Thursday, April 27, 2006
Suzuki Volume 2 !!
It's like a promotion or graduation day!
I started playing exactly five months ago today. Honestly, it's hard to believe that my teacher suggested starting Volume 2, after my lousy performance in rehearsal and then in class today (Lesson 7).
Was I bad!
I couldn't find the notes, I couldn't get the rhythm, I couldn't keep the timing; not in any piece we played. All I could do was fumble through it as quietly as possible.
I sat on a very low chair (I'm going to buy a portable stool at WalMart this weekend), and no matter what length endpin I tried, it didn't feel right, and I couldn't seem to find my place on the strings. Before we started playing, I tuned with my electronic meter; but then again the teacher went around and retuned all the cellos, sharpening mine quite a bit. The room was pretty cold, which probably also affected my tuning.
Whatever the cause, it made it hard for me to find my fourth finger location on any of the strings; that caused all my notes to be off; which put my timing off; which made me lose my place. It happened on every song. Normally, when I sit down to play on my stool at home, my left hand "knows" exactly where to go to find those ringing octave tones with my fourth finger. Because I couldn't hear myself, I couldn't even figure out if I was sharp or flat! The only thing I knew is that I wasn't where I was supposed to be.
I even had trouble playing the "G-A-B-C-slide" eighth note combination on the D and A strings in the MariZuki piece. I'd practiced this one slowly for quite some time the other day.
The lousier I played, the worse I got.
In my opinion the group as a whole didn't sound as good as the time before. One of the stronger players from last time wasn't there today either; surely that affected our sound. The missing student from last time was here today, a 15'er working in Volume 3, who also comes from Kenai; with a nice cello.
Afterwards, I mentioned to my teacher that I had played poorly; she diplomatically expressed surprise. I told her I hid out by playing quietly. Then in class, I didn't play much better. I kept missing notes. No matter how good I play it at home, I can't even get close in class. She pointed out that she's not that worried if I miss a note or two. At home I can at least play the correct notes, although occasionally sloppily and not always the best rhythm.
In spite of all that she did say I had made good progress in the past few weeks - I explained I had been playing all the pieces slowly, working diligently on the tougher parts.
Eventually I relaxed somewhat and by the end I was doing better. We played Rigadoon, Happy Farmer, and the Minuet. As we worked through them, we went over a lot of technique improvement suggestions - some I think I'll be able to do easily; others look more challenging.
I'm holding my left hand too flat; I should hold the hand perpendicular to the side of the fingerboard, bringing my left elbow forward and to a slightly higher elevation. That will straighten out my twisted wrist (making it a more relaxed position). Then, while keeping my thumb relaxed, I need to curl my hand closer to and above the fingerboard so all four of my fingers drop straight down onto the proper locations on the strings. This should let me unlock my fourth finger, which will give me better control over it. This isn't easy, but I think I'll eventually be able to get it. I just have to work at it...
She suggested I lengthen my endpin quite a bit, with the top of the cello quite a bit higher on my chest, and the C key somewhat higher above my ear. This will help, too, in holding my hand square to the fingerboard.
She suggested I lower my right wrist and loosen my right fingers' grip on the bow. Particularly the little finger. One idea to try was to hold my little finger - tip down - against the top of the bow. Let the strings take most of the weight of the bow. She gave me a few simple bowing exercises to try out.
Finally, the biggest challenge was trying to control my bow at the elbow. I had a lot of trouble with that one. I couldn't seem to pivot my elbow without moving my shoulder. She said she would talk to her husband to see if he had any ideas that would help. On the way home, I realized that I could pivot at the elbow if I held it on a table or against a wall. As I sit here now I can pivot my elbow as much as I want.
I can't figure out why I was such as spazz today...
She showed me a good string crossing exercise to work on: play the note, stop, move the bow, then start the next note. Do it slowly, over and over again; and do it on open strings. It's important to work on one thing at a time. Then apply it to some of the more complicated string crossing segments, still playing stepwise and slowly.
A few other minor notes: my trills on the Minuet need to have equal emphasis on each note, I drift off on the third one; don't lift the bow off the strings on string crossings.
At the end, we played some of the fiddle tunes. I asked her to play the first four of them through so I could hear what they were supposed to sound like. I didn't do too badly on very slow version of "Hunting the Hare".
Finally, she said I was ready to begin Volume 2! The first piece is "Long, Long, Ago" in the key of C major (Volume 1 had it in G major). After getting the new key sorted out, the variation involves turning the first quarter note into two eighth notes slurring down to G (sometimes up to the higher G) and playing the second pair of eighth notes stacatto on the same bowing. It doesn't look too difficult.
The next rehearsal is Monday. I am really going to focus on these few pieces...
When we finished up today, my teacher told me that I had quickly come quite a ways already and that I was obviously going to continue to improve. It was just going to take time...
Yeah, it feels good.
Wednesday, April 26, 2006
I have only heard Yo-Yo Ma's version of the Six Suites (and Andrew Cook playing part of the third suite in a live concert last week), but the attraction to a cellist is profound. Bach! Solos for the cello! How excited he must have been! We all owe Casals such a debt of gratitude for his reintroduction of these masterpieces to the world.
Of course Casals did so much more than that! He completely changed how we play the cello, with open arms and obvious passion. His inspiration generated so many new cello pieces composed by the geniuses of the time just for him (and now us) to play. Such a giant!
I look forward to his recordings...
Tuesday, April 25, 2006
Reflections on learning the cello as an adult
I learned to read music in high school (with a clarinet), and I've been able to adapt to the bass clef without too much trouble.
I have a good musical memory. I quickly memorize pieces I'm learning - too quickly, I'm afraid - and I can recall most of the tunes I heard even when I was very young.
My sense of rhythm/tempo is not that good, which is quite frustrating; but so far I have been able to work through that with some effort.
I damaged my left forefinger in a tablesaw accident about 25 years ago (which forced me to give up the violin I'd been tinkering with), but I feel that I've gotten past that by using a succession of thinner and thinner fingercots. Yesterday, I played without the fingercot. But today it was pretty painful, affecting my playing; as soon as I put it back on, it was OK.
My left little finger locks up on the fingerboard, so I'm having trouble "curling" it as I should. My teacher has suggested some ideas about hand-positions to try to work past it - I do find they help, but I can only do it for short periods at this point.
My musical ear is pretty good. I can readily tell whether or not I'm hitting pure notes. This is helping me to improve my intonation. I've not yet reached the point where I can tell what note is what by listening, but I can almost feel it when a note isn't pure....
Every morning when I sit down to play, I find myself quickly entering a zen-like state where I become conscious of tensions throughout my body - but mostly in the fingers, hands, arms, shoulders, back, neck and jaw. Then I start working through a relaxation process that includes cracking all the related joints. The toughest problems are my thumbs, but after five or ten minutes of playing they finally relax. Within fifteen minutes of starting to play, I am physically very relaxed and comfortable. After that, I periodically have to remind myself to sit straight.
In five months I've worked through Suzuki Volume 1. Recently, I've "gotten" the Schumann piece and am close to "getting" the Bach Minuet #2 (by "getting", I mean I can play through the piece without errors at more or less the expected tempo; but it doesn't mean I am getting a beautiful sound all the way through, yet). I'm hoping I'll start Volume 2 at the next lesson. I am also working on some fiddle pieces she gave me. I find that the ones that I've heard before (way back when I was young) are much easier to play, since I "know" the rhythms. The ones I've not heard before are far more challenging.
Although I know it is the best way to learn (and I've used the techniques successfully, several times) I have a lot of trouble playing new pieces slowly, and breaking them into smaller sections for focused drilling. I still find myself wanting to rush on through, and trying to fix the errors on the next run-through. (The term "run-through" is apt.)
I understand the various learning processes, especially when it requires more than simply cramming information into my memory (which is how I got through school, and how I did pretty well in my career). Muscle memory training takes repetition, time, and patience.
Playing music, like speaking spanish, requires taking memorized information and doing something with it - such as using my vocal chords; or placing my fingers in the right places on the strings at the exact moment my other hand moves the bow across the strings. The only way to do that well is to do it over and over and over and over and over... Supposedly, the muscles learn just as well, when this repetition is done slowly.
Patience is my greatest challenge! I want to learn faster. My lack of patience actually inhibits my learning, because I try to push my limits by playing too fast. I think patience is the biggest problem for most people who are challenged to learn physical skills - whether it be an instrument, a keyboard, a sport, etc. Some kids don't even want to try new skills because they aren't immediately good at them.
As an adult, I know - intellectually - that skills can be acquired by repeating incrementally small steps until they become part of your muscle memory. I know that I can achieve a lot this way. I also know that old muscles are much harder to train than younger muscles - maybe because there is so much accumulated muscle memory that is not geared toward fingering the right places on the strings or bowing the right strokes. You can't unlearn these muscle memories, you can only imprint over them.
Since my finger/hand/arm/"ear" coordination for the past 55 years has not included playing the cello, they've always coordinated with each other in vastly different ways (although there was some clarinet, piano, violin training; which has to be helping my cello learning). It's not that I have to unlearn these long-standing coordinations, I just have to instill the cello coordinations on top of them. There are also plenty of purely physical limitations related to 55 years of bone growth, ligaments and tendons, and muscle use.
On another front, researchers are suggesting that intellectual stimulation retards the aging process (as well as staving off the onset of degenerating diseases such as Parkinsons and Alzeheimers, and other dementias). The more you stimulate your brain, making yourself think, learning new things, learning new skills; the longer you stay "young", the longer you remain in control of your faculties. Is this one of my reasons for starting the cello? Obviously, I am certainly happy about challenging myself this way, and if it helps me stay "young" so much the better; but I really don't think that is why I started this. Needless to say, I am proud of myself for taking on this challenge.
Wednesday, April 26, 2005
But for me, it is answering a call that has haunted me all my life. As long as I can remember, I've wanted to make music, starting when I was very young - at six I had a small accordion, which I played with until one of my brothers destroyed it. At nine or ten, I was drawn to my mother's piano (she was quite good, but rarely played - she loved singing in a community choir for many years, and at church; my father also played quite well, but I can only remember a few occasions when he actually did - apparently he didn't enjoy it that much). So the piano sat largely unused in our living room. On my own, I found some books and started to learn the basic keys and began to pick out simple tunes. But my parents never once encouraged me, at all; never. I vaguely remember my mother sitting with me once or twice when I first started, but not for very long. At some point I stopped.
In 7th grade music class, my teacher noticed that I had a musical "ear" and encouraged me to pick up the clarinet, so my parents rented (rent-to-own) one for a school year. Unfortunately, 13/14 is a tough age to discipline yourself to the rigors of practicing a half hour a day(!!!), and I don't really remember my parents ever commenting on the obvious fact that I wasn't practicing at home (I faked my mother's initials on my weekly practice card). How could they not know? It didn't help that I had three brothers and a sister who took every opportunity to ridicule my efforts and groan about the noise. My band teacher, who had been so encouraging the year before, gave me absolutely no support or encouragement; he never once commented that I could/should be doing better. So at the end of the 8th grade band, I simply didn't sign up for band the next year. My parents never said a word. They returned the clarinet without ever even commenting. Such support!
So that was my exposure to music as a child. I still dreamed of playing, but the lack of support along with laziness and impatience got in the way. I can't help but wonder what would have happened if anyone had actually supported and encouraged me to keep playing.
When I was 24, I bought another clarinet and spent a year or so trying to pick it up again. That was interesting. We were living on the top floor of a large old duplex house with high ceilings, wooden floors, and a swing on the front porch overlooking downtown Baton Rouge - a fantastic location near the capital and city center, busy in the workweek, but remarkably quiet after hours and weekends. The clarinet resonated throughout the house. But one day I noticed that the neighbors were closing their windows every time I started playing - it was hot and none of us had ACs. That freaked me out so much that I could no longer practice unselfconsciously after that. I later sold it in a garage sale.
After moving to Alaska, I was still feeling the call to make music, somehow; although having kids, trying to build a house, a job with irregular hours, and a serious lack of space were major obstacles. About the time I was 32, a friend sold me a starter violin for $100, along with some lesson books. I spent about a year working at it - for an hour or so a day (with no formal lessons). Every once in a while I actually got some sweet sounds out of that little plywood cigar box, and could play a few tunes. This was when I first noticed my musical memory bringing songs up out of my past and expressing them through my fingers - almost as if I were just an observer.
About a year into this, I signed up for an evening woodworking class at a local high school, and within a few weeks I did a stupid cut on the tablesaw, which kicked back and dragged my left forefinger backwards over the blade. The saw cut through fingertip and fingernail with an 1/8th inch gouge through the fingernail just into the tip of the bone. Surprisingly, I felt no pain - just a jolt, like a single sudden shock of electricity. I compressed the wound with my right hand for the twenty minutes that it took to rush over to the ER and wait for a surgeon to arrive. He sized up the fact that a significant amount of material was missing altogether, and decided to simply try to pull the two remaining halves back together, with a couple of stitches. My own doctor was quite disappointed with that action - he said he would have done a better job, leaving me more of a fingertip. After three weeks of intensive daily hydrotherapy, he stopped any further "healing" with a few drops of silver nitrate (y-e-e-o-w, that hurt more than anything I'd ever felt - it still hurts just to think about it!), and the wound was allowed to grow closed.
The healed fingertip is about a 1/4 inch shorter than it was, missing most of the "meat" at the tip. There is apparently a sharp edge on the cut bone, which can be pretty painful when it is tapped against anything. I have two "half" nails that overlap one another. That put an end to my violin playing. I just couldn't bear the pain of pressing the strings against the fingerboard. So, reluctantly, I eventually sold it.
Now, more than 20 years later, that pain is much less of an issue. I still can't forcefully tap my finger against something, but it no longer hurts to press with it. Having retired (more or less voluntarily), I found myself with plenty of free time and began once again to feel the strong pull to make music. Off and on for a few years I considered a piano, and even a saxophone, but we don't have enough space for a piano.
Then, in late November, I saw an ad in the paper for a viola outfit for about $600. Although I wasn't certain I could even play it, on an impulse, I arranged to meet the seller the next day and try it out. But then that evening, I started reflecting on my long-time pull towards the cello. There's no way to describe that feeling. Even when I was playing the violin, I found myself drawn to the lowest registers, and I remember wishing I were making a much deeper sound. The cello itself seemed so exotic (and expensive), but I sure liked its sound whenever I heard it on records.
One big advantage the cello has over the violin and viola is that although the strings are thicker, they are spaced further apart, which would let me use a fingercot on that bum finger. (Although the initial fingercot was quite thick, I found I was able to use it to stop a single string at a time.) I called the violist and told her I wasn't interested, but I thanked her for triggering me to go for the cello. I called a violin store in Anchorage the next day and arranged to rent a cello and began this long strange strip back into music.
I had similar story with yours. I learned piano and guitar way back in my junior/senior high, and left them completely just after I could play songs and sing along with friends.
I love cello's sound.
it's so beautiful. And just last month, I decided to play cello. I have a teacher, he comes once a week. I am so excited, though I know cello is probably a difficult instrument to play. Especially for 54 year old woman.
I wonder how you're going these days with your cello.
Would love to read more of your days with your cello.
Thank you, Guanaco.
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Sunday, April 23, 2006
With my cello, I am steadily sawing away at the same old pieces, taking them slowly, part by part. It appears to be working. Problem areas have "appeared" that I hadn't realized I'd been glossing over because of my too-fast playing. For example, I ran into trouble with the first bar of the B part of Rigadoon. I thought I'd done it fine, but when I started slow playing, I realized I had been having some trouble with the 1-2-4 finger placement at the eighth note speed. Now I'm working through this and other areas and I'm finding the pieces are beginning to sound even better.
Lately, I've been warming up playing scales - primarly C (two octaves), G, and D. Then I've been running through basic chord/arpeggio progressions in each of the scales. I've noticed that I'm getting sweeter sounds out of each note - clearer with more ringing. I'm hearing cleaner vibrant notes, such as E and F# (on the D string), and B and C# (on the A string) that I'd not been able to find before; and I can immediately tell when I miss a note, and by how much.
I switched back from the Dominant A string to the Spirocore A that came installed on the cello when it arrived from Ifshin. It's not quite as "bright" and seems to match the Spirocore D, better. Now that it has been broken in, I'll carry the Dominant as a spare.
Today, I worked fully through The Happy Farmer without error, and more-or-less at proper tempo! I know I've said this before, but today it felt right, finally! I still have a few weak parts in the Bach Minuet #2, but I'm getting better and better as I slow-play each of the tough sections. At the end of each session, I'm working on two fiddle pieces (Hunting the Hare and Country Gardens). I'd never heard the first one, and I am struggling with the rhythm. The second one is quite familiar to me, and I found I was able to play it quite quickly as soon as I realized what tune it was (and after I got the first few notes and the basic rhythm). I've got a long way to go before I can play these at proper tempo, but I'm encouraged...
