Sunday, April 23, 2017

POWER PANDI - movie review!


POWER PONDI



2017 Tamil movie has an unusual modern  theme . It depicts the story of the 64 year old widower POWER PONDI ( the unlikely hero) a movie stunt master feeling something missing in his life and leaves the house without the knowledge of his son, daughter in law and 2 lovely grandchildren. He leaves on his motor bike with Rs 25 lacs from his account on a road trip. He meets other older men on motorbike by the roadside who have left their families on a similar mission.

He reminiscences his ‘first love’ to them, how she had made an impact on him in just 2 days, of how her dad whisked her away to Madurai and blocked all their  puppy love. The road side acquaintances show him how to use face book and he sends a message to his first flame Revathy who is now in Hyderabad and makes a date to meet her in a restaurant.

The story attains a higher plane at this stage of how 2 elderly people ( she is a widow too ) talk of pent up feelings over the years, how their own children meet them together and accept the truth of romantic friendship between the two parents who are now single.

Movie reminded me of 'Wild Hogs' when you see the motor bikers in wind cheaters by the roadside!





Danush the director / story writer is a bit confused if the story is about the grown up, married children being harsh on elder patients ( because the son and DIL are quite good to Power Pondi and treat him well!).

I am assuming the director wants to focus on how the elderly also have great memories and strong feelings - wanting to lead their lives , not just be a shadow on their grown up, married children. If the focus indeed is on the active life of the elderly people, ( I am  hoping so) then it is a great theme!

Conversation between Revathi and her daughter when talking of the former’s old flame is quite revealing ( serious on Revathi’s side; playful and non judgemental on the daughter’s side!) on how the youth of today want the elderly to live well and be happy too.

Also the conversations of the neighbouring youth ( an useless, good for nothing chap) with Power Pondi are very casual and lively all the time ; the neighbour helps the elderly hero to sneek into the grandchildren’s feelings of sorrow when the old man is missing! The youthful heroine Madonna acts with finesse.


A great social movie, but I wish Danush had sat down to focus on which theme  - the one I feel should be on the active lives of elderly middle class people in Tamil nadu!

I will not be surprised if the debut director soon explores on newer themes such as live in relationships in modern life in the youth and elderly.

Or would that been too modern for our traditional public?

Saturday, April 1, 2017

AUTISM WEEK - RAIN MAN

AUTISM WEEK - RAIN MAN MOVIE REVIEW TOO



I saw a movie on TV early this morning on autism- RAIN MAN brilliantly played by Dustin Hoffman as an autistic brother of Tom Cruise overshadowing him completely. Movie taken in 1988 still has such a powerful impact today.

A brilliant mind with autistic mind dealing in numbers and advanced calculations at fraction of a second!

Story of a normal brother (Tom) failing in his business deals finds out that his late dad had just left 3 million dollars to a ‘retarded’ brother (Dustin) whom he did not know, leave alone the autism in the brilliant brother!

So he steals the brother away from the institute for demanding half his share of inheritance, but gets to understand subsequently that his brother had been institutionalized to save his (Tom’s) life as a toddler! And then begins to love him as a brother.

Rain Man won four Oscars- Best actor, Best movie, Best Director and Best Original Screenplay and was the highest grossing film of 1988.

Dustin Hoffman intensely studied Kim Peek – the real life savant, an autistic person intensely before the movie – but apparently after the movie, cut off all ties with Kim’s family after the movie was a success. He did not even acknowledge the sudden death of Kim which was lamented by Kim’s father.

Did you know from 1 April to 30 April it is the AUTISM MONTH?



Autism is present in children with difficulty in communication due to different sensory input and behavior with other people. Autistic children are usually very talented in many ways which normal children are not!

Communication of these autistic children with others will not be normal and hence they may appear to be different to the others.

The Autistic Month of April is to highlight public awareness of this condition in children and to understand their brilliance in life.


Monday, March 27, 2017

IF ONLY THE DINING TABLE COULD SPEAK ......!

If only the DINING TABLE could speak






The dining table is where modern family namely the parents meet the children and eat together with a thankful  heart.

Dining table is where the guests are entertained as it is always in a room with access to the kitchen.

Though known as the dining table, it is used for purposes far more than dining.

The table is where the family says a prayer for the meals.

Joyful events like births, engagements are announced.

Daily events are shared by the family at the end of the day during meals.

Television is watched together for news, matches, movies and events.

Sad news too - accidents, ill health, deaths are shared, tears shed at the table.

Children study at the dining table, do the last minute home work before the school.

