[Most Recent Entries] [Calendar View] [Friends]
Below are the 8 most recent journal entries recorded in
katabasia's InsaneJournal:
| Sunday, March 7th, 2010 | |
| 11:28 pm | 10 of my favorite terribly underappreciated HP fanfics 1.http://trickofthedark.livejournal.com/3 Widdershins by trickofthedark (NC-17) =====No summary given and trust me, this story is very difficult to do justice to in a summary. It's heavily illustrated which is very nice, its the oddest het pairing I've ever read but it really works, and it does a good job depicting a war effort. This is a must-read, as far as I'm concerned. It's just too great to miss.===== 2.http://www.fanfiction.net/s/5628436 Of Princes and Fireflies by excentrykemuse (R+) AU-HBP: Harry would be the first to admit that he obsessed over things: Voldemort, Snape, Malfoy, because they were always up to something. But this year, someone managed to not only capture his attention, but keep it--Octavian--the Pureblood Prince.SLASH =====I really like this one because its bilingual French/English and I speak both, but it's also a beautifully written slash romance. It has Harry getting betrayed by the Light and finding camaraderie and understanding among those of the Dark but he doesn't turn Dark because of betrayal - he learns the pureblood ways for love (the betrayal comes later and it might be a bit overplayed, but not enough to ruin the fic for me).===== 3.http://www.fanfiction.net/s/5699736 Anguis: The Snake Within by Pseudo Nymph (R+) It's a tale of sex, crime, conspiracy and violence. No longer the Wizarding World's Golden Boy, Harry Potter is a disillusioned Auror with a dark past. When a serial killer begins preying on London citizens and leaving a trail of macabre clues in their wake, Harry finds himself drawn into a web of deceit and betrayal that will force him to confront his secret past... or risk losing everything that he holds dear. =====Harry is such a deliciously dangerous, manly man in this fic.===== 4.http://www.fanfiction.net/s/4034458 The Dogs and Shakespeare by Ravenpuff (PG-15) The Dursleys are swayed by circumstance to accept Harry as he is: a cursed little blighter who gets into too much trouble and has the additional quirk of magic. He slowly becomes a part of their family and with his new freedom in life comes his ability to discover and explore magic years before Hogwarts. He leads two lives, as a precocious muggle child and as a secretly strengthening wizard. When he makes his first real friends, he can't help but share the secret with them. =====This story really captures the terror of raising a mischievous magical child. These poor Dursleys!===== 5.http://ishtar.fanficauthors.net/Famil Family Values by Ishtar (G) Petunia Dursley discovers that taking care of two small boys is too much for her, so she passes the guardianship of Harry Potter over to a distant relative - Morticia Addams. With Harry growing up in a very different type of Family, Dumbledore desperately tries to get him back. But the Harry Potter who finally arrives at Hogwarts, along with his "cousins" Pugsley and Wednesday, will be nothing like what Dumbledore expects. =====Probably the best crossover in the HP fandom. Not under-appreciated, but definitely one that it takes those new to the fandom a while to stumble across.===== 6.http://www.fanfiction.net/s/3695023 The Puir Laddie Who Lived by fojee (G) HP/Discworld crossover, AU. The wee free men are good with doors. So what happens if they find a doorway that led them straight to Godric's Hollow that Halloween night ten years ago? =====This fic isn't perfect but it is very endearing. The author does a very good job with the voices of Discworld, though struggles a little bit with those of HP. Still, the effect is wonderful and yet too few people have read it.===== 7.http://www.fanfiction.net/s/4054819 Little Nicky by The Wandmaker (PG-15) After Dumbledore destroys the Stone, the dying Nicolas and Perenelle Flamel save themselves by going back in time - and they're angry enough to change history. Severe Dumbledore-bashing. Harsh language. Written for the HP Holiday Gen fest on LJ =====This is an evil!Dumbledore fic but its only a oneshot and the revenge of the Flamels and their ruthlessness, especially where the latter intersects their work in raising Tom Riddle right, are just so wonderfully done. Give this fic a shot and you won't be disappointed.===== 8.http://www.fanfiction.net/s/5488860 Harry Potter and the Reluctantly Paternal Uncle by PenRifle (PG-15) Vernon Dursley likes to drink. Harry uses this to his advantage. Soon, between mixing drinks and discussing cars, they form an unlikely and somewhat disturbing bond. Chaos is sure to ensue. Featuring Happy-Drunk!Vernon and Smart!Harry. AU. HP/LL, RW/HG. =====This is a short fic so far and hasn't been updated in months but it's still worth a read as it could stand as is or be developed into a longer fic. Either way, its a nice quick read for those days when you think there's nothing new in fanfic worth reading.