Friday night I went to a cello concert by LA cellist, Andrew Cook, sponsored by our local Performing Arts Society. I even enticed Z to come along. I didn't expect to infect him with classical music, but I did want to expose him and let him make up his mind based on a real experience rather than rely on hearsay from his peers (he paid careful attention throughout, asked some interesting questions, and seemed to enjoy it). We sat in the second row on the right side at the center aisle, giving us a clear view of the cello, his bowing and fingering.
Cook was scheduled to play the Bach Unaccompanied Cello Suite #3 in full. At the beginning, he announced he'd only be playing three of the five parts due to a recent injury that had been acting up. This was my first opportunity to see a cellist playing solo since elementary school (I'm not that sure I even saw one back then, but our school had many concerts - unlike today's education system). I think he had a small problem with his A string - as if it had loosened slightly as he played. I heard a few notes that just didn't sound quite right to me. I noticed he also shook out his left hand several times between movements. Clearly it bothered him.
In spite of all this I was captivated by the sound and by watching his hands and fingers. I noted how he held the bow - a lot lighter than I hold mine, yet he pressed it quite firmly into the strings as he played. But of course watching his left hand flying up and down the strings at dizzying speeds had me spellbound. It was over all too soon. (As soon as he went out of the hall into the lobby, I heard him retuning the A string...) I bought his CD at intermission...
The next piece was a sonata for Cello, Clarinet, and Piano by Beethoven. Wow, was it different! I'd never heard a cello and clarinet together, anywhere. There were several points where the two sounds merged into a wonderful new combination - especially in the lower registers. After a few years playing the clarinet, I had some doubts about how it would work out with the cello, but no longer. The final piece, a Piano Trio by Clara Schumann featured Andrew Cook on cello, Maria Allison on the piano (more on her later), and Emily Grossman on violin - wow, she is good! I'd never before heard this beautiful piece, with a lot of expression and variety. It gave each player several opportunities to "take" the lead and soar off on their own for a moment before bringing the other two back in.
Afterwards, I went up to Andrew and introduced myself as a novice cellist - "Never Too Late". He said he'd understood there weren't any cellists in the Soldotna/Kenai area; I told him I had to go to Homer for my lessons; he knew my teacher by name saying he'd met her years before (she didn't tell me that when I'd talked to her about this concert). I asked about his cello - it's an Amati model (slightly smaller than the Strad); about 10 years old; he also owns a 1790's cello but was worried about Alaska's dryness and cold so he doesn't bring that one up here. I commented that the back looked like it was made from a single piece of wood; but he said it was actually two - just carefully matched up; I also commented that I'd noticed him shaking his left hand and asked about his injury - he said he'd had surgery about 8 years ago and was told he wouldn't be able to play again, but he'd persisted and came back; but now it was causing him trouble. He said he'd been playing too many concerts lately and should be resting more.
All in all, I found it very captivating and am even more motivated to continue my meager efforts ... Even though I don't see myself ever playing that sort of venue, I sure would like to be able to sit down and play with other musicians in a friendly setting. I'd guess I'm many years away from being able to do that much.
It depends what you want of course, like you said in one of your other posts. But for me, playing with other musicians gives me the motivation to keep working hard on my own.
I have a copy of that du Pre Elgar concerto. It's so emotional, though I've heard the cello she recorded it on (Yo Yo Ma has it now) was one she didn't get on with, she fought it apparently. Interesting to think about having such an intense relationship like that with an instrument.
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Monday, April 17, 2006
My first group session - a rehearsal
We setup in the church altar area - two on the back row, three in the middle and four down front; we beginners filled the left two chairs on the front two rows (the kids down front; I was outside left, on second row). The teacher sat facing us.
We tuned up (she went around tuning each cello - she sharpened my A and D quite a bit) played a scale and then the French Folk Song. We played it through four times - we weren't very coordinated; but not really that bad either. I had just a little trouble finding the tempo and occasionally even the right notes - I sure could hear my sour notes - I played quietly, but I "felt" every miss. Yet, it really was nice those few times that I did get my notes to match the rest of the group.
It would be nice to have a playing partner to spend some time practicing together. Knowing so little about music education, I wonder if there is a method of teaching that pairs like-abilities and encourages them to learn together. If your partner is truly simpatico, and just as eager to learn, it seems like it would be beneficial to have someone to bounce your sounds and experimentation off of, as well as someone to motivate you to keep up with.
We played through the other two pieces, pretty successfully I thought, and then started working on the Mary-Zuki piece - it was a bit complicated and we knew we didn't get it right, but we did agree to keep it in our program. We quickly went through the Pachelbel piece (I get to play a few bars from Twinkle) and then the advanced students played a Bocherini piece accompanied by a piano (the other beginning cellist). They were pretty good. It will be a good program!
It was fun, but also really daunting. I know these pieces inside and out, my intonation is usually pretty good, and I don't feel challenged by the tempos (tempi, I know :), so my real problem is just nervousness and being overly self-conscious. If I can get myself to just relax, I know I'll play fine, which sure would let me enjoy the experience a lot more.
I've been playing my pieces v-e-r-y slowly the past several days, breaking the difficult parts down into small three- to four-note segments and playing them slowly over and over again, patterning the finger muscles and coordinating the bowing. It seems to help. I've used it with all the pieces, now, slowing them down just enough to play them through perfectly without missing a note or intonation. This helped me identify the problem areas, which I then focused in on and repeated over and over and over and over (up to 50 times for some of them). Then I added it back into the section, playing it until I had it right; then finally the whole piece. I've done this with all of the old tunes in Book 1.
After dissassembling The Happy Farmer and working the trouble spots, I am in the process of putting it back together and am able to cleanly play it through (quite slowly). Still, each day I start by replaying several of the tough parts for a while, before picking up the whole piece. I haven't yet reassembled the Bach Minuet, but I am playing most of the individual segments pretty good. I am in no big hurry to put this one back together yet.
I've started working a new piece from the Fiddle book, "Hunting the Hare", an english jig in 6/8 time. The sequences are simple and repetitive, but I've been challenged by the rhythm ONE-two-three, FOUR-five-six, and so on. I'm working on each three note group, one at a time.
Tuesday, April 11, 2006
I didn't play very well at all, even though I'd been working two hours a day every day, on the same pieces. She was positive, even though I felt like I was fumbling all the notes. I did have a better intonation - hitting cleaner ringing tones - except for C on the G string. The bigger problem was I felt as if I was too frequently just hitting the wrong notes altogether. We discussed this a bit. She suggested that I was trying to play the pieces too fast; until I get the fingering and bowing down perfectly, I should not be playing at tempo. Even the masters learn new pieces at a slow tempo, breaking them down into small segments, concentrating on the tricky ones.
This isn't the first time she's said this, but I sure have a hard time incorporating that into my playing.
I've put together an organized approach to learning new pieces:
1 Read through the entire piece, fingering the notes one at a time;
2 Tap/count the rhythms - slowly - saying /singing the notes (try playing on the keyboard);
3 Identify and mark new and/or tricy passages - string crossings, unusual bowings, etc.;
4 Divide into work areas for individual concentration;
5 Play pizzicato - repeatedly;
6 Bow open strings, while saying/singing notes;
7 For each segment, carefully combine bowing, fingering, rhythm - slowly - use metronome to help set the pace;
8 Start combining segments, a few at a time;
9 Identify troublesome combinations, and refocus on them;
10Don't increase tempo, until the whole piece is working; then work up gradually...;
11 Come back to each piece frequently to work through it and maintain freshness.
We worked through the pieces for the recital - fortunately, she said that we would not play them at the tempos on the CDs. What a relief! I told her that I'd been struggling trying to get up to speed with the CD. She gave me some suggested tempos (tempi) for the pieces, and I will start practicing them at these rates.
We worked on the Happy Farmer and the Bach Minuet - but I was fumbling so badly that I can't be sure that I had demonstrated any improvement since my last lesson. OK, maybe a bit. We played the tricky parts pizzicato, and with slow bowing - especially the bowing style: On the Minuet, I should set the proper bow angle, set the fingers, draw the note starting hard and finishing softer; STOP; reset the bow then fingers and draw out the next note; STOP again... Slow, slow, slow, slow. Work the triplets and the 4th extension (move thumb, keep first three fingers on string but not pressed.)
My little finger won't stay curled. The second joint locks up. I will try rotating hand downwards to hold the finger above the string. Also, I am playing my left arm too high on the A string, I should try dropping it a bit; adjusting the arm for each string - highest on C (obviously).
Finally, to keep training my sight-reading skills, I should continue the finger exercises - play each one just enough to get it right at the proper tempo, but don't repeat them so often that I end up memorizing it.
There's been a lot of discussion about memorization on the Cello Chat forum, lately. It seems a lot of people have troubles memorizing pieces and have to focus on it. I am quite fortunate, it seems, in that I don't have any trouble with memorization at all (at least something I'm good at!) My bigger problem is keeping an even tempo and rhythms. I find myself wandering all over the map - especially adding in the dotted quarter and half notes and the rests. I'm using the metronome now to help.
The Cello Chat forum has gotten so weird lately; lots of bickering and sniping between the "regulars". Also, way too much politics - the "hate Bush" and "hate America" factions seem to own the board; I was getting more and more p....d off with all the tripe. For a while, I thought about taking them on, but I finally decided it just wasn't worth the grief. Instead, I've stopped reading it more than once a day - skipping the political threads. I'd become obsessed; I had been literally glued to it, checking every hour to see what was new; writing meaningless posts (but fortunately erasing most of them before actually posting them).
I was starting to spend a lot of time in the live chat room, too. That was OK, when there were two or three other people; but when six or seven showed up, I found myself shutting down, hesitating to say anything, not feeling good about what I was saying (in other words, my old intense self-consciousness and subsequent inability to relate to people that has dogged me my whole life). While a part of me did enjoy the dialogue, I decided to back off and get back to my regular life. I will continue to read the forum, because there is so much I can learn; but no more posts, no more chats, no more obsessive checking in.
Wednesday, April 05, 2006
My cello sounded so nice today
Yesterday I watched some videos posted on CelloJourney.com by a guy who I think is named Luke, showing him playing several pieces on his cello. This began with a link on Cello Heaven to a YouTube video. He's clearly just another slob like the rest of us, who is pretty good on the cello - in his 30s, I'd guess. He sure seems to get a lot of enjoyment playing it. Anyway, I was watching his bowing (because that's what I'm struggling with, lately), and I noticed he's holding his bow much further out on his fingers than I'd been. It looks like a lighter hold.
So last night I played an extra hour without following any regimen. I tried holding the bow further out on my fingertips. It did feel lighter but a few times I noticed I was pressing my right thumb pretty hard into the frog. Now it hurts a little. I also have a sore tendon further up in my arm. Was it my new bow hold or something else I was doing? I did a lot of open string bowing with this new hold, using my forefinger to forcefully bite the bow into the strings.
After a while, I was getting a stable, even note off each full bow, all the way from the frog to the tip and back again. It was nice! I worked on the open strings a bit, and then brought in some of the basic G Major and C Major arpeggio/chord sequences I'd recently been tinkering with. I repeated these sequences forwards and backwards for quite a while. My ear started directing my fingers to the exact places on the strings for the best possible sounds. I was really pleased to hear those resonant Es and F#s on the D string! I've still got a bit of work to do to continuously get that perfect C on the G string, but once in a while I think I got close.
The nicer, smoother notes acted as a catalyst for a more satisfying overall workout today. I worked extensively on the six eighth-notes in the first measure of the Bach Minuet. I broke it into two parts - the now familiar C, E, G arpeggio that I've been playing in warmups, and the hiC, D, B sequence. I played each one separately for quite a while at gradually increasing tempi. This new emphasis with those last three notes let me see the whole sequence in a new light. After a while, I added the two together and within a few minutes I was playing these six notes without any slips or mistakes. Then I added the last hiC, C-C quarter-note sequence from the second measure. This nine note segment is repeated nine more times in this piece. I played it over and over and over and over and over and over until I was numb.
But I'm not even close to being satisfied yet. Clearly though, it helps to break those troublesome sections down into their basic parts, work on them extensively, and then add them back together. I briefly tried this out on the hooked bowings from the Farmer piece with some noticeable effect.
Yesterday, after trying to play against the Rodney Yarrow Fat Notes CD - and finally stopping in disgust - I decided I needed to work on the tempos first. I've been sort of lazy about my whole and half notes and rests. For the next week or so, I'm going to play the four recital pieces with my metronome. Then I'll go back to the CDs.
I recently ran across some postings on forums and blogs that made think about my motivations for playing the cello. One person talked about having a full time role in her family, yet needing to find just a little time every day for her cello. Another descibes wanting to play for himself alone; harboring some resentment towards previous teachers who had pushed him in a direction designed for aspiring young musicians - mastering Suzuki pieces, one at a time, with forced recitals every year among kids, and all the while just wanting to play for himself.
That got me to thinking about my upcoming recital. Do I really want to do it, or am I forcing myself to go through it because I think I'm supposed to? I still don't know the answer, yet. On the one hand, these recitals are a confirmation of progress so far, and consequently become a motivator to keep improving. For a fortunate few of the younger students, these recitals get them started on a lifetime of competitions for orchestras and music school, etc.
While I do want to be able to play with other musicians, I really am not seeking public acceptance of my playing. I don't care if anyone else ever hears me play.
Monday, April 03, 2006
DST is here, but it's snowing again
We've got big travel plans for the month of April. Z has a track meet in Homer on the 13th and we want to drive the MH down and spend the whole day beforehand. Then, April 22, I want to drive up to Anchorage for the Anchorage Symphony Orchestra's last performance (Paul Rosenthal is featured). He is so good. The night before, Andrew Cook, a cellist from LA, is performing in Soldotna! I can't wait for that one. It will be my first live cello concert!
I've been trying to play against the Rodney Yarrow Fat Notes CD. It sure isn't easy. I think I'm improving, but it's hard to hear my cello over the CD, yet if I don't play the CD loud enough I don't get the tempo right. What's working best, so far, is to keep the CD volume high, and partially uncover the left ear to hear the cello. I am really not satisfied with my cello's sound when I'm doing this, though. I have a LOT more work to do on these basic pieces...
Each day, I feel a little progress on Farmer and Minuet #2. On the Farmer, every once in a while I get that hooked bowing part to sound just like it does on the CD. Then, I start "thinking" it too much and lose it again. Also, the other part, which I was playing almost automatically before, isn't so good anymore. I feel like maybe I've started thinking too much about it.
But all in all, progress every day! On the Minuet, I got the initial licks just right at a reasonable (but still slow) speed. I'm even getting the motion for the fourth finger extension right (although I still have to work on hitting that exact note properly). I can see that I'll probably never get this perfect. Every time I play it, I will find some flaw that still needs fixed.
I've been thinking a lot lately about my motivations for learning the cello. I've spent a lot of time on the CelloChat Forums (41 posts, so far) and its chat room, and I've learned so much from other people about tips and techniques, etc. But on another front, I get discouraged sometimes when I think that some of these people have played for 3o or 40 years! I know that this shouldn't be discouraging, but it is. Is this envy; my usual sense of inadequacy that has dogged me socially all my life; or just a cold breeze of reality telling me that I'm way too old to be doing this?
Will I ever reach the point where I feel confident enough to say "I play the cello!" instead of "I'm trying to learn to play the cello"? Where I'd be confident enough to take my cello to a jam session and play a bit with some guitars, banjos and mandolins; and even some fiddles? Where I'd be confident to fill in for someone at a wedding or funeral, or something? Clearly, I need to be able to play reasonably in the first four positions, with a decent vibrato before I'd be that comfortable doing this. How long is this going to take me?
Yet, I do enjoy playing every day. I get a charge when I get something right; when the music rings; when the notes seem to "fall" out of my fingers. Even as limited as I am now, I feel that I am improving and that as long as I keep playing, I will continue to improve. I also realize there are no shortcuts, and that I will have to work my way up that long ladder of technical skills just like everybody else. The talent issue is deeper within me, apparently manifesting itself right now in the drive to learn the cello. Occasional glimpses of my "inner music" seem to come and go. But lately, I've tried to maintain focus on the fundamental techniques, using drills and repetitions.
About Suzuki. The method cleverly teaches a progression of skills, introducing one at a time, building off the previous skills. Initially, I quickly worked through the first 2/3 of Book 1 and have been working on the last 1/3 for some time now. The problem is, I am getting bored with the same 15 (or so) pieces, every day, day-after-day. It's hard to pay that much attention to them, and sometimes I get sloppy with my intonations or with tempo and rhythm.
I know I'm not ready to move onto harder technical skills, but it would be nice to be able to work a little bit each day on a new piece that fits into my existing skill range. Just one new piece at a time that I could add to my daily repertoire until I get it right. This would allow me to refine my latest skills while not stepping outside the Suzuki method. At our last lesson, my teacher said she was going to email me the name of a book of cello/fiddle music I could start working in parallel to my Suzuki progress; but she hasn't yet. I'm going to call her tomorrow.


