Being busy for not blogging is a lame ass excuse. I know this because people say they are "busy" to avoid seeing their family members, in-laws, and annoying acquaintances. The truth is, I've been too LAZY to check-in consistently. So...sorry.
Now that I got that out of the way, on to the main event. My iPad!! (I know I'm a year late. Sorry...again.)
When I first started my career as a dance musician, I was lugging around a crate strategically strapped to a luggage dolly. In that crate was about 10 music books with tabs sticking out, mainly books I've collected over the years. The crate, along with the books probably weighed more than 20 lbs. When word got out, and I started getting more and more jobs, and playing at more locations. Some locations required me to park in BFE, and I had to drag my dolly over a bridge, into the woods, passing several buildings before I get to the dance studio. This schlepping-method quickly changed when it started to rain...HARD. I remember one rainy night, I spent the night scanning the music from the books I used, and consolidated it all into one binder. Over the years, this 20lb dolly evolved into a 10-lb binder.
I used this binder for a good year, and it made traveling from place to place a lot simpler. But still, it was 10 lbs. I decided it would be "clever" of me, if I converted all the ballet class music I used into Finale, then save every piece of music I have carefully edited into PDFs. This "conversion" took about 3 years to complete. At the end of this project, all my music was uniformed, it was cut to 16-32 measures, and were fitted onto 1-2 pages to avoid less page turns. I thought to myself how clever of me, and what great efforts I went through to get to this amazing ballet class book I have today. Then the morbid side of me thought, in case I die...someone can inherit this binder! Then the recipient wouldn't have to go through the struggles of finding ballet-appropriate music.
I also thought to myself, wouldn't it be amazing if Apple would make a device that would read PDFs, and all I have to do to turn the page is touch the screen? Wouldn't be even more amazing if this device weighs almost nothing and it would last all day? I joked about this to my colleagues who were always telling me that I need to write to Apple so they can make such a device. I never did, because Apple was already working on such a device since the iPhone just came out at that time.
There was already a tablet product out in the market for your sheet music. It was called the MusicPad Pro. Problem was, it only lasts 6 hours, and I needed it to last all day. It's also quite heavy from what I've been told. It doesn't do email, web browsing, and it has no calendar. These are all things that I needed in one device
Enter the iPad.
After months of twisting The Husband's arm, I got my hands on one. For the general population, the iPad was just a giant iPhone made for gaming enhancements, movie viewing, reading, to sum up, a toy. For me, it's a music reader, and an office built in one device. As long as the studio has access to wifi, I can now do email, and book jobs while I'm ON a job. The response is minutes instead of a 24-hour period for me to go home, open my Dino-MacBook, wait for the rainbow wheel to tell me if I am available to play on this date, at this time.
I now have more than 300 pieces of music stored in my ForScore app. Everything can be sorted into Plié, Duple, Triple, Ronds de jambe, Adage, Grands Battement, Waltz, Mazurkas, Petite Allegro, Grand Allegro, Variations, Musical Theater, and on and on. Now finding music is just a matter of seconds, instead of minutes. The neurotic part of me even have spreadsheets so I mark every piece of music I play, where and when I played it so the dancers and teachers don't get bored with me.
The questions I always get asked are: Is it big enough for you to see? What about turning pages? Answer is: Yes, it's big enough to see. ForScore is simply a fancy PDF reader, designed for musicians. So all you have to do is scan your scores at a low dpi, and load it into the app. But I went as far as reediting my music in Finale, I made the print bigger, and I spaced out the music so that the last bar gives me a free hand to reach up to touch the screen. Then another question is: But didn't that take forever for you to do? Answer: Yes! It took me the course of 3 years to get everything inputted into Finale. And yes, I am that dedicated to my job.
When I moved down to Orange County, I vowed to myself I wouldn't do Modern Classes if I didn't have to, since lugging around a djembe AND a cart of music was difficult enough. I was putting a lot of strain on my shoulder. Since the economic times have been tough for everybody, me including, I knew I would be missing out on more opportunities if I wasn't playing for Modern Classes. So I can now program percussion loops into the iPad, and play the djembe on top of it, and layer tone-clusters on the piano. I have myself a one-chick-band, and I don't have to put too much stress on my body doing it.
