Playing with myself (OBOE!!!)

Playing the 2 parts of the duet myself.

Here is one movement of the Telemann Flute Duet in A major (without continuo). I’ll do artistic reflections in the next  post.

I think this went pretty well. I had never played this piece at all before and have been practicing less than 30 minutes a day for about a month because work has been rather demanding. I think the sound quality is much better than before:

1. the microphone position in the room really helped quite a lot
2. I think the season is helping me play with a better sound and develop more discriminating ears
3. I think Facebook discussions have developed more demanding ears, requiring me to breathe better in order to achieve that sound I seek.

I am amazed at how much the Oboe BBoard, Facebook and You-Tube have helped me develop musically and artistically. This was simply impossible back in the days I was a music student and beginning pro, unless you were wealthy and could travel often overseas. This is truly an exciting time to be a budding musician!

Nerves while recording

Recording this required 2 runs at it:

1. The first time, before lunch, I had to do many, many takes because I was always making silly mistakes that I just could not hide in any way. So I just stopped with one merely half-decent take.
2. The second time, after a lunch break in front of the TV, I felt more relaxed and did everything just right on the first try! I fact, oboe 1 and oboe 2, I did two (relatively) fine full recordings without stopping or repeating anything. Though the recordings still have flaws, I decided to stop here while I was happy with the work.

Conclusion:

I stopped the first run completely discouraged and feeling ridiculous. This is NOT a difficult piece and when practicing, it always goes fine. Yes, it does need to mature: the 1 month I have gained its acquaintance is not enough to really feel its flow, but I have still been playing it with feeling from the very first reading. Different takes should be to change a phrasing, not because of mistakes.

During the second run, I was motivated and just enjoyed the energy of the piece while playing. Maybe I was hungry before and needed some energy and a break. But I think the mental aspect was the worst of it. I think I need to do more recordings, more often, and not care if they sound well or not. The exercise of recording and showing on You-Tube might act as a surrogate for live performance, challenging stage fright and allowing me to focus more on the musicality.

Rare wired reeds!

Changing the background because the seasons have definitely changed here!

Telemann Flute Duets and metronome recording…

I have a couple of movements from Telemann’s flute duets coming, but there is a bit of difficulty in playing with myself….. mostly in terms of stable rhythm. I need to work with the metronome more because I rush some groupings and slouch on others… not in an artistic fashion either!

My solution is simple: the Zoom H4n has a built-in metronome that I can hear in my head-set when recording, but does not sound when playing back. The movements I chose sound fine in strict tempo – lots of room for dynamic expression – so I will do that for the experiment.

Wired Reeds… me?

I have tried several times in my life to use wire for my reeds to help control opening, stability, ease of playing and so on. My conclusion has always been that wire just doesn’t work. Well, things have changed!

Two of my reeds were “slipping” (sideways offset) quite horribly. I was going to break them, except they played rather well…. apart from choking as a result of slipping…  I decided to try using wire around them: for the first time in my life, this actually saved the reeds! Note that the purpose was to save already good reeds, wrecked by slipping: not to try to fix bad reeds!

European (short) Scrape – adaptive method

I read more and more questions about European scrape (I combine German, French and other short-scrapes because I explain the differences with methodology). Over the next several months, I hope to explore these questions and hopefully provide solid guidance. I am NOT Albrecht Mayer, I am NOT François Leleux and I am NOT the best reed maker to be found but I have done enough experiments to provide beginning guidelines for stable, well sounding and flexible reeds that are also easy to play.

(Click on the images below to open the REALLY big original pictures!)

To start off with, here are some pictures of very different reeds. They play differently, sound differently look different and this will help a discussion on how to get what you want with respect to the cane you are using. Be careful not to judge on what you see: later I will give sound clips on them and you might be surprized.

High-definition pictures:
much more revealing than backlighting!

Taking pictures of reeds is difficult! I have a fantastic high-definition (1080p) web-cam, but I can’t get as good pictures as my wife: she can handle lighting much better and faster to show the smallest details in the grains. I find this shows flaws in my scraping much more clearly than backlighting. If I can setup my web-cam to take good pictures, that will help my reed making quite a lot!