text:
An extreme avalanche alert caution has been issued for the South Coast, and Sea to Sky areas of British Columbia as a winter storm dumps heavy snow and rain, making travel tricky. The rarely used cautioning from Avalanche Canada implies all potential avalanche slide landscape must be kept away from no matter what, as common and human-activated torrential slides are a conviction.
“There’s the significant number of large to huge natural avalanches expected, and a portion of that may continue tomorrow,” said senior forecaster Grant Helgeson with Avalanche Canada.
“That is extremely because of a ground-breaking winter storm has conveyed overwhelming precipitation to the drift — alongside a lot of wind — that is making a great deal of natural avalanche activity,” he said.
The agency has likewise issued high avalanche danger warnings for the South Columbia, Columbia, and Cariboo areas, and Glacier, Yoho and Banff national parks. The danger is also high in the alpine regions of the Purcell Mountains and South Rockies.
Helgeson said zone ski slopes are as yet safe since patrols are knocking down and controlling the avalanche hazards.
Travelers using mountain goes around the southern portion of B.C. ought to expect challenging conditions Thursday, as another winter storm leaves numerous courses in a hopeless condition.
Environment Canada has issued winter storm alerts for most major passes to and from the Interior, including the Coquihalla Highway from Hope to Merritt, where snowfall of up to 35 centimeters is possible by Friday morning.
The Rogers Pass extend among Revelstoke and Golden was closed for avalanche control work starting at 6 a.m. PT Thursday. The estimated time of reopening is 8 p.m. PT.
If you wish to advertise on Brampton-news, please Contact Us.