===== 9.http://www.fanfiction.net/s/5769888 Who's Afraid of the Dentists Daughter? by TardisIsTheOnlyWayToTravel (PG-15) Muggleborn Hermione Granger is sorted into Slytherin, but after a nasty prank goes wrong and gives her red eyes, her classmates become convinced that she's the Dark Lord's heir. =====This fic is weird but intriguing and kind of clever too. It's only just been started so I may remove it from this list if it doesn't get updated. But in the meantime, check it out for a quick smile.===== 10.http://corvidae9.livejournal.com/tag/s Switch by corvidae9 (G) The Sorting Hat has sorted thousands of students in the course of its life. If it makes a mistake or two, who’s to say it’s wrong? Certainly not Fred or George Weasley. =====This fic spawned corvidae9 to write the whole "Switchverse" which isn't under-appreciated but, like #5 on this list, is difficult to find. I think it's great how the children all adapt to their new houses so completely and immediately. This one's a comedy but it can also be taken a little seriously if you want to look at the critique of the house system and the adaptability of children. The whole Switchverse is great, so if you like Switch, read them all (links just under the summary).===== Current Mood:  creative |
| Friday, August 7th, 2009 | |
| 3:15 pm | Improve Your Sight-Reading Part 1: Rhythm Practice Sight-reading is daunting… your stress makes you rush which makes the excerpt even harder and even if you play it perfectly – rushing is still a mark against you… so you need to improve your confidence But a lot of people, some teachers included, don’t believe that sight-reading can be learned. Many teachers will suggest that you learn the vocabulary or memorize your scales. They may have you practice it; a good idea, but not the answer in itself. But if you’re really struggling with sight-reading and desperate to improve, don’t be tempted to devote hours a week to pulling out new pieces and playing them sight-unseen for all your friends and neighbors. Instead, practice like that only moderately. The most undervalued way to improve sight-reading is none of these. Try to practice your rhythms. 1. Practice a wide variety of rhythms – ::: Get yourself a copy of “Raymond C. Fussell’s Exercises for Ensemble Drill” – pages 40 and 41 are the best rhythm exercises I’ve found. Practice line by line (choose a comfortable pitch and tempo for you) and once you’ve mastered enough lines, challenge yourself to start at the top and play through without stopping until you make a mistake. Try to get a little further each time. Challenge your friends and section-mates (playing together, dropping out when you make a mistake – the last one playing wins). This book is of the bargain bin type (probably because the rest of the book isn’t very special) – good news for the poor student since you can probably find it for $3 or less. 2. Practice subdividing until you do it automatically without thinking. It will help if you can manage to feel the beat. This helps you keep a steady beat and put everything in the right place, even if it’s a row of upbeats alternating with rests. 3. Stress the right beats for the time signature Q: What are the strong beats in… A: - 4/4 = 1,3 - 2/4 = 1 - ¾ = 1 - 6/8 = can be divided into eighth note triplets and therefore thought of as having 2 dotted quarters per measure, beginning on each strong beat - 6/8 = can be thought of in three sets of two eighth notes - 9/8 = divided into three sets of three eighth notes, each beginning on a strong beat with the downbeat of the measure being strongest - 5/4 = this can be divided into 3-then-2 or 2-then-3 = take your cue from the way the director chooses to conduct it. The strong beats are the downbeat and whichever beat they conduct with the outwards motion (to the right, like the 3rd beat in 4/4 time). Aim for the strong beats to keep steady and fit everything in place. 4. Count the rests – I really can’t stress this enough - even if you play something perfectly, it’s all wrong if you come in too early or too late so this is one of the most crucial elements to get right, especially in an audition. Part 2: What to do from the moment you get the excerpt 1. The Signatures – Time Signature and Key Signature – what are they? When do they change? 