The really big images (on my wife’s Flickr account) shows scraping trends which you might think give horrible reeds… but all these reeds play very well. You might also think that the differences are so great I used different techniques or get really different results… actually, some that look the same play more differently!

In subsequent posts, I will provide crowing and sound tests on these reeds, compare the sounds, say what I like and dislike about them and perhaps “adjust” a few.

Microphone Geometry

I followed the advice of Craig Matovitch on microphone placement and put my recording device on a cheap tripod which I put on my desk. This way, the desk table is not blocking out half the sound waves! I found the experiment very much worth while: it really helps create a more living sound, even in my stuffy study/studio.

The following observations pertain to recording the oboe at home. If you record voice or another instrument, or if you have a sound engineer working in a studio or concert hall, all these observations might be completely useless.

1-2 microphones & different ranges of sound capture:

There is a lot to know about microphones (basics of it here)… too much for the home-recording amateur! Still, a few simple considerations can spare a lot of wasted time and frustrated efforts:

1. How many microphones on your recording device?
2. What is the area coverage (capture angle) of the microphone (or set of microphones)?

Good quality recording devices are practical because they contain the microphone, recording and playback capabilities all in one gadget: no computer, no cables, nothing cumbersome to carry. The better ones have 2 microphones for stereo sound capturing (better approximate what we hear with 2 ears).  There are different types of microphone and there is a full vocabulary to describe them. In a nutshell, and in common language, we can think of 3 considerations:

1. close and far range sensitivity,
2. wide area coverage or focussed point sound capture,
3. different ranges of frequency sensitivities.

The frequency sensitivities can be understood as follows: some microphones are better suited to percussion, others to tubas, others to piccolos and others for voice. In fact, the best web-cams for tele-conferencing focus on clear spoken voice, but they are terrible for recording the oboe!

For range and coverage, this table should explain well enough; click on the image for more explanations.

Angle for true oboe sound and the atmosphere of a lively hall.

The last consideration for home-recording is how to capture the truest sound of the oboe and get a lively atmosphere. For this, I can only say that pointing one microphone directly to the oboe will get the right sound and the other microphone will pick-up room reverberation for the atmosphere. It is difficult to say whether it is best to point the other microphone points forward, up, down or backwards, the results will change according to the room layout, proximity to walls and so on. A few minutes of sound sampling is a worthwhile experiment. I have also found that the microphone below or behind the instrument adds a lot of buzz to the recording. Otherwise, the following images should be clear enough.

Reed Season! – New Repertoire.

Physical update first:

Because my physiotherapist is on vacation, I’m actually skipping a month of treatments. Increased activity at the gym is a mixed blessing: I do feel generally more awake, but I do get extra sore the morning after. Every fitness and therapy person I speak to agree that it’s a matter of doing too much too fast. Right now, I can’t do much in the pool and too much time in the hot tub appears to seize my neck muscles resulting in passing headaches and pinched nerves.

Oboe-wise: my fingers are feeling great! I don’t get the fatigue and the soreness in the fingers themselves anymore (“Mashala”, as they say: “God made it so!”). These past few days, however, I’ve been getting those twinges in the forearm and shoulder that remind me of tendonitis. They are not tendonitis, I’m sure, but either a pinched nerve in the neck or a few tight muscles. I know this for sure because my fingers are playing just as smoothly as they have in these past few months, which is more than ever in my best days.

Reed Season:

I’m starting to think that there is something special about the end-of-summer / beginning-of-autumn season for reeds. In the past couple of weeks, my reeds have been much easier to make than usual and showing clearly if they are good or bad; that is, a bad reed shows it has no hope so I can break it without regret and the good ones clearly show what they need to become their best. My reeds have also been sounding generally better than usual…. that is, they can sound bright or dark, but there is no doubt as to their character.

I have recently made excellent reeds on rainy days, so the notion of sunny days are necessary to making good reeds is now demolished. However, this is pretty much the opposite season to February, which typically gives the worst sounding and behaving reeds. So I think the notion of seasons and climate is well evidenced.

New Repertoire: copy-cat or comparison?