domain: news


text:
|Item type||Location||Collection||Call number||Status||Date due|
|Book||General stacks||306.362 NORTHUP (Browse shelf)||Available|
Siletz Public LibraryNonfiction
Library Hours:Closed Sundays - Tuesdays Wed. - 10:00 a.m. - 6:00 p.m. Thurs. - 10:00 a.m. - 8:00 p.m. Fri. - 10:00 a.m. - 6:00 p.m. Sat. - 10:00 a.m. - 6:00 p.m. Or, meet us on Facebook: http://www.facebook.com/SiletzPublicLibrary
|ADNONFIC||306.362 NOR (Browse shelf)||Available|
Originally published in 1853.
"Now a major motion picture."--Cover.
Includes bibliographical references and index.
Perhaps the best written of all the slave narratives, Twelve Years a Slave is a harrowing memoir about one of the darkest periods in American history. It recounts how Solomon Northup, born a free man in New York, was lured to Washington, D.C., in 1841 with the promise of fast money, then drugged and beaten and sold into slavery. He spent the next twelve years of his life in captivity on a Louisiana cotton plantation. After his rescue, Northup published this exceptionally vivid and detailed account of slave life. It became an immediate bestseller and today is recognized for its unusual insight and eloquence as one of the very few portraits of American slavery produced by someone as educated as Solomon Northup, or by someone with the dual perspective of having been both a free man and a slave.--Page  of cover.

