Strangely coincidental, yesterday, both MJ and my music theory tutor suggested that I could consider a career in music. How is life like for someone who has a career in music, specifically as performing musician?

I enjoy experiencing an in-the-flow experience while playing music well. I have been playing the double bass as a hobby but I am not sure if it would be motivating enough for me to play double bass full-time as a musician.

***
Anyway, tomorrow my instrument should be ready for collection from the Luthier. I am looking forward to practising on it. One of the best way to learn is to practice and to apply.

Trying to digest those heavy theory

Elementary Modulation isn't as elementary as it claims to be. In fact, I am struggling to understand some parts of it.

The only reassuring thing is that I just have to do my part to read the chapter on Elementary Modulation so that I can have a good idea which are the parts that I don't quite understand. Afterwhich, I can get the music theory tutor to go through those parts with me this coming Thursday.

I was reading the chapter on Elementary Modulation from Lovelock's First Year Harmony. Sometimes, the hardest thing I find in studying music theory is that I don't quite figure why certain things have to be done in certain ways. Sometimes, the rules just seemed to be "fixed". It is similar to: why 1 + 1 = 2, and why the sun is understood to rise from the east.

What exactly is false relation? I am aware that we should avoid having "a note in one part in one chord followed in the next chord by the same note chromatically altered, in another part". But I can't truly appreciate why. Maybe I just have to hear how a false relation would awfully sound?

It also took me a while to understand this principle that goes: "the leading note of a minor key is normally sharpened; so that it appears unsharpened and falls a step, it counts as a flattened note."

Understanding is one issue. Applying the concepts is another. I guess I could only try to read the chapter and assimilate as much as possible. Whatever that remains can only be dealt with this Thursday.

Whatever it is, hopefully, understanding elementary modulation would help me better appreciate the music that I will be playing in future.

Everything music

This afternoon, I took time-off from work.

I had double bass lesson with MJ in the afternoon, for an hour. In the evening, I had music theory class because today is a Thursday. Maybe it isn't wrong to label today as a day of music?

Double bass lessons have been getting interesting, especially without the pressure of having to practise so that one could pass the exams. I am liking the idea of having to work on the basics.

As I play the C major scale for almost more than half the lesson, the tutor continued to help me find what is the more natural way for me to play the double bass. It felt delightful to play the double bass with increasing ease.

The tutor also worked on techniques of doing a vibrato. It proved to be tricky initially, but was rewarding when I could get a better vibrato than I used to have. Yet, I think I still have to practise more in order to master how to do a good and well-controlled vibrato.

After all the earlier work on the basics, I played the first movement of the Marcello's Sonata in g minor. For the first time in my life, I could feel a much greater ease in playing this sonata. I did not have to actually work very hard to play this sonata, and it still sound nice, if not nicer, than I had played on my recent exams and the earlier practices. Yes, basic techniques do matter. I am happy that I am now working on it with the tutor. For the rest of the time to come, it shall be practice and more practice.

I am looking forward to future lessons.

**
After double bass lesson, I headed for Toa Payoh Central. I spent some time there. At about 4.40 p.m., I happened to chance across the HDB (Housing Development Board) Gallery and I went it. It was a gallery consisting of various exhibits that outlines the history and development of public housing in Singapore.

But at 5.15 p.m., when I was done with the viewing of the exhibits, I found myself locked all alone in the gallery! I tried opening the main door but it was locked. I walked up the stairway and was directed to a back entrance, but it was locked too.

The only good thing is that the back entrance allowed me to get hold of the attention of a passerby. I asked the passerby and her companion for help to get the security. It was so kind of her to do so. After a few minutes, the security came and directed me to head for the main door. I waited for yet another few minutes before the door was finally opened. Thank goodness.

For this evening, I did not have dinner at my usual favourite place. I was meeting a friend, H, for dinner. It was nice to catch up with H this evening. It was good to know that she is doing fine. I thank her for the tips that she has given me during our conversation.

***
In the later part of the evening, I had music theory class.

The music theory tutor explained to me on how I could recognise syncopated rhythms. He also clarified on the definition of a few musical terms. He also showed me how I could look for clues to determine the key of a particular section of a piece of music. He spoke about how the knowledge of harmony could help us understand the flow of a piece of music. I think the knowledge in these areas would come helpful when I play and interpret a piece of musical work. I am glad that I took up theory lessons.

**
Now, I am feeling that my body is aching from a day of walking about, and carrying loads of music books and scores, and the double bass bow in bow-case throughout the entire afternoon.

My right hip is hurting, again. I wonder why.

Anyway, I like today. It was well-spent. Perhaps like the words on the poster that I had saw this afternoon: "Music is a gift from heaven" and it brings some joy to one's life.