2. What’s the tempo? Find the tempo markings. This may be in the form of “quarter-note =” or as style markings. Don’t just look at the top! Make sure you look through the whole excerpt for any changes in tempo or style. Now that you’ve got those, internalize the beat. Feel it. 3. Where are you going? Make note of the roadmap for the piece -any DC or DS markings, a coda, first and second endings, etc. 4. Dynamics – when and what? Figure out where you’re supposed to play loud and where you need to get quiet. 5. Now finger through (or play through if you’re allowed) - if you’re short on time, play through only the sections that look difficult – if you have plenty of time, practice it carefully - make sure to keep the beat steady, subdivide, and count out all notes and rests Before you start… take a pencil into the audition or exam with you. When it’s time for sight-reading, before you turn the music over or accept it from the examiner, pull out your pencil and ask the examiner if you can write on the excerpt. Make sure they see that you brought a pencil with you. Usually, the answer will be no but you should ask for two reasons. First, if the answer is yes, you can use the pencil to circle all style markings, tempo markings, repeats, D.C or Coda markings, first and second endings, etc. and that can be really helpful to you as you play. Second, teachers like students who always have a pencil close at hand – they make fewer mistakes, they pay attention, they put forth the effort to be good musicians. Current Mood:  annoyed |
| Thursday, July 30th, 2009 | |
| 9:55 pm | Reading the Common Clefs Many school districts now require band students to pass written tests either to grade the student or to develop aggregate data on the success of a curriculum. Somewhere on that test, the student will be required to demonstrate that they know the names of common clefs and can read the music on them. It’s a logical demands to place on a student, that they be able to read music, though it is made more difficult by the fact that standardized testing can’t have one version for those who read treble clef, one for those who read bass, etc. The result is that you must not only be able to read your own parts, but at least be able to figure out (with the help of mnemonics) the name of a given note on any clef. Below are two images that can help you study. Image 1: The Grand Staff  This staff is used by pianos and harps. The piano keyboard there can also help you learn to locate the right note and octave on a keyboard for you to use for tuning and learning new notes while you practice if you are not a piano player. Image 2: Clefs Chart  Current Mood: annoyed |
| Saturday, July 25th, 2009 | |
| 11:46 pm | Playing High Notes It's probably the most common question wind players ask. Trumpet players and flute players seem to be the most notorious. But it doesn't really matter what instrument you play because the answer is the same for all woodwind and brass instruments. 1. Use good air support. Sit up straight and use your diaphragm to breath. You'll need to play with air from the bottom of your lungs. 2. Get the air moving faster for high notes and slower for low notes. This does not mean you should overblow when you want to play in the stratosphere. Getting the air to move faster is a function of the arch of the back of your tongue. Try singing a scale and pay attention to what your tongue does in the back of your throat as you go up the scale. That's the same sort of motion you need when playing an instrument. Don't overdo the motion or you'll just cough. Often simply thinking high will get it to work right. Which brings us to... 3. Hear the pitch in your head. It's more than just thinking high - you need to get it in tune once you get there. So hold a reference pitch in your head. To do this, you may want to practice while sitting at a piano. Play the note on the piano (in the right octave), then hear it in your head. If you're having trouble with the concept of hearing things in your head, try humming the note instead. Then try to play. Don't get yourself all worked up - your throat is in the right position already and if you stress out, it will tighten up and you'll squaw instead of playing. It should come naturally if you just hear the note before you play. Current Mood:  blah |