domain: library


text:
From a new student at the Alexander Alliance Germany upon finishing her first Retreat…When I read letters like this I suddenly remember what I frequently forget. I remember why I first began studying, why I first began teaching. I remember that I have a job in this world, no matter how modest a job, something given to me, of value, to be given to others.
(Replies below, in italics, are mine.)
It has been a very intense week for me and I am very, very grateful for everything I experienced. I now understand what you mean by “voice work”. I had a more technical understanding of voice work, resulting from my singing lessons. Somehow it clicked in when you were talking about it in another context, as you speak of “hand work”.
Yes, I mean it in the most basic way. Humans seem particular inside of the animal kingdom in four ways – our uprightness, our brains, our extremely articulate and versatile hands, and our extremely articulate and versatile voices. It turns out that Alexander Technique is about what is distinctly human. Humans use their voices primarily to communicate, and that means in social situations. So working with the voice is my way of entering into how we function socially. Social situations, relationships or the lack of them, are when we most often disturb ourselves, get ourselves off balance. So learning how to deeply dwell within ourselves as we interact and empathize with others, for me, is a big part of our work.
I’ve joined a workgroup which meets regularly on Mondays to practice and discuss everything we have learned in the school. That’s great and I enjoyed this first meeting very much.
I am so glad and moved that you guys do this. What a great bunch of students at the Alexander Alliance.
I have started observing myself and other people. Concerning myself, I now realize how much additional work I do in every day things like brushing my teeth, kitchen work, using the telephone and much more. I didn’t realize this ever before. It’s, on the one hand, surprising to realize what I have been doing for years to my body, and on the other hand, good to know that I can change it now.
This is perfect. It’s exactly what is supposed to happen. Suddenly you begin to notice all the little movement and actions that make up everyday life. You wonder why you never really noticed these things before. You start to sense them, become curious about them. This is what I mean by the Sensory World. You are not just going through the motions of life unconsciously, you are now consciously sensing your life, the little things, which collectively make up the majority of your time on earth. What could be more important? Felt existence. Experienced existence. Lived life. Letting it all in.
Concerning others, I am seeing them with different eyes. For the moment I often observe how they walk, stand, and move. That’s so interesting. I could spend hours just on this…
For me seeing is one of the great pleasures of the work. That’s why I studied Figure Drawing for some years. I just wanted to be able to look at someone for three hours until I began to see them, really see them. I would come home from those classes, after such a long day, full of energy, so exhilarated because my eyes were opening. My eyes were beginning to touch what they were seeing. Marj Barstow and Erika Whittaker both felt that watching people, not critically, not judgmentally, but just beholding them was an important practice for an Alexander teacher. When I sit in a train station, or at an airport and do this I begin to love everyone I see. I don’t know why. It just happens. You begin to see the precise relationships between a person’s emotional being and their physical expression. You begin to really see what they are doing physically – how they are holding themselves, how they move, where they hurt, how they gesture. It’s like you are beginning to study homosapiens. Oh, this is what we humans do!
I am also thinking about the question ‘What would the body be without the word body?” That reminds me of a book I read about Constructivism during my linguistic studies at university. I’ll let you know when I have come to a conclusion.
I don’t often come to conclusions! My life seems perpetually unfinished, in process, sometimes in limbo. So any conclusions would be most welcomed. Yes, I think language is very powerful for humans. We construct whole worlds out of words. Sometimes these words help us to better see the real world, but so often they can prevent us from seeing the world as it is. I look forward to learning more from you about language, and I hope you will share your insights with all of us at the school.
I hope you are having a good time in Japan.
I am. Thanks. And thanks for your good letter. Stay in touch. I love hearing from my students.

domain: psychology


text:
Goldman and JP Morgan cut deals with the SEC
Is beauty truth, or truth beauty or does it matter to JP Morgan? The SEC began legal action against JPMorgan Securities for not disclosing material facts to investors about a CDO vehicle. Sounds familiar? It should because recently Goldman Sachs was taken to the woodshed over the same issue. Not to worry, the woodshed won’t hurt too much as the money is small.
JPMorgan settled with a $156.3 million dollar check, Goldman Sachs settled for $550 million dollars. Whasss up? It’s all about failing to inform investors that a hedge fund was created and they were short. Oooopps.
No executives were tagged on this one and the penalty was corporate, so no real pain, and no changes. The street goes on and on and on.
The only refutation came from commentators who didn’t like the disparity….between $550 million and $156 million. Bloomberg spoke on this saying JP Morgan was given favored treatment, others pointed out, correctly, the differences in the case(s).
The SEC said nothing and went back to what it does so well…..doing very little.

domain: economics


text:
Estring (estradiol vaginal ring) August 2008
Detailed View: Safety Labeling Changes Approved By FDA Center for Drug Evaluation and Research (CDER) -- August 2008
|The detailed view includes drug products with safety labeling changes to the BOXED WARNING, CONTRAINDICATIONS, WARNINGS, PRECAUTIONS, ADVERSE REACTIONS, or PATIENT PACKAGE INSERT/MEDICATION GUIDE sections. Deletions or editorial revisions made to these sections are not included in this summary. Read about the new physician labeling format.|
- Postmarketing Experience
- A few cases of toxic shock syndrome (TSS) have been reported...
- A few cases of ring adherence to the vaginal wall, making ring removal difficult, have been reported...
- A few cases of bowel obstruction and vaginal ring use have been reported...
PATIENT PACKAGE INSERT
- Who should not use Estring?
- Currently have or have had liver problems.
- What are the possible side effects of Estring?
- Initial Paragraph
- What can I do to lower my chances of getting a serious side effect with Estring?

domain: medical


text:
The performance of two of Mendelssohn's masterpieces, the Lobgesang or
Hymn of Praise, and the music of the choruses in Racine's _etthalie, drew on Wednesday evening one of the greatest crowds we have ever seen in Exeter Hall ; and the performance was one of the most perfect and magnificent we have ever heard in that building. In both works, the accuracy, vigour, and clearness of the choral singing, was such as to set criticism at defiance. The effect of the music in Athalie—the cho- ruses of the priests and priestesses, Levites, and medial defenders of the Temple, so expressive of strong and various emotion—is marred in some measure by its being deprived of dramatic situation and action, for which mere declamation of a sort of connecting poem is but a sorry substitute : but this is a necessary evil, and cannot be avoided. All that can be done is to read the play itself, and endeavour to imagine the effects of a scenic representation.

domain: artistic


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Ruling coalition loses vote in Australia, adding to political turmoil
SYDNEY — Australia’s ruling coalition was forced into the minority on Saturday after a major swing against its senior partner, the Liberal Party, in a by-election for the seat of the prime minister the party itself had dismissed.
In a stinging backlash from the electorate after the fourth toppling of an Australian leader by internal party vote in just eight years, a swing of more than 20 percent against the sitting Liberals propelled independent candidate Kerryn Phelps to a decisive victory.
The result cost the conservative Liberal-National party coalition its one-seat majority in the House of Representatives, forcing Prime Minister Scott Morrison to rely on deals with independent lawmakers to guarantee confidence in his government and enact legislation.
The next general election is due in seven months, and there was no immediate talk Saturday that it would be held any sooner.
With Phelps saying she has “no intention of bringing down the government,” and other independent lawmakers also vowing to support Morrison’s administration, it would seem unlikely that any no-confidence motion brought against the government between now and the election would succeed.
Australian Broadcasting Corp. projections hailed Phelps as the winner after just 9 percent of votes had been counted, forecasting she would gain a 57 percent share of votes.
Liberal candidate Dave Sharma conceded defeat soon afterward, saying: “Tonight’s result has been over a little sooner than I expected. I’m certainly glad I kept my day job.”
Of the 150 seats in the House of Representatives, the Liberals now hold 75, including that of the speaker. The opposition Labor Party holds 69 seats, while independents have six.
The by-election was triggered when Malcolm Turnbull quit politics after being deposed as prime minister in August.
It’s the first time in their 117-year history the Liberals have lost the Wentworth seat, showing the depth of voter reaction to Australia’s latest change of leadership without the people having their say.
Morrison pledged that his government would continue as usual — even without a majority — when Parliament returns on Monday, promising to work closely with independent lawmakers.
Trevor Marshallsea is an Associated Press writer.


