This was my first ever time speaking about my Career officially at any event so I was not sure what to expect. We had a couple of speakers for the different art groups, for music it was just my fellow Alumni Lin Si Tong (Instagram linsitong, is a Chinese lyricist and Music Producer for Dramas and other Mandarin Songs) and I. This was great as she covered the students who aspired to go contemporary and I addressed the students who were interested in sticking with Classical. Though both of our Careers do overlap somewhat as we still need to practice a lot and be good with our pitch; and we both love to teach!
It was nice to be back in my old school after leaving for so long and meeting most of the teachers who still almost looked the same (to me). Talking to the students and meeting others from the art industry made me realize that it is really not out of necessity that we do what we do every day but for the passion and love for our art that we wake up an try our best with our careers even though what we do sometimes seem more obscure than a more conventional job.
It is truly a blessing to have a talent to share with others, so those of you reading this who is good with any form of musical or artistic talent, do try your best to nurture it. Your creativity is unique and original and even if it seems insignificant, there will be an eager someone who will be truly inspired by your art! Thank you SCGS for giving me the opportunity to share and realize this ❤️
The article in the link below by cello Professor Miranda Wilson, gives useful practice tips on how to carry out the sudden dynamic changes found in Beethoven’s compositions.
Other than Beethoven, Bach’s compositions also have sudden dynamic changes in parts that echo from forte to sudden piano with no diminuendo or crescendo.
I often practice these sudden changes by stopping after the end of the dynamic, just before the sudden comparably soft or loud dynamic change.
For example, complete the forte portion completely without any hint of diminuendo, give a slight halt to prepare for the next piano section. This is an additional way to this author’s idea of practising out a sudden drop or increment of dynamics. You can do the same with a piano portion, practice without a hint of crescendo, stop before the forte section then prepare and continue with the forte.
After a certain while of practicing in this fashion, you will be able to execute your the sudden dynamic changes more effectively for the listener and your ear and muscles get used to not committing any unnecessary diminuendo or crescendo which is not intended by the composer, the sections will be kept distinctly and the character of the piece will be executed well. Do try this method of practice and let me know if it works for you too! This method is not confined to violinists but all sorts of other instrumentalist should try it too.
Here is more from the original article from Strings magazine that inspired this blog post.