I received a shipment of Music Minus One (MMO) material last week. I got some really good baroque repertoire for oboe, recorder and flute (that will all be played on the oboe) and discovered a baroque composer I did not know before: Veracini. I also got some straight-forward jazz and Brazilian repertoire for flute. These will be interesting because they really use the high register of the flute. I will need to practice note in the following range:

Telemann, Son. G-Dur mvt.1

Included in that shipment is a collection of Telemann duets for flute with no continuo. The MMO CD has a flutist playing flute 2, but the sheet music has both parts. I thought it might be nice to record some of these with the flute on CD and with myself playing both parts. By Murphy’s law, someone had done this and posted it on the BBoard! That someone is Craig Matovich, whom I respect quite a lot as an oboist and as a person: we disagree on some aspects of reed making and tooling, play very differently, but we share many ideals including:

1. 

   Telemann, Son. G-Dur mvt.2
   Pursuing oboe performance for the sheer joy of it to spite any difficulties.
2. Using technology as an ensemble when we can’t get people to play with.
3. Sharing our experience in the hopes it benefits and/or encourages others.
4. Exploring classical, world-folk, jazzy and fusion of musical styles.
5. 

   Telemann, Son. G-Dur mvt.3
   The love of music and life overall and hope for peace, understanding and caring in the world.

I had intended to work on another sonata, but Craig agreed that it might be interesting to compare the same work with our different sounds and styles. I personally think he did a remarkable set of recordings. So while I prepare for mine, here they are his. His knowledge, experience and tooling (hardware and software) are far superior to mine, but still accessible to the amateur home-producer.

Mental obstacles to technique

Reading through these have been very enlightening in terms of how my body reacts to technical passages. I know from my old repertoire that my technical abilities are decent… for example, I have shown in a previous post that I can paly Telemann sonatas well enough. But when I read a new Telemann piece that is of equal technical skill, I fail miserably. I observed that my mistakes mostly come from 2 mental processes:

1. Expecting notes and rhythms that are not actually what is written.
2. Not knowing what to expect and therefore fumbling at every note grouping.

So, improving technique for me, at least in baroque repertoire, is essentially training the mind more than the fingers. I have to see if the same is true with Saint-Saëns, Poulenc and others.

Reflections on Telemann – Home Acoustics

A week has passed now since I posted my recording of Telemann’s Sonata in A minor for oboe and I have received kind compliments, thank you so much!

After listening to it over and over again, there are a few remarks that should be made:

1. Obviously, I still need more stability, especially on that 1st octave-key E-natural. My dynamics are inhibiting the tuning, but they are supposed to help each other out. I hope that a few more months of practice will take care of that. Although the hot humid weather did affect my reed, I cannot blame it nor my Lorée as both were definitely good enough for the task.
2. There are some very strange sound effects happening – on my word, I did not tweak the oboe part with software! – and a little acoustic analysis might help explain them.
3. As for stability of rhythm… yep, needs work… let’s just not talk about it!

Interpretation style:

The original Ensemble Arion.

Over 15 years ago, I had the immense privilege of being taught by 2½ members (the 3rd was a coach at a master-class) of the Ensemble Arion: one of Canada’s most pioneering ensembles that really ushered-in baroque performance practice on replicas of period instruments. These remarkable musicians, extraordinary teachers passionate about their work and simply really fine people flourished into what is now the Arion Baroque Orchestra.

The Ensemble Arion practiced one type of baroque interpretation they retrieved from their research-teachers in Europe during the 1970-80’s (I think it was this time). They emphasise the discordant notes and the rhythms in motion rather than the destination/resolution notes. They once said in a master-class that Baroque music savours the musical journey whereas Romantic music must emphasise the ends of phrases because they’re glad it’s over! Yes, they got huge laughter and applause!   This is how I approached the first and last movements in the sonata. The two middle movements sort of told me how they wanted to be played.

Home Acoustics: be careful!

In the few weeks preceding this recording, I had found that playing in the dining area gave a more living sound than cooped-up in my dry muffled studio. In my first few recordings, where I placed the microphones adds buzz and makes the sound ridiculously bright. But I found that as long as I keep it beside me, one microphone pointing at me, the other one backwards, then the recorded sound is truthful. However, the dining area (open to the kitchen, the entrance, the living room and even to the floors above and below) has its own quirks.