| 12:58 pm | Intonation Vocabulary: Overtone or Harmonic Series Sound Waves and You Part 1: Constructive and Destructive Sound Waves (Beats)  These two waves (red and blue) have different frequencies just like two musicians playing out of tune. The purple wave is their combined sound. Where the waves coincide (are "Constructive") they build on each other and seem to sound louder. All other parts clash (are "Destructive"). The difference between these causes us to hear beats. When we tune using the beat method, we try to remove the beats by removing the parts that don't match and lengthening the parts where the waves match up. If the frequencies (a wave’s frequency is the number of pulses, the ups and downs of the line on the graph, occur per second) match, the players are in tune with each other, and there are no beats. Part 2: When you are perfectly in tune with yourself, your sound will resonate and ring. If you have a well tuned piano, when you hit one note, several of the notes above that will also vibrate and you’ll be able to hear those notes faintly in the sound as well. Just like how singing the right note next to a glass can make it vibrate, these strings move because they share enough waves with the note you struck that some of the energy from the vibrations you started gets them vibrating as well. Those notes that vibrate sympathetically are the "Overtone Series", sometimes called the "Harmonic Series", for the note you struck. Overtone or Harmonic Series for C  Current Mood:  sleepy |
| Friday, July 24th, 2009 | |
| 11:40 pm | Getting an A+ on the Toughest Intonation Test Possibly the most difficult playing test I was set when I was a student was an intonation test. We were given three notes we had to play and they all had to be in tune without looking at a tuner and without having a reference pitch. A lot of my classmates couldn’t do it because they didn’t know the trick to it. You see, the professor asked for F, Bb, and C. As this was a band class, those were the three notes needed to give every instrument in the room the chance to tune to their open note (the note that requires no keys pressed down or all keys pressed down). Because of this fact, those three notes are the most likely intonation test in a band program. Unfortunately, that doesn’t mean you can study up and tune your instrument before class. Even if you tried, you’d probably get one out of three in tune (the one that was your instrument’s open note) and you’d have to lip the other two into tune. But without the benefit of a reference pitch or a tuner, doing so was difficult for most people. There are a few tricks to getting an A+ on this test. 1. Find the tonic. If you can’t have a reference pitch out loud, you’ll need to hold one in your head. To do that, you have to identify the scale that the test pitches belong to… but don’t just pick any scale. F, Bb, and C could belong to a lot of major scales but you wouldn’t want to play them as if they’re part of an Ab major scale – then you’d be playing 2, 3, and 6. Since those are some of the most difficult degrees on a scale to keep in tune, that’s nearly as bad as playing the notes as individuals. You want to find a scale that has either a 1 or a 5, preferably both. So for the example I’ve given, try a F major scale. Use that pattern to help lock in a reference pitch (the 1) so you can keep the others in tune. 2. Find a pattern you know. You can play the three notes in any order, but it’s to your benefit to pick one that you have a lot of practice with. Do the notes for a major chord? How about an inverted I (1, 4, 6)? Neither works for the pitches given in the example. This is a problem since we’ve already established that they’re the most likely choices for a band director to assign. So that brings us to the exercise that was responsible for my A+ on the test… 3. Practice the exercise. This drill was taught to me when I was in school. I have no idea where it came from or if my director might even have come up with it on his own but it’s important so I’m passing it on… First, use good tuning habits. Make sure your instrument is warm. Tune via a tuner on both the 1 and the 5 of the major scale that begins on your instrument’s open pitch or tune to a reference pitch playing both the 1 and the 5 (but no other degrees as it can mess up the tuning of those around you) of the major scale starting on that note. Now, each number below represents the degree of the scale (any scale may be chosen). Each line below is to be played in sequence with a pause at the end of each line. Hold the notes long enough to really get a feel for them but not so long that they lose their relationship with one another. (Maybe try a whole note at quarter notes = 80 with at least another whole note rest between lines) 123 451 655 678 878 *** Once each line has been played, there is one final line (where the stars are above). In a group, the lowest instruments play 451 while all other instruments may choose any of the other lines to play. If you are practicing this on your own, you should play 451 (don’t skip that because the 5-1 provides resolution and leaves the tonic ringing in the ear – and the primary point of this exercise is to develop that sense of the tonic). Learning to hear the tonic will help not only when taking intonation playing tests but also to be in tune with others and with yourself any time you play. So, if you’ve been working on this exercise enough and you’re given the intonation test with those three common tuning pitches, you’ll recognize them immediately, no matter what order the teacher reads them in. Think of them as 4, 5, 1. Before the test, do the usual tuning (with good habits). When you go to sit the test, hear the tonic in your head and aim for it as you play first the Bb, then the C, then the F. Don’t rush through the test. Take your time and play just as if you were doing that last line in the exercise. You shouldn’t have any problems getting your A+. Current Mood:  geeky |