Where's the augmented chord?

I was trying to do the music theory assignment. One of the questions required me to identify an augmented chord from an extract that was given. I have been trying to find the augmented chord at different sittings for the past few days, but I have yet to find it!

I wonder why? I have been systematically searching for the augmented chord bar by bar, but it remains unfound.

How does one train oneself to recognise an augmented chord easily?

Anyway, I decided to stop my attempt of identifying the augmented chord. I later went to attempt a question on melody writing. I am no aspiring composer, but I hope to write a decent of melody nevertheless.

Thursday's music theory lessons

Today's music theory lesson was fairly rewarding. My music theory tutor enlightened me of the relationship of the notes in a Dominant Sevenths scale and a Diminished Sevenths scale. The concept was actually much simpler than I had thought. Understanding the concept is certainly beneficial to my playing. Now, I can play these scales with understanding instead of through rote memory.

My progress in music theory appears to be slow but steady. As I look back, I have been taking music theory lessons for slightly more than six months already. When I first started out taking music theory lessons, I have never thought of taking music theory exams. I just merely wanted to learn enough to improve my appreciation of music in general.

Last week, my music theory tutor managed to convince me that I could sit for the music theory exams either March or November next year.

Contrary to how I have been feeling towards the music practical exams, I feel much more confident securing at least a merit for the Grade 6 music theory exams. At the pace that I am learning the Grade 6 music theory, I should be fairly competent in it to score a pass by next year.

Music practical exams are, in my opinion, so much more challenging than music theory exams. I don't know if it would be fair to compare the two together. Anyway, maybe the idea is that being slow and steady does not necessary have to be a bad thing.

Suspensions

After taking three weeks of break from music theory classes, I resumed music theory class this evening.

**
Before the class, I decided to have Japanese food for dinner. If you have been my regular reader, you might have guessed where I have decided to visit for dinner this evening. There's one place for value-added Japanese food in Toa Payoh.

I happen to get into a conversation with one of the personnel of the food outlet, and I was told that the art of making sushi demands greater level of skills than that of preparing sashimi. I have never thought of things this way, but after much thought over what was shared, it did make some sense. The next time when I were to eat sushi, I may experience the sushi from a different way.

**
Back to theory class, today's class was on the topic of Suspension.I had read the chapter on my own before the class. It proved to be challenging when I got to the latter half of the chapter. What on Earth is skeletonising?

My music theory tutor went through the chapter on Suspension with me during the lesson. He said it would be easily to start by reading William Lovelock's First Year Harmony than Two-Part Writing by the same author. Then skeletonising did not seem as difficult as it had seem to. Having a tutor to give the pointers and to explain the concepts seem to make the learning easier than if I were to study on my own.

Maybe it is implying that one doesn't have to solve all of one's problems on one's own?

A lesson on Melody Writing

It is Thursday today. My music theory classes are scheduled on Thursday evenings.

The earlier part of today's lesson was spent going through the Two-part writing homework that I have done over the weekend. There were a lot to be learnt from the mistakes I had made. It was quite insightful. Now I realised how I can tell which notes are passing notes that do not require to be harmonised, and which are the notes that need to be harmonised.

Thereafter, my tutor covered about four chapters from W. Lovelock's Melody Writing during the second half of the lesson. Some of the materials from these four chapters were similar to what I have learnt earlier from First Year Harmony by the same author.

For example, "avoid augmented intervals".

There seems quite a number of technical rules to follow that I think good composers ought to deserve sufficient recognition for their abilities to compose good music intuitively. I said "intuitively" because my tutor claimed that some composers can be so good that they can just write a good melody without being conscious of the rules. Very likely, these people could have a good inner ear to tell what makes a good melody? Surprising, the melody would just fit well into the rules, and more importantly, it would sound great.

Maybe everyone has a gift of his/her own? I wonder what is mine?

Two part Writing

My music theory lesson has progressed from four-parts writing to two-parts writing. It seems like my tutor is an avid supporter of music theory instructional books written by William Lovelock.

According to Chapter Two of William Lovelock's Two Part Writin, the essential approach to two-part work is similar to that for writing three or four parts. However, certain modifications are often preferred to compensate for the absence of the inner parts.

If I understood correctly, the perfect fifth interval between the two parts is less desirable in two parts writing because it often may sound bare. One thing that came to my mind is that I have not much clue how that bareness would sound like. How does bareness sound like?

***

Last night, I heard from my tutor that ABRSM will be awarding 50 pounds to students who have obtained a distinction in Grade 6, Grade 7 and Grade 8 music theory. I am not fully certain of the credibility of this information, but it seemed believable. Maybe we could infer that music theory is deemed as important as practical musicianship?