1. In the 2nd movement (especially), there are really parts that sound like 2 oboes are playing in unison.
2. There are places I moved my body closer to and farther away from the microphone in order to emphasise crescendi and diminuendi…. this backfired making the fortes sound muffled and the dolces sound harsh.

For the double-sound, I really think it has to do with the echo and the double-microphone (stereo) used by my recording device. Possibly (but I’m not certain), when compressing the stereo oboe track into a mono track to have the piano sound more to the left and the oboe sound more to the right, the software I used might have accentuated that echo that I did not hear when plugging my head-set into the recording device directly.

The first image shows where I chose to set-up my recording device. It is to the side of the oboe with one microphone pointing backwards because experimentation showed that this prevents buzz and gets the most realistic sound from my instrument. The two other images show potential sources of echo where the 2 microphones might have actually bee recording different sources.

The issue of the dynamics is much easier to explain: the microphones were lying flat on a table and I was standing very close to that table:

1. We naturally want to move closer to the microphone to make fortes stronger and move away to soften dolces. But the top image shows that in my setup, the exact opposite happened: turning towards meant the table blocked a lot of the sound and turning away meant the entire room bounces even more sound to the microphone.
2. When breathing-in, fully using the diaphragm and abdomen makes my back bellows which naturally curves me downwards. So the most powerful fortes puts my bell below the table… crescendo broken!

There are other issues: the microphone too far adds buzz to the sound, but too close gives a stuffy sound with all the key-clicks and other sounds the audience should not hear. So more experimentation with home acoustics is definitely required!

Telemann, Sonata in A minor

The whole world by now should know the tragic shooting and bombing in Oslo, Norway. I remember the shooting at École Polytechnique de Montréal (I had started the Conservatoire), I remember the shootings at Columbine and Virginia Tech.: as terrifying as these were, as much as they stirred society and destroyed our sense of safety in this world, the recent shooting in Oslo was far worse.

This is not expected anywhere in the developed world, but when it hits a country that won “top country” to live in for nearly 10 years (taking over from Canada which held it for nearly 8 years), there is just no describing how that shakes our perception of the world.

There is very little that can be said about such wasteful horror. For sure, the perpetrators’ goals will backfire as the world, and Norwegians in particular, deplore their actions.

Anniversary Recording

Here it is, that “baroque sonata” I mentioned in the past few posts. It took longer than expected because, well, I am an hobbyist! Apart from lacking endurance, work and projects for my wife and I have been more involving than usual, so there was just no way to record more than one movement a day. And, naturally, when one day’s recordings are not satisfactory, an extra day is required! And the last couple of weeks, very hot and very humid (calculated “feels like” of 117° Farenheit or 47° Celcius) means that my best reeds were not as stable as they were 2 months ago… (see previous post)

All this means I wanted to delay the recording again, especially since I have a 3-day weekend to make reeds (and clean-out the garage!), but new reeds are never good for performance anyway and I have a few things to celebrate:

1. well over 11 thousand visits since the blog began last Christmas!
2. a little over 1 year since my oboe was revoiced,
3. a little over 1 year since my oboistic revival began: more seriously practicing an average of 30-45 minutes a day.
4. the 3rd birthday of our first house-dog Popcorn!

So I decided to go ahead. The final recording is probably the best representation of my current abilities after one year of revival. I ended up using the “gold reed” from this previous post.

… a difficult joy!

Telemann, Sonata A-, 1st mvt.

In a previous post and other places, I said that the music of Telemann and Haendel is just as difficult to play as it is beautiful. In the case of Haendel, there is something in the ease of the melodic patterns that just requires every ounce of musical understanding and artistic soul the performer is capable of conjuring.

In the case of Telemann, there is just no end to the possibilities in the music! I’ve been practicing (anew) Telemann’s sonata for oboe in A minor for 2 or 3 months now, and seriously, every time I sit down to one of the movements, I discover something else; either a better way to phrase a lick, or simply a different and equally beautiful way to perform it.

Telemann, Sonata A-, 2nd mvt.

Choosing one style and staying with it becomes difficult - besides, I’m lacking the finger and sound control for some of the styles I would have wanted: they sounded “grotesque” in the literal sense… perhaps these styles require period instruments or maybe I need to experiment with microphone positioning more!