The only downside of my iPad and me, I am no longer known as that Asian girl with the crazy mohawk who plays the piano for ballet. I am now considered "cool" by the young kids because I HAVE an iPad. I'm okay with that. In this day and age, it really makes no sense to fall back on the times and miss out on opportunities because you have to stick to your "old-ways" of being "old school." No. I enjoy being a nerd! Because at the end of the day, it pays off.
Tuesday, August 23, 2011
Sunday, May 15, 2011
Sunday, August 1, 2010
Musicality: Just like dimples...some have it, some don't!
All year long, I've been wanting to write about the subject of Musicality. There are so many different directions I can go with this subject that every time I start to write, I end up getting frustrated and walking away from it. Therefore, this past year, my running theme has been Musicality. I am convinced that this is something people are born with, like dimples.
What is Musicality? Merriam-Webster defines it:
What is Musicality? Merriam-Webster defines it:
1 : sensitivity to, knowledge of, or talent for music
2 : the quality or state of being musical : melodious
Both musicians and dancers can agree with me when I say that there are people who can dance or play an instrument well, but have no musicality what-so-ever. They stumble through rhythms, or they ignore the music all together. I believe Musicality lives in ones' body. If you don't feel it, you don't have it.
As a musician, I often look at playing for ballet classes like I'm accompanying a mute choir. Everybody is moving en mass and it's my responsibility is to know what is going on at all times. In the best scenario, the teacher will narrate verbally so I know exactly when they are switching sides and when they are ending the exercise. But unlike accompanying for a choir or a soloist, musicians and dancers need to work together like a conversation. They have to be sensitive to what I'm playing, and at the same time, I need to be 100% aware of what is going on.
Dance is competitive, just like life. With that said, I don't care if a dancer can do 5 to 10 pirouettes. Yes, it's impressive and I stop and go, "Wow! They can spin for days!" However, I'm screaming on the inside going, "Land on the damn MUSIC!" If the music only allows you to do 3 pirouettes, do 3 pirouettes, not 6! Unless you can spin in double-time. If you can spin in double time, then I shall bow to you. There's also the case of Adage at the centre. Are dancers so fixated on balancing themselves on their developpés and their port de corp that phrasing completely go out the window? I can only pull back so much. Or how they love to just sit on a plié for days and wiggle around to find their place before going up for a pirouette which again, results in them BEING LATE!!!!! Dancers need to meet me in the middle. Is that too much to ask?
Here is my last thought. I promise.
I had the opportunity to work with Kee Juan Han from Washington Ballet School. He had a lot of funny quotes which I will have to post later. But this was one that strikes a chord, no pun intended.
He said, "I need to see the music!"
Calling out to all dancers, I need to see the music.
Tuesday, December 29, 2009
At-a-Glance of 2009
This year was full of changes and uncertainties. With the economy in the dumpster, and California's financial condition, I had no idea how my job was going to pan out. Budgets were cut from the arts, I lost one school in the process, and I was seriously looking into a "Plan B and C."
Luckily, I was able to keep my head afloat and survived the year with a number of amazing ballet masters behind my belt. At this moment, I need to look back at my accomplishments and pat myself on the back. A few years ago, I started keeping a record of who I play for, and what music I play. Along with those notes, I write down corrections and insights given by the teachers. There is always something to learn even if I'm not dancing. Sometimes what they say can be related to piano performance. I am able to refer back to previous notes if I play for that particular teacher again. Whether it's music the teacher liked or disliked I write it down. Sometimes I write down personalities and teaching style so my mind is mentally prepared for whatever they have to throw at me. So, here is my At-a-Glance of 2009, and the amazing people I got to play for!
January:
23rd - Franco DeVita - Principal of ABT's Jacqueline Kennedy Onassis School
He was a smiley, gray-haired Italian man with a French accent. He called me "Maestra" as all Europeans do. He said, "Small jumps, small arms. Medium jumps, medium arms, Big JUMP! BIG ARMS!!"