| Wednesday, July 22nd, 2009 | |
| 3:58 am | Cleaning Your Reeds When I was in school, myself and the other bassoonist in my district had a joke that if we mailed our 'dead' reeds to a head of state, we'd probably be arrested for bioterrorism. Anyone who has ever played a reed instrument knows how dreadful reeds can taste and how quickly they loose that delicious, woody new reed flavor. Some people throw them out when they get unbearable or begin to cause embarrassing bad breath. Most everyone will bin them when they start growing fur, changing colors, or dripping slimy sludge (though I have known a bassoonist who, in the absence of the cash to replace them, would play a reed that had grown a thick coat of black slime *eewww* - I certainly would never do that!). To try to squeeze a little more use out of a good reed, a few people are willing to use mouthwash even though it eats away at the cell structure of the reed. If you're aiming to make your good reeds last, neither is really a viable solution. So what have I found that works? Lemon Juice! I'm talking about the kind that comes in little lemon-shaped bottles in the produce section (or sometimes the baking aisle) - though you could also squeeze and strain yourself some if you're that motivated. DO NOT use lemonade! Lemon juice is very acidic and seems to strip away the mold and the bacteria responsible for that taste without destroying the structure of the reed. WARNING - it can dry the reed out though, so be sure to follow all the steps below. In my years of using this technique, it has saved my irreplaceable best reed many times. It even cleaned up a reed I had accidentally left to soak in water for four days. There had been a thin layer of slime on it after that and it had a most unpleasant odor. I was not brave/stupid enough to taste it. But after a long soak in lemon juice, there was no sign in sight, smell, or taste or my negligence and my reed was spared the bin! Brief disclaimer: I have no scientific proof that this works to disinfect a reed. I'm just going on my experience and the suggestion of one of my childhood lessons teachers. Cleaning your reeds ------------------- Materials: - Lemon Juice (NOT lemonade) - room-temperature water - 2 cups deep enough to submerge your reed in - a flat, out-of-the-way surface where your reed won't get knocked over - a drying stand OR a kitchen plate (must be flat - not the kind with ridges to hold a teacup) - 36 hours that you won't need your reed Directions: 1. Fill one cup with enough lemon juice to submerge your reed in. 2. Submerge your reed in the lemon juice. 3. Place the cup in a safe place for about 12 hours. For less severe problems, the time may be reduced to 6 hours. For more severe problems, it may take 24 hours to make progress. 4. Take the reed out of the lemon juice and rinse under cool running water. At this time, dump the lemon juice. 5. Fill a clean cup with room temperature water deep enough to submerge the reed and leave the reed-in-cup in a safe place. 6. Submerge the reed in the water and leave for 6-12 hours. 7. Take the reed out of the cup and shake excess water off. Dump out the water at this time. 8. Stand the reed up vertically on a reed stand or just balanced on it's butt end in the center of a plate on an out-of-the-way, flat surface. Leave it until it has dried completely. 9. Play your reed or return it to it's case for safe keeping. Current Mood: creative |