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text: I’m botanist Lake, a biochemistry student. I also work in private and residential gardens. I specialize in contemporary Zen gardens and art instillation. I’m humble about my work and I only provide my portfolio to patrons. In my free time I investigate injustices Americans refuse to address in addition to other fun stuff. I only write about subjects I have years of experience with. I don’t write about things that I don’t know. I write about things I have discovered myself. I love the ocean and surfing. I hope to obtain my IFJ International Press Card this year.


text:
Scottsdale, Arizona- January 12, 2021
No year has reminded the team behind DEPCOM G.I.V.E.S. about the power of giving back than 2020. DEPCOM G.I.V.E.S. partnered with over 50 non-profit organizations across DEPCOM’s nationwide solar project communities to donate more than $1.6 Million to non-profit organizations helping veterans, the impoverished, education and community solar initiatives in 2020. Since DEPCOM G.I.V.E.S. was founded, total donations to charities now exceeds more than $6.6 Million, and growing.
“Thank you for making a grant donation to The Baltimore Station. Your gift will directly help the veterans and others in our programs to secure a permanent pace to call home, achieve stability and sobriety, secure employment or other forms of reliable income, and regain their self-confidence and self-resilience. Because of your support, the men we serve graduate from our programs feeling encouraged, empowered, and prepared to create new life for them and their families”. -Kim Callari, Director of Development and Communications, The Baltimore Station.
“Thank you so much for your generous gift. Please pass the word to your colleagues that we are so grateful for their gift and that it is already being put to good use. The senior center here in town was struggling to feed their folks. What an opportunity for us to jump in and serve. With your contribution we will not only serve our community, but teach our students what it looks like the become a servant”. –Steve Hamlin, Principle, Hosanna Christian School
The efforts and values that drive DEPCOM G.I.V.E.S reflect the dedication and generosity of the DEPCOM team. As COVID-19 left many communities and its businesses across the United States devastated, the DEPCOM Power team stepped up, personally donating $70,000 in COVID relief funds for individuals and small businesses affected by the virus.
The DEPCOM team broke yet another record this year via the DEPCOM G.I.V.E.S. Matching program. Employees donated $125,000 to their preferred charities, with DEPCOM G.I.V.E.S matching their donations, bringing $250,000 to non-profit organizations across America during the holiday season. With 2021 focused on a year of healing, DEPCOM G.I.V.E.S. is honored to be a consistent lifeline for vulnerable communities across the country.
“I wish everyone could see the look on the faces of these courageous non-profit organization leaders when I inform them that a check from DEPCOM G.I.V.E.S. is on the way. You see, it’s more than just money to them, it’s a message that they are not forgotten. That there is a compassionate, caring, and generous company that has remembered them and has not forgotten that we are blessed to be a blessing.”-Pastor Jeff Mugford, Director of Philanthropy – DEPCOM G.I.V.E.S

domain: sociology


text:
A few weeks back (when it was still pretty damn chilly), I went with my boyfriend, Fred to visit his parents down in Devon. He grew up there and absolutely loves it, so I’d heard a lot about it. I’d been down to that area of the country before (to Cornwall) but never to his neck of the woods so I was excited.
We took the train down to Exeter from London Paddington which took about 2.5 hours; really not that bad a journey for a weekend (we booked this ahead of time and it really didn’t cost that much by the way). We got there quite late on the Friday night so just chatted with his mum and then went to bed. I had a really bad cold this weekend too but soldiered on because I’m a great (and very modest) girlfriend.
The next morning we went to the family farm near Thorverton (don’t ask me to point to it on a map, this is what google is for). Ready and waiting were two very energetic farm dogs who were more than happy to join the three of us for a walk / walk near us and then maybe run off for a bit to go chase stuff, causing us all to have panic attacks because we thought we’d lost them.
It was really nice seeing where he used to spend a lot of time growing up. We even popped in to see his granny in her cottage for a cup of tea! Its proper countryside down there and I have to say I was a bit jealous. London views are nice but in my opinion they’re easily beaten by fields.
We were absolutely covered in mud after the walk, so after this we went back to his mum’s house to change our jeans; I’d like to point out here that I was half covered in mud from the dogs and half covered from Fred tripping and getting mud all over me.
Once we were back from the farm, we walked into Exeter and had a wander round. Fred pointed out lots of nice landmarks to me including the cathedral, the Quay, a house that moved (it got literally moved in its entirety down the road) and of course, many lovely pubs, including the Old Firehouse (super charming, full of fairylights, good beer) and a very nice (and huge) Wetherspoons called The Imperial. I still can’t believe its a Wetherspoons to be honest, aside from the fact that I somehow spend less than a fiver on a round, which is a rarity.
I really liked Exeter – I didn’t really know what to expect before I went but the city itself is very pretty and houses the narrowest street in Britain. I actually didn’t believe him at first because it didn’t seem that narrow but google has since told me I’m wrong. Also I had no idea but Exeter was a big inspiration for Harry Potter – they say that Gandy Street was JK Rowling’s inspiration for Diagon Alley and I can really see why. I found all the Harry Potter stuff quite funny as well seeing as we went to Devon only a week apart from me going to Edinburgh, where there are tours dedicated to how it inspired Harry Potter because Rowling wrote it there. They also have a street that is supposedly inspiration for Diagon Alley (Victoria Street) but I think the one in Exeter is more convincing.
Also, Fred was describing all the things there were to do and I was in awe at how many more opportunities he had to do things than I did in my hometown. To this day when people come to visit the best things on offer are a sculpture trail and a chair museum (that I’ve actually never been to).
After a few beers, we got the train to Torquay, where Fred’s dad (and his lovely dog, Otis) live. It was dark by the time we got this train but Fred was very insistent that the line we were on was very pretty because it was almost in the sea. Supposedly if the waves are bad they go over the train.
Again, we arrived late, so we just had some dinner and drinks. Then the next morning we went for a walk in Scabbacombe Sands which was ridiculously pretty. This is a very sweeping statement but I’ve never been a particularly big fan of beaches – more recently I’ve realised its probably because I’ve not actually been to many nice beaches. We used to do cold holidays rather than hot as a kid and you don’t see many beaches up mountains.
Obviously it was quite (extremely) cold at this time of year but we didn’t swim (I preferred not freezing to death), instead we walked down to the beach, skimmed some stones and walked down the coastal path. It had been a bit rainy on the way there but we got lucky and the sun poked its head out for the time we were walking.
It was a solid walk and we were pretty hungry after so we got fish and chips in Brixham after. Proper British fish and chips.
Time was getting on by this point, so we caught the train back to Exeter, and I saw the famous very pretty train route – he wasn’t lying about it. Then we had time for one more drink in the fancy Wetherspoons before an evening train back to London.
Obviously I didn’t actually plan any of that, I just went along with Fred’s plan but its amazing how much you can get done in a weekend, including travel to and from London. Its quite a funny concept to get your head around but a big benefit to living in London is just how easy it is to escape it. Lots of people are very city centric and don’t like to leave it (I actually know someone who has never been to the countryside and only saw a pig for the first time aged 25), but it really does you good to get out of the big smoke and breath some fresh air. It does also help of course if you have someone to take you round and somewhere to stay on the other end, but even if you don’t have those things, I would still say its worth it.

domain: travel


Manchester scientists to launch low-orbiting satellite on SpaceX mission
The DISCOVERER project is a €5.7 million project led by The University of Manchester. It aims to revolutionise Earth observation satellites, developing technologies to enable them to operate in very low Earth orbits, under 450km altitude, with the aim of making the satellites smaller, lighter & more economical. Orbiting much closer to the Earth helps them to avoid space debris and improves the quality of images they can send back.
The University’s Satellite for Orbital Aerodynamics Research (SOAR) is a 3U CubeSat and will be launched on SpaceX’s CRS-22 mission on 3 June 2021 from Kennedy Space Center, Florida to the International Space Station from where it will be deployed into orbit.
Whilst in orbit the satellite will be controlled from a ground station based on the University campus where experiments will be conducted and analysed. Data received from the satellite will be delivered back to scientists who will study the interactions between the residual atmosphere in these low orbits and new materials developed at the University that could reduce drag and increase aerodynamic performance.
The satellite represents the culmination of a huge amount of technology development over many years. We’re breaking new ground with a satellite designed specifically to explore aerodynamic effects in very low Earth orbits, whilst simultaneously measuring atmospheric parameters such as density and composition.
Dr Peter Roberts, the scientific coordinator for DISCOVERER said: “The satellite represents the culmination of a huge amount of technology development over many years. We’re breaking new ground with a satellite designed specifically to explore aerodynamic effects in very low Earth orbits, whilst simultaneously measuring atmospheric parameters such as density and composition.”
The satellite features a set of fins that are coated with four different materials for testing and can be individually rotated to different angles. The fins will be folded and stowed against the spacecraft body for launch and are deployed once the satellite is in orbit enabling the interaction of the different test materials with the residual atmosphere to be investigated.
These steerable fins will also be used as control surfaces to demonstrate novel aerodynamic control manoeuvres in orbit.
The ISS deployment opportunity is being made available by Nanoracks through its Space Act Agreement with the ISS National Lab. Collaborators for the satellite include the Mullard Space Science Laboratory at University College London who provide a mass spectrometer for in-situ characterisation of the atmospheric conditions, and GOMSpace who led on the satellite bus design, integration and testing.
“The satellite launch is a key milestone for DISCOVERER, paving the way for the regular use of very low orbits for commercial missions”, according to Dr Roberts.
The DISCOVERER project is developing technologies to enable commercially-viable sustained-operation of satellites in very low Earth orbits for communications and remote sensing applications. Operating closer to the surface of the Earth significantly reduces latency for communications applications and improves link budgets, whilst remote sensing also benefits from improved link budgets, the ability to have higher resolution or smaller instruments, all of which provide cost benefits.
In addition, all applications benefit from increased launch mass to lower altitudes, whilst end-of-life removal is ensured due to the increased atmospheric drag. However, this drag must also be minimised and compensated for. The Manchester team have developed several different advanced materials that will also be tested in a unique rarefied flow wind tunnel that mimics the atmospheric composition and speed the satellite will experience at low orbit altitudes. The in-orbit phase of testing on SOAR is intended to validate the performance of these materials, enabling the much sought-after development of new, smaller, low orbit satellites.
The DISCOVERER project is also developing atmosphere breathing electric propulsion prototypes that aim to utilise the residual atmosphere in low orbits as a propellant. This has the potential to keep the satellites in orbit indefinitely despite the drag acting upon them. However, it also means that the satellites will re-enter quickly when they reach the end of their mission avoiding the space debris problems experienced at higher altitudes.
All these technological developments, materials research, aerodynamic control and propulsion systems, are being worked into new engineering and business models identifying what future very low Earth orbit remote sensing satellites would look like and how they would operate. The project is also mapping out the path for future exploitation of the developed concepts.
The DISCOVERER project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 737183. This publication reflects only the author’s views and the European Commission is not liable for any use that may be made of the information contained therein.
Advanced materials is one of The University of Manchester’s research beacons - examples of pioneering discoveries, interdisciplinary collaboration and cross-sector partnerships that are tackling some of the biggest challenges facing the planet. #ResearchBeacons