 

Recording & Production:

I did not make a video this time because I wanted to try out a new microphone layout in the dining room for a better sound quality.

Telemann, Sonata A-, 3rd mvt.

It would have been too much hassle to set-up my computer with the web-cam on the main floor near the entrance to capture the video. I think the sound impression of a recital hall is much better, but there is still much to discuss and experiment.

Also, I had mentioned that with the Free Recording software Audacity, all kinds of effects can be done in conjunction with multi-track recording.

In this case, I used it to tweak the piano accompaniment obtained from Music Minus One (MMO): I changed the piano track and then recorded my performance on another track while listening to the modified piano part.

Telemann, Sonata A-, 4th mvt.

I hope to discuss some reflections on the recording next week. For now, some remarks about each movement:

1. In a couple of places, you might hear a “hhussshhh”: that’s the background noise from the piano part getting much louder. The piano player gave a very academic and simplistic performance, one that matches what can be expected of most 1st year university oboe students. In some places, there was a soft p “echo” where I preferred to emphasise the repeat. So I made that piano segment louder… unfortunately, that included the “white noise” from the MMO recording!
   
2. I sped-up the piano part because I just felt it was not lively enough. Listen closely and you will find a few blips, but generally the technique is not so bad. My arms still tenses up when playing as a result of doing too much at the gym too fast. Furthermore, on these recording days, I neglected stretching and such: the resulting strain shows in the technique and the sound control.
   
3. If you think the piano sounds Honky-Tonk, that is because I slowed it down. The accompaniment was too fast for the atmosphere I wanted to portray. The pitfall to this: a kind of inner-echo is produced, making it sound like an old silent-movie piano.
   
4. Starting to play before the recorded piano (even with 4 metronome taps) makes it really hard to play in time with the piano! Predicting when the piano will start playing took a lot of practice, especially at the grand pause before the re-exposition!

At the beginning of movements 2 and 4, it almost sounds like I am playing two oboes at the same time. I have absolutely no explanation for this. It can’t even be explained by copy-pasting things in Audacity: to do so would either have no effect (same track pasted twice) or sound really bad (different tracks overlapping). I can only guess that I had turned my body relatively to the walls in such a way that the echo would be picked-up by the microphone pointing away from me. I will discuss this in the next posting.

IMS Update and Performance Endurance

A little note on recent observations because people have been coming to this blog have been Googling “IMS” and such.

Practice Endurance vs. Performance

I’m at the point now, where I can practice (alone) for about 2 hour “straight”. Seeing as I’m just about ready to record a short 4-movement baroque sonata, I figured I should be able to play all movements from beginning to end. Uuuuhhhh, no! No such luck. I can do the 2nd movement, though loosing the musical character, and my face just blows out half way through the 3rd.

More endurance is definitely required for a performance than practice, when we stop and retake and rest in between. I suppose, then, that Cooper Wright’s advice was well given (see comment from here). Also, I’ve noticed that:

1. when the mouth gets tired, the shoulders and hands tense up;
2. when the arms gets tired, the face tenses up.

I don’t know if this is just me (because of fibromyalgia) or if it’s a general rule for everyone, but I think young musicians should pay attention to this.

IMS treatment, one month later

I am now seeing my physiotherapist every month instead of every 2 weeks. The last few times (still bi-weekly) the needles did not hurt anymore, hardly felt any twinges at all. But this time, the reaction was similar to approximately the 6th treatments… that is, not too much pain, but still a lot of reaction (sweats, soreness, fatigue). My physiotherapist was pleased to explain that it wasn’t because of more time between treatments, but because I had begun swimming and training: I am challenging my body and it is reacting to it. This is good because pushing the limits and treating the symptoms will help improve.

She did emphasize that blips between the notes when playing is bad news: it means I am not taking enough care of nerve mobility. My nerves are still constricted, so I need to do her exercises more. The exercises I presented in a previous post  are far, far, far too advanced for me. She said, if I can comfortably do those, I don’t need physio anymore! However, the roller foam exercises for myofascial release are excellent and important. Now, I do those with a rolling pin where the huge roller can’t easily reach, and I have noticed more relaxation and control of the pedals when driving!