| 2:49 am | Making a reed case for double reeds They're expensive, they're finicky, they're fragile, and finding that one that plays anything beautifully is like finding the Holy Grail. What's worse is, once you've found a passably good bunch, you quickly have to face the fact that they don't last forever. The good news is, if you know the right tricks, you can keep your reeds in top condition for a very long time. My best reed is currently 5 years old (that's right... I did say 5 YEARS) and I'm only now beginning to think about searching for a replacement. In this post, I'm a very useful step-by-step guide to making a reed case that will help your reeds to last. But before I get to that... PLEASE do not redistribute these directions without my name attached. I would love to see more people using good cases so do feel free to tell your friends all about it, print it out (with my name in the byline) and distribute it to your students, or email the link to this page to your teacher. You may also make as many of these cases as you can and give them as gifts but PLEASE do not make these cases and sell them (the materials are very cheap, the instructions are free). How to Make a Reed Case that Works: Having a good reed case is vitally important to prolonging the life of your reeds. But not just any reed case will do. Make it out of the wrong metal and it will rust. Use the wrong cushion inside and it will grow mold. Get too tight a seal and the reeds won't dry out properly between practices. These instructions should create a reed case that works for a price that a poor student can afford. Materials for one case: - a small chocolates tin (must be for chocolates [these are usually a brass color inside]- tins for mints aren't made to handle moisture and are prone to rust) - the styrofoam lining commonly found in the packaging of some brands of store-bought reeds (ex: Jones) or in boxes with musical instrument mouthpieces (let your band class know you're looking for this so that if any of them are planning to buy a mouthpiece, they'll give you the foam instead of throwing it away) - tacky glue - sharp scissors Directions: 1. Plan out how to best use the space on the inside of you tin. This will change depending on the dimensions of the tin you acquired and the types of reeds you're making the case for. A long, skinny, shallow tin might have room for three rows or two oboe reeds while a tin that's smaller in length and deeper may only have room for two rows of bassoon reeds if the blades share the space between those rows. Remember that for a deeper tin, you can use the space better by setting one row of reeds at 2/3 of the depth and the other only at 1/3 of the depth inside the tin. Try out your plan with some 'dead' reeds to make sure you'll have the space you need. 2. Cut the styrofoam into strips a centimeter wide and as long as the width of the inside of your chocolate tin. Plan to layer them if necessary so that there are stacks of styrofoam from the base of the tin all the way up until they touch the inside of the lid when it's shut. You will need to do with with at least two layers of foam because one layer will be glued to the inside of the lid and the other to the inside of the base so that they meet in the middle when the tin is closed. This snug fit will keep the reeds from moving around inside the closed case and getting banged up. 3. In the strips of styrofoam that are set into the base of the tin, cut shallow notches just wide enough to hold the reed. for oboe reeds: the diameter of the cork for bassoon and contrabassoon reeds: the diameter at the middle wire There should still be enough foam below to keep the reed blades up off the base of the tin (if necessary for a very shallow tin, you can cut a very shallow notch into the foam set into the base and another shallow notch into the foam set into the lid). Be careful not to cut the notch any deeper than it is wide or the reeds won't be held firmly by the foam and could rattle around and hit the top or the bottom of the tin when it's closed. 3. Arrange the foam in the tin according to your plans, making sure you line up the foam strips in the top and the bottom so that they will meet when the tin is closed. Check the distances with 'dead' reeds one last time to make sure they'll fit without the blades touching anything. 4. Glue the foam in place. Allow the glue to dry thoroughly with the case open. 5. Now in order for the case to close easily, it is necessary to trim the foam that's glued to the case lid. On the rim side (near the latch), cut off just enough foam from each piece so that the rim of the bottom part of the tin can fit between the foam and the rim of the lid. On the hinge side of the lid, cut each piece of foam at an angle up from the base near the hinge towards the the rim at a 45 degree angle. Check that this allows the case to close comfortably and make any adjustments as necessary. 6. Lastly, check that the tin stays closed but does not close so tightly that air cannot circulate. To do this, you may need to bend the rim of the base where it rubs against the lid very slightly in towards the hinge so loosen up the seal. DO NOT bend it so much that it no longer stays closed - a little bend goes a long way. If that still does not provide enough breathing for your reeds to dry out properly between practice, bed the other two non-hinge sides slightly as well. [images coming soon] Current Mood: creative |