23rd, 27th, 29th - Summer Lee Rhatigan - Former Principal (Lines); Artistic Director of San Francisco Conservatory of Dance
What an inspiring and strong woman she was. She held nothing back and constantly pushed the students to do more. She went around the room and gave each student a perception of what she saw in them, good and bad. She was able to take those things and make it into something they can use as a dancer, and as a human being. "Students should always expect the most from teachers; Teachers teach better when students expect more; When students aren't getting enough, that's a problem." Also, "Everybody has limitless potential."
March:
18th - Rochelle Zide-Booth - Ballet Russe de Monti Carlo, Joffrey
Soft-spoken, and sweet woman. She started the class with the kids laying on their bellies as they warmed up there feet until they burned. Because their feet were already warm, they only did one tendú and one degagé, and went straight into ronds de jambes. She was also a part of Joffrey, so I played the John Field Nocturne from Pas de Déesses from Joffrey's repertoire. Let's just say I won some BIG brownie points from "Shelly."
May:
14th-16th - John Gardner and Amanda McKerrow - Former Soloist and Principal from ABT
They never neglected me, the musician. They were so clear in what they wanted that I never once doubted what I needed from them. They had such respect for each other as a married couple and as professional partners, and they were so in synced with each other, they were able to deliver a point across with movements and words. ...And they LOVE showtunes! "There's a sweet spot in your hips. If you can find it, you can balance forever." I have yet to find that spot. Dammit!
July:
10th-23rd - National Choreographer's Initiative
This is the only time out of the whole year I get the opportunity to play for professional dancers. These dancers are hand-picked by Molly Lynch, and they are from professional ballet companies from all over the US. Many times I get distracted because they are all so GORGEOUS and I would rather watch than play!
14th - Susan Jones - ABT Ballet Mistress
I think I psyched myself out playing for her so I didn't do as good as I would hope. I just remember walking away from this class wanting to pound my head into the studio mirror. One of the moments where I walk away saying, "I blew it!" Then, I had to remind myself not to "research" too much about the person I'm playing for until AFTER the master class is over.
28th-31st - ABT Summer Intensive (Dierdre Carberry, Alaine Haubert, Charles Maple, Yan Chen
The one thing I noticed from playing for ABT teachers is a sense of well-rounded knowledge they had with teaching. Well-rounded to me means that they are able to communicate well with both students and musicians. That's hard to come by. There was also a consistency in their teachings, as far as curriculum, but still offer something different from each of them.
31st - Gabrielle Brown - ABT
I didn't write anything down about her. I only remember that she liked me a lot and wanted to work with me again. WIN!!
August:
7th, 8th - Tamar Rochelle - Pittsburg Ballet
This woman was very metaphorical. At one point, she told me my codas were too "notey." Also, during the petite allegro, she said to me, "This piece of music is too...*smoosh hands together* Can you play something that is a little more...*waving hands in circular motion above her head*" Yeah...I did my best to translate that.
14th, 15th - Lawrence "Larry" Pech - Former Principal of ABT, SF Ballet
By far, one of my favorite people to play for. Why? This guy also has a degree in music. He and I were so in tuned with each other, it was almost telepathic. We were on the same wavelength. I really enjoyed working with him. Larry was very specific in what he wanted, but not too specific that he gave me the freedom to choose what I wanted to play within the confines of what he asked for. Between classes, we just chatted about music, and dance, and how much they go hand-in-hand. Also, he is the first teacher to say, "You must be a dancer yourself. You just...get it." It's good to know that someone recognizes this in me. Also, he loves dogs and has 2 beautiful "children."
Sept 30th - Oct 3rd - Trey McIntyre - Trey McIntyre Project Company classes
This is a rare moment that I get to work with professional dancers twice in one year. But what's more amazing is that this company is "contemporary," and yet they call in a ballet pianist and do a traditional ballet class. This just goes to show you, that technique goes back to ballet. The dancers from this company were amazingly strong, and were very tall. Trey McIntrye was also a gem to work with. I also got to play on the OCPAC stage with an audience watching the company class.
November:
4th - Gennadi Saveliev - ABT Soloist
Very nice Russian guy. I have discovered in working with the Russians is, they are not always very clear in communicating what they want musically. It's not necessarily their fault, but it's more of their training and where they come from. It's rare to have a live musician in the states, where in Russia, it's a part of their training. The pianists know immediately what the teacher wants, so rarely do the teachers have to set tempos and meters for the musicians. I also had the opportunity to see him perform the following night in Giselle. Beautiful!