Progress cards surrptiously shown to the parents at the last minute just before school at the eleventh hour for the signatures!

Children watch the parents communicating with the near and dear and learn how to communicate.

Dinner time is the best, when the unwanted food is shoved below the table to the dogs without the knowledge of the mother! ( giving special meaning to ' we are not worthy to pick the crumbs from under Thy table!'......)



MId-night forbidden raids to the fridge and the stolen food gulped in the dark at the table, watching midnight movies!

Dining table seats visitors dropping for a chat, news, gossip and tea.

Every birthday is treated with cake cutting, singing, good wishes and unpacking around the table.




Formal prayer meetings demand more seats around the dining table for singing the thanksgiving.

When children leave for college, there is loneliness around the table and the feeling of emptiness is palpable.

Children grow up to be young men, and get married; their families join in and more joy pours in.

Grand kid/s come forth into family. 




Music, happiness and laughter around the dining table yet again.

And life goes on!

If only the dining table could speak ……!


Saturday, March 25, 2017

VIOLIN MATTERS - WHY MUSICAL STUDIES / ETUDES / EXERCISES MATTER!

Violin Matters          

 WHY MUSICAL STUDIES / ETUDES / EXERCISES MATTER!

 


“Without a solid foundation, you will have trouble creating anything of value”

Often questions arise in the minds of the student. Why am I still doing studies / etudes/ scales? Why is not the teacher making me do the concertos, sonatas?



What does musical exercise/ study or etude do? Each exercise concentrates on one aspect of technique. For instance if it has to do with the right hand (bowing) – it may be legatos. The exercise will focus on legatos –for the whole bow, the upper half or the lower half. So once the exercise is mastered, one has a reasonable control over the legatos.

Exercise on staccatos – may focus only on the short note to be played and full stop and wait before starting on the second note. One learns this technique SLOWLY and then speed it up with regularly increasing intervals. The single bowed staccatos are different from slurred staccatos. So the exercises could be different.



Left hand application of the exercise is similar, it may have to do with the position of playing first or second or higher positions. The I to III positions are mastered before the advanced student progresses to  high positions. Each exercise is specific and caters only to that aspect of playing.

As for the left hand techniques – shifting of the positions, string crossings, the double stops, the vibratos, left hand pizzacato, harmonics with double stops, etc, each can be practiced separately and then applied to the repertoire.

Now coming to repertoire, composer would have, depending on the complexity of the musical piece, employed various techniques which one would have individually studied in the  studies earlier on. It is important to scan the music, and while attempting it slowly in the beginning, identify the troublesome spots. Then analyze each difficulty and go through it  in detail.

If necessary, revert back to the technical study, practice it all over and then come back to the repertoire.

In case of attempting a difficult piece, it is important to:
  • -          Isolate the difficult part and work at it  in small segments |( one or two bars if necessary) and analyze why it is difficult ( section A)
  • -          Work at the solution , slowly for a short while
  • -          Go back to some other section of music ( section B)
  • -          Come back to the troublesome spot, now with its solution and practice this again ( section A)
  • -          Practice some other section of music ( section C)
  • -          And come back to section A again – and gradually speed it up to the required tempo.

This has worked largely for other colleagues as well as me. It is easier to do this rather than playing the music from top to bottom over and over when each mistake is made.

Substitute learning to spin a ball at cricket or  hit a curvy spinning shot in tennis or a difficult knotting in laparoscopic surgery with remote instruments - it all comes to the same principles as above.

Short bursts of working at difficult sections with analysis, repeated in small sections saves much of wasted time and is retentive in memory easier than otherwise.

Tuesday, March 14, 2017

Violin Matters - OPEN STRING VIBRATO in VIOLIN

Violin Matters


OPEN STRING VIBRATO



Open string vibrato is useful in some of the selected areas of violin playing.

The usual string vibrato where the finger is placed just below the note and moved to the correct note – back and forth is based on frequency modulation.