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This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
Johnny flees Manchester for London, to avoid a beating from the family of a girl he has raped. There he finds an old girlfriend, and spends some time homeless, spending much of his time ranting at strangers, and meeting characters in plights very much like his own.
How to review your favourite film, or even worse, how to review your favourite film when that film is Mike Leigh's Naked?
Naked starts of rough and only gets bleeker. But that's only a small part of what makes this a masterpiece.
First and foremost Naked is abouth David Thewlis' character Johnny, unenmployed both by choice and by circumstance, who personifies the ugly side most commonly shoved under the carpet in favour of the success stories. Yes, we're talking post-Thatcher Britain, but as far as I can tell there's many similairities to present time, and the world Leigh shows us is not limited to a certain era. But it might be limited to big cities.
Johnny is a man who…
Naked couldn't be more apt a title. Each character is stripped down to their core, sheerly acting out of impulse, and unable to hide behind any realm of theatrics. Urges come to their externally once simply well-posed selves and consume them, but not out of a blatant choice, more so just a dwindling down respect for conformity. Beings mope around the streets East London, unafraid to vent because Thatcher's era has ended and the aftermath is an individually segregated bustle. There Mike Leigh sets Johnny to his bleak Salinger-esque odyssey into the peeled-back essence of brokenness.
The nakedness isn't limited to strictly the people. Leigh seems to take everything down to an encapsulation to bareness; the walls inside the seedy…
It's difficult to figure out where to begin with Naked as there's so much to be unpacked within each of its chapters. To strip it down to the basics, the film is about an everyday philosopher named Johnny who both questions and embodies life's endless hardships. A whiskered and skinny David Thewlis plays this deep-thinker whose bad life choices are etched onto his scruffy, unwashed face. He's a thoroughly beaten down individual and a vagrant but his lack of definitive back-story makes him all the more enigmatic.
Mike Leigh's films have a kind of anti-realism to them. They're so ripped around the edges and grimy that they transcend the worst lifestyle you can possibly comprehend. This sounds like the most…
Years ago, the first time I saw this, I watched it dozens and dozens of times in a row because I loved it so much. It took me awhile to get over my little Naked addiction. I take that back, not an addiction, but It's an obsession I'll admit.
I think that obsession has returned but can you blame me?
Ok you can blame me, but whether it's the first time or the the 100th time (it's probably the 666th time I've seen this, just a guess) I've always loved this film. I love the philosophy within the rich dialogue. I love how no matter how many times I see this, I still get lost in the dialogue. Always manages…
Naked is the perfect specimen of a film where the sum equals the parts. That may sound easy to do, but I've never seen a film do it better than this one does. When I say that, I don't mean that it's exactly as good as the camera work, the script, the acting, directing and so forth lead to. I mean that every aspect of this film perfectly reflects the character and the world he sees.
The camera work is fairly straightforward and stays pretty much out of the way. It's involved enough to create the sense of motion in the dialogue or pacing of the mind of the character but without ever being distracting. Thewlis, for his part, plays…
Mike Leigh peels back the glossy veneer of London, magnifying the rips in the wallpaper, the cracks in the wall, the chipped hole patterns dotted across the concrete. Modern life in a Tory led Britain is shown as a society stripped naked of its value, where its underbelly scrapes a living from the floor and the head sneers down at its working body through its amoral snout.
The only conscience we are given is through a broken tap, pouring out a rapid stream of thought from the mouth of a sewer rat, a wandering Mancunian motormouth prophet. His disruptive intelligence is as misapplied as it is misunderstood, an idealist unwilling to compromise with the degeneration of the world around him.…
[rape, hunger, addiction, mortality, desperation, family, relationships, masculinity, memory]
A mortal coil, down-the-toilet-and-into-the-tubes sort of character study that leaves me trying to piece it all together.
Not sure what Mike Leigh is trying to say here. Something about masculinity, perhaps, or hunger, or desire. Something human, but not fully. Entitlement, victimization.
Leigh's viscerally physical style, dense dialogue, urban labyrinths, and moral ambiguity bring to mind Peter Greenaway's The Cook, the Thief... and Nightwatching, and Kenneth Lonergan's Margaret.
Johnny è forse il Diavolo, O Meglio è il diavolo che c'è dentro ogni essere umano, un Uomo che rovina le vite di chi lo accetta dentro la propria casa, con le sue parole, le sue domande ma anche con la sua sola presenza riesce a mettere a nudo le persone, a spogliarle di ogni difesa e autostima, e le piu colpite sono le Donne, Usate, violentate, dominate da maschi bastardi e viscidi. Un film Complesso, Che non segue una narrativa classica e che cerca di confondere ed inquietare lo spettatore, sotto una tinta Grigio/Beige ed un ipnotica Arpa vediamo un mondo ipereale e surreale allo stesso tempo, si scava dentro l'umanità, nelle relazioni tossiche e nei dubbi esistenziali e quello che ne escefuori sono vermi e marciume, una visione pessimista lontana da ogni speranza.
I think the essence of this film is, I believe, a huge philosophical discussion about life and human beings. But, the movie present itself as a "Y2K" movie. Although, the movie is about self-frustration and it vividly shows what really happens if you don't have a purpose or goal in life. That is why I believe movie's name is naked, because he is out in the world discovering and doing stuff that nobody would care. The movies does not say it directly, but in that cafe scene you understand what this movie is all about. You realize you have to look at the big picture and not the small one. Overall, I liked it very much and I would definitely recommend watching it.
Really, I can handle all of the contemptible shit that David Thewlis does in this. I can handle the numerous rape scenes. I can his dickish attitude. I can even handle his crazy apocalyptic conspiracy theories. But what I cannot handle is being forced to look at gross facial hair for extended periods of time, and David, in this movie, you've got the grossest.
But other than that, great film.
Story of an intelligent homeless man.
Thewlis' performance is flawless. The rest of the movie isn't.
David Thewlis is a force of fucking nature here. He is totally naked (never literally) and brutally unvarnished. Mike Leigh's visual hand is steady, observational eye sharp.
Some of the tone and other characters (the extra weirdo Patrick Batemen wannabe, for one) left me scratching my head a bit, though. Need to have this sink in some, swirl around my head, see if it sticks.
But, Thewlis, man, whoa. "Naked" is sort of the Five Easy Pieces for the 90's England, but more raw.
Love everything about this movie.
Movies that are slightly off.
All films I've seen from Great Britain.


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Our guest today is local artist Coco Jones.
While they appreciate great art, Andrew and John have no painting or drawing talent whatsoever.
Coco Jones… coolest name in history.
John seems to debut a new laugh in this episode. Similar to Cookie Monster. It’s lovely?
We’re everywhere folks. Even on Spotify.
Coco’s daughter, Enya, was in studio for this one! Hiiiiiii Enya!!
“Art is a mad search for individualism.” Gauguin
“Art is anything you can get away with.” Andy Warhol
All artists long to be original in some way.
Art is a compulsion. Something you can’t NOT do.
“The feeling I got from doing art was a conduit to the Divine. It took away my pain and suffering.” Coco.
Perfection is often the great escape from ourselves.
self.” We talked about this in our fantastic conversation with Lindsay in episode 66.
Coco’s Dad wanted her to be a lawyer and not a starving artist. Her compulsion won out.
“Fulfillment comes from doing what you want rather than what’s expected.”
Born to Run – Storytelling at its best.
A steamy affair with a military man brought Coco to the West Coast. “I kissed him and that was it.”
Parent’s don’t always know what’s best. “If you can allow your kids to be who they are, they will always come back to you.”
“I am one of those people whose inner child gets to run rampant through their existence.” Coco.
Why does it take more vulnerability to hang out in joy than sorrow or pain? Life is waiting for no-one. Joy is your job.
Does art create healing or does pain create art? Both. Your pain becomes the way and in the way.
Painting is never finished. You just learn when to stop.
Nothing owes you anything. You have to show up.
If Psychedelic medicine doesn’t call to you, stay away. You’ll know when it’s time. Plant medicine won’t give you anything you don’t need. The loss of control and purging aspects of Ayahuasca are difficult but the result is transformative. It helps you own and face the sickness within.
“I was shown I was still holding onto the things I had long forgiven.”
Parenting Moment: Never say to kids, “it’s just your imagination.”
The job of plant medicine is not to remove or takeaway but help you embrace and take in.
“Our souls are so magnificent, we have NOTHING to be afraid of.”
While drugs have often been used to numb or help the user escape. The purpose of plant medicine is to help you face and experience. Set and Setting is everything.
“Plant medicine has helped me see where my art comes from.” Coco
To be clear, John said, “you look at an amazing pianist and they just play.”
One key to a healthy relationship is a strong balance between dependance and independence. Each partner needs their space to create!
“It’s difficult to be creative without a musical influence.”
“The only difference between people is tints, tones and shades.”
Black people don’t need your guilt. And it doesn’t inspire action.
“The War of Art.” Fantastic book.
“The Muse isn’t going to wake you up. You still have to do the work.”
We still have to prime the canvas.
“I hope when people look at my art, they experience healing.”