6th, 7th - Susan Jones - ABT Ballet Mistress
I walked in and said to myself, "Bring it! New day, new class, now redeem yourself!" And I did. She came up to be after class and told me she looks forward to working with me again. REDEEMED!!
7th - Rinat Imaev - ABT Company Teacher
The poor guy caught the California sniffles, and the company were gearing up to go to China. He said to me when I asked him if he was excited about going, "I don't want to die of swine flu!!!" To my knowledge...he's still alive and kicking. Note to self: Russians do not like tangos for fondús!
Again, I look back at these moments, on top of the amazing faculty I get to work for on a daily basis, I feel so thankful and blessed to come across inspiring people. I HAVE THE COOLEST JOB IN THE WORLD! Not a lot of people can say that. The one thing I am able to say as I walk into 2010, these moments are mine, and nobody can take them away. Yes I am quite proud of myself, and yes, I'm going to gloat a little longer.
Onward to 2010. Bring it!
Luckily, I was able to keep my head afloat and survived the year with a number of amazing ballet masters behind my belt. At this moment, I need to look back at my accomplishments and pat myself on the back. A few years ago, I started keeping a record of who I play for, and what music I play. Along with those notes, I write down corrections and insights given by the teachers. There is always something to learn even if I'm not dancing. Sometimes what they say can be related to piano performance. I am able to refer back to previous notes if I play for that particular teacher again. Whether it's music the teacher liked or disliked I write it down. Sometimes I write down personalities and teaching style so my mind is mentally prepared for whatever they have to throw at me. So, here is my At-a-Glance of 2009, and the amazing people I got to play for!
January:
23rd - Franco DeVita - Principal of ABT's Jacqueline Kennedy Onassis School
He was a smiley, gray-haired Italian man with a French accent. He called me "Maestra" as all Europeans do. He said, "Small jumps, small arms. Medium jumps, medium arms, Big JUMP! BIG ARMS!!"
23rd, 27th, 29th - Summer Lee Rhatigan - Former Principal (Lines); Artistic Director of San Francisco Conservatory of Dance
What an inspiring and strong woman she was. She held nothing back and constantly pushed the students to do more. She went around the room and gave each student a perception of what she saw in them, good and bad. She was able to take those things and make it into something they can use as a dancer, and as a human being. "Students should always expect the most from teachers; Teachers teach better when students expect more; When students aren't getting enough, that's a problem." Also, "Everybody has limitless potential."
March:
18th - Rochelle Zide-Booth - Ballet Russe de Monti Carlo, Joffrey
Soft-spoken, and sweet woman. She started the class with the kids laying on their bellies as they warmed up there feet until they burned. Because their feet were already warm, they only did one tendú and one degagé, and went straight into ronds de jambes. She was also a part of Joffrey, so I played the John Field Nocturne from Pas de Déesses from Joffrey's repertoire. Let's just say I won some BIG brownie points from "Shelly."
May:
14th-16th - John Gardner and Amanda McKerrow - Former Soloist and Principal from ABT
They never neglected me, the musician. They were so clear in what they wanted that I never once doubted what I needed from them. They had such respect for each other as a married couple and as professional partners, and they were so in synced with each other, they were able to deliver a point across with movements and words. ...And they LOVE showtunes! "There's a sweet spot in your hips. If you can find it, you can balance forever." I have yet to find that spot. Dammit!
July:
10th-23rd - National Choreographer's Initiative
This is the only time out of the whole year I get the opportunity to play for professional dancers. These dancers are hand-picked by Molly Lynch, and they are from professional ballet companies from all over the US. Many times I get distracted because they are all so GORGEOUS and I would rather watch than play!
14th - Susan Jones - ABT Ballet Mistress
I think I psyched myself out playing for her so I didn't do as good as I would hope. I just remember walking away from this class wanting to pound my head into the studio mirror. One of the moments where I walk away saying, "I blew it!" Then, I had to remind myself not to "research" too much about the person I'm playing for until AFTER the master class is over.