The open string vibrato is based not on the frequency change as there vibrato finger is not on the string involved. It works by amplitude modulation

There are mainly three techniques for doing vibrato on the open strings. They are:

1)      If you wish to do G open string vibrato, place your third finger on the D string (G note) and do the vibrato on the third finger, but play the open G string. This is with the note one octave note higher doing vibrato. You can also do this technique for G, D and A strings vibratos       
www.youtube.com/watch?v=l8PXrnHIasQ

2)      You can also do the open string on D, A and E vibrato with the fourth finger on the lower string and do the vibrato in a similar manner. Here the note is the same but the vibrato is on the lower string.
                     www.youtube.com/watch?v=8_Yxg_qo7NA

3)      Last method is to do any of the  four strings – namely G,D,A or E by playing the open string, but vibrato with the wrist in the air ( without touching any note) 
                      www.youtube.com/watch?v=kA6o25OkJ-o

4)      There is a fourth vibrato – ‘ the bow vibrato‘ from the 16th century. It is demonstrated by the shaking of the bow in the direction of the bowing (up or down) in the same direction. It was described in the 16th century by Ganassi in 'Rigola Rubertina' when vibrato was introduced in Renaissance music as a musical ornament. It sounds like a stammer – not a tremolo where the bow alters direction. It is at present, an uncommon bowing technique.

In general the overtone sound effect is similar to the bowed vibrato, though the intensity is reduced due to the sympathetic vibrations. The character of the open string vibrato can be altered by the type of open string bowing and the type of the vibrato on the adjacent string - rapid or slow.

Friday, March 3, 2017

VIOLIN MATTERS - BOWING WITH FULL HAIR OR TILTED HAIR


Violin Matters                   

BOWING WITH FULL HAIR OR TILTED HAIR



FULL HAIR

TILTED (partial)  HAIR













Violin bowing is one of the most intricate aspects of violin playing.

It is personal and every expert holds the bow and plays in his / her own characteristic way.

Clearly this shows that there are many ways to skin the cat.

There are controversies covering each aspect of bowing.

What this blog attempts to cover is only if the bowing should involve the edge of the hair or the whole hair on the string.

Carl Flesch mentioned this and bow tension in the Art of Violin Playing. 

Flesch observed that violinists who used the Russian bow hold had a tendency to use a looser bow hair and flatter hair, while those who used a Franco-Belgian bow hold tend to use tighter bow hair and tilt the bow more.

The arguments for both sides are presented. 

Each violinist needs to decide and adopt what to do based on the dynamics and tone.



IN FAVOR OF TILTING HAIR TOWARDS THE BRIDGE / BOW STICK TOWARDS THE SCROLL



Hair Tilt




Paul Stoebing in his book on ‘The Mastery of the Bow and Bowing Subtleties’ has mentioned three fundamental rules of bowing. Rule 2 is “Play with the edge of the bow hair, the stick itself being slightly turned towards the saddle and the peg box”




Paul Stoebing's 'The Mastery of the Bow and Bowing Subtleties'


He goes on to explain, “Play with the edge of the hair, but modify the amount of hair touching the string according to the part of the bow employed. At the extreme nut change, with as little hair as is compatible with a comfortable wrist position and tone quality, increase imperceptibly the amount of hair towards the middle…..”

Ivan Galamian in his “Principles of Violin Playing and Teaching’, mentions,“…Moving up -  the bow  from the square (middle section) towards the frog, the stick of the bow should tip gradually and slightly towards the finger board. 

This tilting accomplishes three things: (1) it preserves the straightness of the bow stroke as the frog is approached, since the arm is foreshortened a the hand gradually drops from the wrist ;(2) it removes the inner edge of the hair from the strings, thus compensating for the natural increase of bow weight; (3) it contributes the correct type of bend and flexibility to the wrist action.”

First of all tilting the bow does not necessarily mean that all the hair is not played on the string! This is because the hair is loose and can twist to lie on the strings depending on the pressure applied even if the bow is tilted.

Just as a painter uses different shades of brushing and dilutions of the color, the amount of touching the strings can produce very soft, melodious, transparent sound to suit the phrase.

Right hand – figure of eight choreography is used by many violinists with forearm pronation may involve some degree of tilting of hair.


Right hand - Figure of Eight Choreography
Pic from William Fitzpatrick with thanks.


Ray Chen the virtuoso goes to the extent of bowing with similar bow tilt at the frog and the opposite tilt at the tip of the bow to get the appropriate effect of tone.



IN FAVOR OF KEEPING ALL BOW HAIR ON STRINGS /BOW STICK ON TOP


All Bow Hair on the String


All the hair of the bow should lie on the strings from frog to the tip. 

This gives a rich, full tone.

People who play most of the time on the edge of the hair play only a percentage of the hair with a tilt of the bow to 45 or 60 degrees or even more. Less hair, less energy in sound.

Also when the edge of the hair is used by the tilted bow, this results in the breakage of the hair.

Playing full hair gives full, rich, robust sound which projects to the back of the concert hall.

Flat hair produces louder sound and more articulation; the fewer amount of hair, the sound is smoother but quieter with less articulation.