She fully agreed with the trainer at my gym that I should not work on building the body quite yet, rather, I should stretch muscle groups that are almost always problematic in people who sit at a computer (or reed making table). Once I have gained enough flexibility in the legs and nerve mobility in the arms, then my body will be able to build muscle mass without risking anything.

Knife Sharpening, part 2 – Affûtage, 2e partie.

Physical Update My shoulder, elbow and wrist are doing much better than last week: the flossing and reduction in speed of activity definitely helped. But I want to give one more week before recording the sonata…. IT’S HARRY POTTER’S LAST MOVIE THIS WEEKEND! I still think the 1st was the best!

État physique en bref. Mon épaule, coude et poignet vont beaucoup mieux: les exercises physiothérapeutiques et la réduction d’activité ont définitivement aidé. Mais je veux donner une autre semaine avant d’enregistrer la sonate…. C’EST LE DERNIER DE HARRY POTTER CETTE FIN-DE-SEMAINE! Je pense toujours que le 1er était le meilleur!

The secret to good reeds: It has become a common saying that: “The 2 secrets for good reeds are: 1. sharp knives, 2. sharp knives.” …. well, I would like to amend that to 4 secrets of good reed-making: 1. good cane, 2. sharp knives, 3. good cane, 4. sharp knives! MANY oboists have witnessed that you can do almost anything to a good piece of cane and it will play well, no matter how badly you handle it (and there’s nothing to be done with a bad piece of cane). However, the devastation caused by an improperly sharpened knife is undeniable and once you’ve used a well sharpened knife, nothing else will do.

Le secret des bonnes anches: C’est devenu monnaie courante de dire que le secrèt des bonnes anches est d’abord un couteau bien coupant et ensuite un couteau bien coupant! Je voudrais bien modifier en disant: 1. bon roseau, 2. bon tranchant, 3. bon roseau, 4. bon tranchant! BEAUCOUP de hautboïstes attesteront qu’on peut faire presque n’importe-quoi avec un bon roseau et il jouera bien (à l’inverse, rien à faire avec un mauvais roseau). Par contre, le dommage causé par un couteau mal affilé est indéniable et lorsqu’on en a utilisé un bien affûté, rien d’autre ne fera l’affaire.

Click on the YouTube icon for full-sized video.

Cliquez sur l’icône YouTube pour le vidéo à pleine-grandeur.

Bevelling a blade.

Sharpening a hollow-bevel knife.

Re-edge and fine-honing.

Get my free book here.

Trouvez mon livret gratis ici.

The secret to sharp knives: expensive stones! Last time I only introduced stones and some knife designs, so here are the real demonstrations of sharpening. This technique is simple, basic, but used almost universally to achieve excellent results.  Depending on how badly the edge got rounded, it’s just a matter of progressing from a coarser stone to a finer one. High quality (usually expensive) stones are a must. You get these stones from specialized woodworker shops, not your local hardware store. Cheap imitations just don’t do it and whatever miracle gizmo that comes out on the market has yet to prove reliability.

Le secret des bons couteaux: les pierres dispendieuses! La dernière fois, j’ai fait l’introduction des concepts de couteaux, alors voici les vraies démonstrations. La technique est simple, mais utilisée presqu’universellement pou obtenir les meilleurs résultats. Selon le degré de rondeur du bord coupant, il ne s’agit que de passer d’une pièrre plus rude à une pierre de plus en plus douce.  Les pierres de haute haute qualité (habituellement dispendieuses) sont absolument nécessaires. Vous les trouverez dans les magasins spécialisés dans l’ébénisterie, pas votre caincaillerie du coin. Les imitations peuchères ne font simplement rien de bon et les bidules miracles qui arrivent sur le marché ont encore à prouver leur valeur.