28th-31st - ABT Summer Intensive (Dierdre Carberry, Alaine Haubert, Charles Maple, Yan Chen
The one thing I noticed from playing for ABT teachers is a sense of well-rounded knowledge they had with teaching. Well-rounded to me means that they are able to communicate well with both students and musicians. That's hard to come by. There was also a consistency in their teachings, as far as curriculum, but still offer something different from each of them.
31st - Gabrielle Brown - ABT
I didn't write anything down about her. I only remember that she liked me a lot and wanted to work with me again. WIN!!
August:
7th, 8th - Tamar Rochelle - Pittsburg Ballet
This woman was very metaphorical. At one point, she told me my codas were too "notey." Also, during the petite allegro, she said to me, "This piece of music is too...*smoosh hands together* Can you play something that is a little more...*waving hands in circular motion above her head*" Yeah...I did my best to translate that.
14th, 15th - Lawrence "Larry" Pech - Former Principal of ABT, SF Ballet
By far, one of my favorite people to play for. Why? This guy also has a degree in music. He and I were so in tuned with each other, it was almost telepathic. We were on the same wavelength. I really enjoyed working with him. Larry was very specific in what he wanted, but not too specific that he gave me the freedom to choose what I wanted to play within the confines of what he asked for. Between classes, we just chatted about music, and dance, and how much they go hand-in-hand. Also, he is the first teacher to say, "You must be a dancer yourself. You just...get it." It's good to know that someone recognizes this in me. Also, he loves dogs and has 2 beautiful "children."
Sept 30th - Oct 3rd - Trey McIntyre - Trey McIntyre Project Company classes
This is a rare moment that I get to work with professional dancers twice in one year. But what's more amazing is that this company is "contemporary," and yet they call in a ballet pianist and do a traditional ballet class. This just goes to show you, that technique goes back to ballet. The dancers from this company were amazingly strong, and were very tall. Trey McIntrye was also a gem to work with. I also got to play on the OCPAC stage with an audience watching the company class.
November:
4th - Gennadi Saveliev - ABT Soloist
Very nice Russian guy. I have discovered in working with the Russians is, they are not always very clear in communicating what they want musically. It's not necessarily their fault, but it's more of their training and where they come from. It's rare to have a live musician in the states, where in Russia, it's a part of their training. The pianists know immediately what the teacher wants, so rarely do the teachers have to set tempos and meters for the musicians. I also had the opportunity to see him perform the following night in Giselle. Beautiful!
6th, 7th - Susan Jones - ABT Ballet Mistress
I walked in and said to myself, "Bring it! New day, new class, now redeem yourself!" And I did. She came up to be after class and told me she looks forward to working with me again. REDEEMED!!
7th - Rinat Imaev - ABT Company Teacher
The poor guy caught the California sniffles, and the company were gearing up to go to China. He said to me when I asked him if he was excited about going, "I don't want to die of swine flu!!!" To my knowledge...he's still alive and kicking. Note to self: Russians do not like tangos for fondús!
Again, I look back at these moments, on top of the amazing faculty I get to work for on a daily basis, I feel so thankful and blessed to come across inspiring people. I HAVE THE COOLEST JOB IN THE WORLD! Not a lot of people can say that. The one thing I am able to say as I walk into 2010, these moments are mine, and nobody can take them away. Yes I am quite proud of myself, and yes, I'm going to gloat a little longer.
Onward to 2010. Bring it!
Thursday, July 30, 2009
Welcome!
My name is Rebecca, but my friends call me "Becca." And I would like to welcome you to the view from my world. I have been a ballet pianist for 7 years and what an adventure it has been.
I started dancing at 5 with the Royal Academy of Dance in Hong Kong when it was still under the British Government. I also started taking piano lessons when I was 7 with the Royal School of Music. The dance/piano aspect has been a parallel in my life since then. I've always had a passion for music and dance, and to me, they go hand in hand. Without music, there is no dance; without dance, there is no music. It sounds cliché, but when people hear a tune, their bodies will react to it in both positive and negative ways.