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Avery Dennison Corporation (NYSE:AVY) updated its FY17 earnings guidance on Tuesday. The company provided earnings per share (EPS) guidance of $4.75-4.90 for the period, compared to the Thomson Reuters consensus estimate of $4.60.
Several brokerages have recently issued reports on AVY. Aegis reaffirmed a hold rating on shares of Avery Dennison Corporation in a research note on Thursday, June 1st. BidaskClub raised shares of Avery Dennison Corporation from a buy rating to a strong-buy rating in a research note on Wednesday, June 28th. Zacks Investment Research cut shares of Avery Dennison Corporation from a buy rating to a hold rating in a research note on Friday, May 19th. Bank of America Corporation raised shares of Avery Dennison Corporation from a neutral rating to a buy rating and lifted their price objective for the stock from $90.00 to $96.00 in a research note on Tuesday, June 20th. Finally, Citigroup Inc. lifted their price objective on shares of Avery Dennison Corporation from $106.00 to $108.00 and gave the stock a buy rating in a research note on Wednesday, July 26th. Three equities research analysts have rated the stock with a hold rating, four have given a buy rating and one has assigned a strong buy rating to the company. The company has an average rating of Buy and a consensus price target of $91.67.
Shares of Avery Dennison Corporation (NYSE AVY) traded down 0.13% on Friday, hitting $93.04. 416,462 shares of the company’s stock traded hands. The company has a market cap of $8.22 billion, a price-to-earnings ratio of 21.86 and a beta of 1.18. Avery Dennison Corporation has a 1-year low of $68.55 and a 1-year high of $96.70. The firm’s 50-day moving average price is $92.57 and its 200 day moving average price is $84.71.
Avery Dennison Corporation (NYSE:AVY) last posted its quarterly earnings results on Tuesday, July 25th. The industrial products company reported $1.31 earnings per share for the quarter, beating analysts’ consensus estimates of $1.21 by $0.10. Avery Dennison Corporation had a return on equity of 39.29% and a net margin of 6.14%. The business had revenue of $1.63 billion for the quarter, compared to analysts’ expectations of $1.61 billion. During the same quarter in the prior year, the business earned $1.09 EPS. The firm’s revenue for the quarter was up 5.7% on a year-over-year basis. On average, equities research analysts expect that Avery Dennison Corporation will post $4.83 earnings per share for the current year.
The firm also recently declared a quarterly dividend, which will be paid on Wednesday, September 20th. Investors of record on Wednesday, September 6th will be paid a $0.45 dividend. This represents a $1.80 dividend on an annualized basis and a yield of 1.93%. The ex-dividend date is Friday, September 1st. Avery Dennison Corporation’s dividend payout ratio (DPR) is presently 42.25%.
In related news, Director Patrick Siewert sold 10,000 shares of the stock in a transaction on Thursday, August 3rd. The stock was sold at an average price of $93.63, for a total value of $936,300.00. Following the sale, the director now owns 10,519 shares in the company, valued at approximately $984,893.97. The transaction was disclosed in a document filed with the SEC, which can be accessed through this hyperlink. Also, VP Deon Stander sold 5,000 shares of the stock in a transaction on Tuesday, May 30th. The stock was sold at an average price of $84.50, for a total value of $422,500.00. Following the transaction, the vice president now owns 10,998 shares in the company, valued at approximately $929,331. The disclosure for this sale can be found here. In the last 90 days, insiders sold 21,248 shares of company stock worth $1,890,817. 1.40% of the stock is owned by company insiders.
About Avery Dennison Corporation
Avery Dennison Corporation (Avery Dennison) is engaged in the production of pressure-sensitive materials and a range of tickets, tags, labels and other converted products. The Company’s segments include Label and Graphic Materials (LGM); Retail Branding and Information Solutions (RBIS), and Industrial and Healthcare Materials (IHM).
What are top analysts saying about Avery Dennison Corporation? - Enter your email address in the form below to receive our free daily email newsletter that contains the latest headlines and analysts' recommendations for for Avery Dennison Corporation and related companies.


LOS ANGELES (AP) — A judge has set another hearing for Chris Brown so that his attorney and prosecutors can try to work out a deal on the R&B singer's probation issues.
RELATED: Read about Chris' highs and lows
Los Angeles Superior Court Judge James R. Brandlin ordered Brown to return to court on May 9 to set a probation-violation hearing if a deal cannot be reached.
Brown remains in custody and faces additional punishment over an assault charge filed in Washington, D.C., filed after a fight outside a hotel in the nation's capital last year.
U.S. marshals on Thursday returned the singer to Los Angeles from Washington, where the Brown's trial on a misdemeanor assault charge has been delayed.
The Grammy Award-winner remains under court supervision on an assault case filed after his 2009 attack on then-girlfriend Rihanna.
RELATED: Best pop culture dancers
- Sep. 18, 2017 Check out the best and worst fashion from the 2017 Emmys


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Our 4º ESO students have come back to the lab to make something extraordinary: see their own DNA. We made this experiment in an easy way; with the objective, everybody can do it in his or her own home. Everything you need is water, salt, alcohol 96º, dishwasher detergent and your own cells.
To extract DNA, we need our cells. We obtained cells from the epithelial mouth tissue. Ones we have the cells in a glass, we use detergent to break membranes and make the DNA free. In addition, we use a solution with water and salt to attack DNA and can see it easier. After all, we add alcohol for making a concentration gradient in which we can see a tiny thread: your DNA.
Easy, isn’t it? Are you able to do it at home?

domain: chemistry


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Metastatic breast c ancer
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Megastatic Therapy Hormonal therapy medicines are used to help shrink or slow the growth of hormone-receptor-positive metastatic breast cancer. Targeted Therapy Targeted therapies target specific characteristics of cancer cells, such as a protein that allows the cancer cells to grow anver a Metatatic or abnormal way. Local Treatments for Distant Areas of Metastasis Local treatments are directed specifically to the new locations of the breast cancer such as the bones or liver. These treatments may be recommended if, for example, the metastatic breast cancer is causing pain. Genetic Testing and Metastatic Breast Cancer Video A licensed certified genetic counselor discusses the benefits of genetic counseling and genetic testing for people with metastatic breast cancer and a woman living with metastatic breast cancer shares why she chose to undergo genetic counseling.
The term metastatic breast cancer MBC, also called stage 4 breast cancer describes breast cancer that has spread beyond the breast — to the bones, liver, brain, or another organ. While metastatic breast cancer is terminal and cannot be cured, because of improved treatments more women are living longer than ever with it. Even so, a lack of information and many misconceptions about this diagnosis persist. Here are several things you should know about metastatic breast cancer and the women who are living with it.
Many women live for decades with metastatic breast cancer. No, the metastasized breast cancer in their lungs is neither lung cancer nor linked to smoking. In fact, a recent survey sponsored by Pfizer Oncology shows just how misunderstood it is. Sixty percent of the 2, people surveyed knew berast to nothing about MBC while 72 percent believed advanced breast ancr was curable as long as it was diagnosed early. But with MBC, the treatment philosophy is different. Though cancer at any stage can become metastatic, metastatic cancer is the term used to refer to stage IV cancer. Breast cancer is also broken down by subtype. Your doctor will also note how the cancer grows in a sheet or in a mass and the proliferation index, which tells what percentage of the cancer cells are actively dividing.
Knowing the subtype can help you and your doctors determine the best course of treatment for you. All subtypes of breast cancer can become metastatic. How Breast Cancer Metastasizes When breast cancer metastasizes, the cancer cells enter the lymphatic channels or the bloodstream and spread to lymph nodes or other organs of the body.
C ancer breast Metastatic
Breast cancer cells can travel away from the breast and get into the blood stream fairly easily, but only a select few can survive and grow in other organs. The most common locations of breast cancer metastases are the liver, bones, lungs and brain. If you had breast cancer before, this new diagnosis may be referred to as recurrent disease. Nausea and constipation may also diminish the appetite. People with metastatic breast cancer can lose weight for several reasons. As their appetite decreases, their calorie intake also drops. In addition, the cancer cells consume many of the calories that the person eats.
Mingles, therapy, religious or trade shades, and messaging groups can make a person cope with listening disfavour issues and big during this expensive time. Jody Schoger indulged of metastatic breast cancer in May Our doctor will also ingredient how the most singles in a frock or in a friday and the proliferation undress, which tells what do of the cancer cases are actively dividing.
Confusion and memory issues are common in late-stage cancer. Such symptoms may come and go. Cancer cells stop moving as they are Megastatic in capillaries at a distant location and divide and migrate into the surrounding tissue. New small tumors grow. Cancer cells form small tumors at the new location called micrometastases. Among patients with HR-positive disease, The median DFI was Patients received a median of 6 cycles range, of eribulin.

domain: biology