Playing all hair on the string, it is still possible to play softer and with altering dynamics of the phrasings by lessening the weight of the bowing on the string.

Flat, full hair technique was used by Erick Friedman, Aaron Rosand, Mischa Elman.

Anyway, as one plays the higher positions, one needs to play full hair with proximity to the bridge or the sound is going to be thin.


Strad Magazine (Jan 2012) "The Motion of Emotion".


"Many people consider straight bowing (keeping the bow at an angle of 90 degrees to the string at all times) to be the gold standard. 

Crooked bowing - they would argue inevitably leads to an inferior sound by introducing longitudinal vibrations in the string. 

However, in practice we can observe many violations of this standard, and the bow can be considerable slanted even in the performances of renowned players. 

Does that mean that their performances must suffer, and that they could produce a better sound if only they could keep their bow at a straight able? In most cases the contrary will be true."

  
CONCLUSION


There is no one magic answer to this issue. 

Situation depends on whether it is solo playing in the hall where the sound has to carry to the last seat.

It is good for one to familiarize with both techniques – knowing that the flat hair playing is a solid one. 

I started with the tilted bowing – but now changed over to the fuller hair for most of the legatos. 

But where the phrasing dictates different coloring and shading, bow tilting has to be done.

There are aspects not covered in this blog such as tightness of the bow, the bow holds for the right hand or the type of strings used (gut or synthetic). 

Recordings and live performances are difficult to compare as the mike placements and management by sound engineers can play a significant role in the modern music era.




Tuesday, February 28, 2017

VIOLIN MATTERS - THE SOUND POST


VIOLIN MATTERS                            

THE SOUND POST



“If the edges of the sound hole are uneven and there is no clear ringing tone of the adjacent strings- it should raise an alarm bell”

Introduction

'Sound post' is a cylindrical rod of usually wood which is placed inside the body of the violin . 

It is positioned inside the violin at a level adjacent to the bridge near the E string .


The Soul 

Sound post is placed between the front plate and the back plate of violin supporting the arch of the violin. 

It alters the tone of the violin and is often referred to as ‘the soul’ (ame) of the violin.

Ideal position of the sound post inside the belly of the violin is 1-3 mm behind the bridge position and 1-3 mms inner to the right foot of the bridge.




Fig 1. Position of the sound
(From Andrew Filmer with thanks)

Moving the sound post towards (1) the bridge gives a louder and harsher sound.
Moving the sound post away from the bridge (2) gives a mellow and lesser volume sound.
Moving the sound post to the left (3) or to the right (4) will increase focus on the adjacent strings.

Not only the position but also the make of sound post is important – the grains meaning the lines along the tree growth should  be at 90 degree angle to the grain of the instrument. 

The touching ends of the sound post should also be carved to the shape of the breast of the violin so that the contact is full and complete.

Sound post is generally erect, but can be slightly at an angle

Adjusting the sound post is just not physical, but the tone of the violin should be heard, felt and appreciated to a better one. 

Each violin is different in its temperament and only general principles of the sound can be laid.

Its position can be altered inside the violin via the sound holes with a setting tool by the luthier.



 Fig 2. Sound post setter tool


Problem

  • My violin makes a clear ringing tone on the open strings of G and D. 
  • But the clear ringing tone was absent on strings A and E.  
  • To find out the exact nature, I took a picture of the sound holes of the violin from the front which looked apparently normal.

Fig. 3. Apparently Normal Looking Sound holes


I also palpated the body of the violin and found the edges of the right sound hole were at uneven depth. The inner edge of the right sound hole was raised compared to the left sound hole as though the sound post was keeping the front and the back plates of the violin apart.


                             
Pic. 4.  Left Sound Hole - Edges Even.





Pic. 5. Right Sound Hole- Edges Uneven and Apart


Solution


So I took this up with the luthier to readjust the sound post.

He confirmed my findings and readjusted the post to an inner position

The front and the back plates of the violin body were no longer under tension.

The edges of the right sound hole became more even.

The price of the pudding was that the sound returned to the A and E string – louder, clearer and what is more , the ringing tone of the open strings A and E had returned!


"There is more to it than meets the eye!"

By the way my age-old bridge had a minute crack on its back surface and we replaced this as well and the sound was far superior. 

So it is important to know that the sound depends on factors far more than just the sound post!!

So keep looking for causes to improve your tone - not only in your playing, but also in the violin!


Remember 

       “If the edges of the sound hole are uneven and there is no clear ringing tone of the adjacent    strings- it should raise an alarm bell”