Growing up in a sad little town surrounded by raisins, I jumped ship the first chance I got. I ended up going to a Baptist college on a partial scholarship, and to be quite honest, I was not happy there. Because of their no-dancing policy, I started taking classes as an "escape" at the local community college. The moment I graduated, the community college hired me as a dance musician knowing I danced. Music for modern came easier to me because I was active in my high school colorguard and marching band. I often heard rhythms in my head, and just banged away on a djembe. Ballet on the other hand, even with a knowledge of how a ballet class is structured, to knowing the French terminology, playing was a whole other animal! I was challenged in a way I've never been before. My dance and my music, that has walked side by side with me finally collided. Perhaps it's because I have ADD. But to play music and have a teacher hollering at the students as they danced across the studio was so exciting to me. There were so many things going on, I have found my calling!
There were things about the dance world that I learned very quickly. I learned to fend for myself because not all teachers can convey what they want, and some teachers really don't know what they want, and some teachers automatically assume I know what they want. I also learned early on, that the music world is small, and the dance world is even smaller. In so many words, I learned not to piss people off. I learned to never argue with the teacher, even if you disagree, the teacher is ALWAYS right. I also discovered if I wanted to pursue a career as a dance musician, I needed to catch up to the rest of the other working dance musicians who already had over 20 years of experience under their belts. I quickly got into graduate school and got my master's degree in piano performance with an interdisciplinary in ballet music literature. (Oooo...fancy!!)
Seven years later, and I still love what I do. Like every job, it has its moments. But I find myself laughing every day, whether it was something the teacher said, or because I tripped on a note. I decided to start this blog, so people can see my world, through my eyes, from the piano. Sometimes it'll be funny, and sometimes I'll be upset at the petty things that tend to happen. But my view of "Ballet from the Piano" is quite interesting. I find myself doing the exercises with the teacher as they demonstrate it, but because I'm constricted to the piano, I feel like I'm in a bird cage. However, even in a bird cage, I love the view, and I love the people in it!
I started dancing at 5 with the Royal Academy of Dance in Hong Kong when it was still under the British Government. I also started taking piano lessons when I was 7 with the Royal School of Music. The dance/piano aspect has been a parallel in my life since then. I've always had a passion for music and dance, and to me, they go hand in hand. Without music, there is no dance; without dance, there is no music. It sounds cliché, but when people hear a tune, their bodies will react to it in both positive and negative ways.
Growing up in a sad little town surrounded by raisins, I jumped ship the first chance I got. I ended up going to a Baptist college on a partial scholarship, and to be quite honest, I was not happy there. Because of their no-dancing policy, I started taking classes as an "escape" at the local community college. The moment I graduated, the community college hired me as a dance musician knowing I danced. Music for modern came easier to me because I was active in my high school colorguard and marching band. I often heard rhythms in my head, and just banged away on a djembe. Ballet on the other hand, even with a knowledge of how a ballet class is structured, to knowing the French terminology, playing was a whole other animal! I was challenged in a way I've never been before. My dance and my music, that has walked side by side with me finally collided. Perhaps it's because I have ADD. But to play music and have a teacher hollering at the students as they danced across the studio was so exciting to me. There were so many things going on, I have found my calling!
There were things about the dance world that I learned very quickly. I learned to fend for myself because not all teachers can convey what they want, and some teachers really don't know what they want, and some teachers automatically assume I know what they want. I also learned early on, that the music world is small, and the dance world is even smaller. In so many words, I learned not to piss people off. I learned to never argue with the teacher, even if you disagree, the teacher is ALWAYS right. I also discovered if I wanted to pursue a career as a dance musician, I needed to catch up to the rest of the other working dance musicians who already had over 20 years of experience under their belts. I quickly got into graduate school and got my master's degree in piano performance with an interdisciplinary in ballet music literature. (Oooo...fancy!!)
Seven years later, and I still love what I do. Like every job, it has its moments. But I find myself laughing every day, whether it was something the teacher said, or because I tripped on a note. I decided to start this blog, so people can see my world, through my eyes, from the piano. Sometimes it'll be funny, and sometimes I'll be upset at the petty things that tend to happen. But my view of "Ballet from the Piano" is quite interesting. I find myself doing the exercises with the teacher as they demonstrate it, but because I'm constricted to the piano, I feel like I'm in a bird cage. However, even in a bird cage, I love the view, and I love the people in it!
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