30 DtD Tambourin. Detail work.
30 Dtd Prelude 4. Wrote ideal for piece. Ran out of steam 2/3rds through detail work.

I forgot to practice today. I guess my brain decided all the research this morning was practice. And as soon as I went outside for a walk, I started yawning like Pez dispenser. I guess I will be practicing tomorrow, if I remember, and spending the rest of the evening trying not to fall asleep.

More research on Srebotnjak:
Yugoslavia / Die neue Musik in Jugoslawien by Dragotin Cvetko from  The World of Music, Vol. 4, No. 3 (JUNE 1962), pp. 52-53: Srebotnjak used "pointillist technique"? "Serial pointillist technique"?

Music in Slovenia by Niall O'Loughlin from The Musical Times, Vol. 134, No. 1801 (Mar., 1993), pp. 130-133: He had come to London to study with Peter Racine Fricker in 1959-60. Preludes was written in 60. He also used "12 note technique". (Except in Harp Concerto where he used 8-note to facilitate pedaling.)


Contemporary Trends in Yugoslav Music by Zija Kučukalić from International Review of the Aesthetics and Sociology of Music, Vol. 2, No. 2 (Dec., 1971), pp. 271-273: "the Slovenian folk music tradition is attached to the folk music of the Alps region and that is one of musical communication and closeness with other nations."

Music in Slovenia. In the First of Two Articles, Niall O'Loughlin Introduces the Rich Musical Heritage of One of Europe's Most Newly Independent Countries by Niall O'Loughlin from The Musical Times, Vol. 134, No. 1800 (Feb., 1993), pp. 74-77[Journal]: "Hindemith served as the model for many other younger composers in the 1950s,"

Music in Yugoslavia by Everett Helm from The Musical Quarterly, Vol. 51, No. 1, Special Fiftieth Anniversary Issue: Contemporary Music in Europe: A Comprehensive Survey (Jan., 1965), pp. 215-224: Srebotnjak's early works were Expressionist.

Oxford Music Online
Among composers of his generation, Srebotnjak had the most distinctively expressionist style, despite the diversity of his techniques, which ranged from 12-note composition (Invenzione variata) and serialism (Serenata, Monologi, Šest skladb, Antifona) to aleatory works and graphic scores. He often integrated folklore elements (Slovene and Macedonian) into his works and used expanded variations of the themes of other composers (Kogoj, Osterc, Tartini, Škerjanc).

I sat down at my harp and immediately needed a nap.

★ 30DtD Prelude 4. Research - From two sources: In 1944, the Society of Slovene Composers was founded and seemed to be instrumental (HA!) in promoting Slovene composers to the greater music world. Alozj Srebotnjak is considered one of the most respected and renowned Slovene composers because of his prolificness.  In the early 60s, music in Slovenia took a huge leap forward due to citizens being allowed to travel and composers studying in other countries. Avant-garde was the style of choice for that music scene and "Over the next two decades, it thrived with a large body of high quality, adventurous music that in quantity was far more than might have been expected from such a small group of composers." Niall O’Loughlin  Srebotnjak didn't embrace the new postmodern style of the next generation of composers as much as his contemporaries, but continued as he had, incorporating ideas from folk music.  Classical compositions with nods to folk music were prevalent right after WWII.  Interesting!

☆ 30DtD Tambourin. Couldn't quite get the E pedal change. Need to practice it slowly - change on beat 2 before single note, and change back ON the chord. Only got through page 1.

★ Just exercised each finger

★ 30 DtD Tambourin. It was "play anything else" day so I played the first Prelude Intimes.
★ 30 DtD Prelude 4. Hands together whatever tempo and Hands separate at 3/4 speed - 54 and 42.

30 DtD Prelude 4.
30 DtD Tambourin. Doing research on this piece. I found out that a Tambourin is a Provençal dance, and that it imitates a drum in the left hand/bass clef and possible a flute in the right. There is a combination of tambour and galoubet or flaviol, called pipe and tabor in many other cultures, that are played at the same time by one person - the flute only having 3 holes. This piece might need a lighter touch than the f  that's marked in the music I have.

Here's Patrick Rougeot talking about the combo en français!

★ Conditioning exercises
★ 30DtD Tambourin
★ 30DtD Prelude 4. This is coming back to me, but not great yet.
It was an easy day today - only took about an hour to do everything.

★ 30DtD Tambourin. Got a blister.
★ 30 DtD Prelude 4

I'm back to working on album material after working on a couple other projects - editing a harp part and doing... whatever the music version of ADR is.

30 Days to Done page by page on Tambourin. It's going surprisingly well, although I haven't listened to a recording of myself, so that may be inaccurate.

Started 30 Days to Done on Prelude 4 and ran out of steam. It also sounded horrible, like I'd never seen the music before.

Probably not a great idea to wash and polish car and have a marathon practice sesh all in one day. I'm starting to not be able to move my fingers.

Took it "easy" today to rest my poor hands.
Goals:
☆ Play through Pachelbel.
☆ Play through Wander. My work on this paid off.
Only giving myself partial stars for both of these because I didn't just play through them, I had to stop and fix things. And I played through them several times, therefore NOT GIVING MY HANDS A REST. Was actually able to mostly keep up with recordings of both of these.

Goal:
★ Work on Roslin and Adama. It's fine! It didn't need any work.
★ I instead, played through everything, and ended up doing detail work on Satie and O'Halloran. I played for two hours, and my hands needed to be plunged into a sink of cold water afterward. Ow.

Goals:
★★★ Get Wander in my fingers. Practiced for 2 hours. My hand muscles huuurt. I did a really good job, though.
Maybe work on Roslin and Adama? Later!

Played along with Bear McCreary to see where work was needed. Did some detail work, then elbows started hurting, so I knocked off early. Need to relax!

★ Worked hard on Wander My Friends and put in new fingerings that will hopefully be easier. And got rid of some notes. :)

Practice performance notes:
My speed work on Satie paid off, but I still need CONSTANT VIGILANCE!
I cannot fake my way through Wander. I need to learn this inside and out.
If nothing else, practice even tone. Sheesh.
Move harp to different spots to practice?

Take strobe tuner?

Dress rehearsals are important because you need to know if your zipper unzips itself while you're playing (it does).

Do not try to eat away your feelings of nervousness. 

need to work on Satie at a faster speed.

I haven't been posting because my goals are pretty much the same for every day: play things and work on trouble spots.
Goals for later this week:
read 30 DtD
record myself and time things.

Goal:
★ Learn Wander and Scotch.
★ Run through mediums
☆ Run through easies
☆ Get dress info - maybe need two, one for hot one for cold?