Anniversary Recording + Knife Sharpening part 1

Last weekend marked 2 major milestones: Ten thousand visits to my blog:  really surprised and happy (71 countries)! One year since I got my Lorée back from revoicing work at Teitelbaum Doublereed: and it still plays like a dream compared to before!	La fin-de-semaine dernière à marqué 2 étapes majeures: Dix mille visites à mon blogue: vraiment surpris (71 pays)! Un an depuis le retour de mon Lorée de sa mise-à-niveau chez Teitelbaum Doublereed: et il demeure une merveille à comparer à avant son départ!
I was planning to celebrate by recording a full baroque sonata, but last week’s post explained that starting the gym and pool have backlashed with some disappointing results on the oboe. 2 weeks ago, there were no blips between the notes at all, now there are many. 2 weeks ago, I had more evenness and fluidity in technical passage than I ever had in my life, but beginning to work the muscles seems to have constricted my nerves and tensed my muscles and that fluidity is gone.	Je comptais célébrer en enregistrant une sonate baroque complète, mais l’article de la semaine dernière a expliqué que débuter des activités au gymnase et piscine on entammé des résultats fâcheux. Il y a 2 semaines, belle fluidité technique sans entre-notes, maintenant, bien le contraire. L’écoulement des notes était sûrement meilleur que jamais auparavant, mais le travail physique semble avoir pincé des nergs et tendu des muscles de sorte à briser cette fluidité.
Actually, that sad story was last weekend, when I would have recorded the sonata. Since the weekend, I have been working with the roller foam, stretching machine and nerve flossing as per my physiotherapist, and things are looking much better, despite strain around the wrists and elbows. In fact, I am close to someone who has had severe arthritis in the spine and neck for many years. A few years ago, it was actually debilitating, but she undertook a lot of swimming and baths in salt water and has since recovered remarkably. In my case, I have to care for my nerve mobility before I can work out the arms, but her story echoes others I have encountered and so I am very encouraged.	À vrai dire, cette histoire triste était la fin-de-semaine passée, quand j’aurais voulu enregistrer cette sonate. Depuis ce temps, je me suis entraîné avec un rouleau à masser, des machines à étirements et les exercices de ma physiothérapeute. Résultat, je me sens déjà mieux, malgré des serrements aux coudes et poignets. Je suis proche de quelqu’un qui souffre d’arthrite sévère au dos et au cou. Il y a quelques annés c’en était débilettant, mais elle a entrepris la natation et les bains dans l’eau salée pour témoigner d’une récupération admirable. Dans mon cas, le problème est neuropathique, mais son histoire et celle d’autres reste encourageant.
Basic Knife Sharpening	Affûtage de base des couteaux
With any luck, next week I should be well enough to record the sonata to the best of my current abilities. In the mean time, I still read comments, questions and frustration over sharpening knives, so I thought it would be a good idea to present a few things. Important: I use techniques for testing sharpness that can cause serious injury if done improperly. Do not do them without expert supervision! I accepts no responsibility of any kind for any incident resulting from misusing the information in the videos here included.	Avec un peu de chance, la semaine prochaine ira assez bien pour enregistrer cette sonate au meilleur de mes habiletés actuelles. Entretemps, je lis assez de commentaires, questions et frustrations au sujet de l’affûtage des couteaux que j’ai cru bon de faire quelques démonstrations. Important: j’utilise des techniques pour vérifier la lame qui peuvent causer des blessures sérieuse si mal employées. Je n’admet aucune responsabilité d’aucune sorte en cas d’incident qui résulte de l’utilisation de l’information dans les vidéos ci-dessous.
These techniques are basic and you would be well advised to read more advanced references. Still, these are essentially all I do (progressing from coarser stone to smoother stone) to get my best results.	Ces techniques ne sont que la base et vous seriez bien avisés de lire d’avantage à ce sujet. Toujours est-il que c’est avec ces techniques (passant à des pierres toujours plus douces) que j’obtiens mes meilleurs résultats.
It turns out, even the basic considerations produced lots of videos, so I will only give half of them this time and the other time in another post. For a “crash-course” You can start with video [1], but the whole series should prove worth the time.	Même si uniquement la base, les démonstrations ont fini par être assez nombreuses pour devoir les partager etnre deux articles. Pour un cours-éclair, passez au vidéo [1], mais la série entière devraît en valoir la peine.
Click the YouTube icon to see full size.	Cliquez sur l’icône YouTube pour voir à pleine taille.

[0] Safety Concerns – Mise en Garde

[1] WRONG way explained.

[2] Intro. stones – pierres.

[3] Intro. knife design.

[4] Other stone, soft metal blade.

Physical update – exercise: a double-edged dagger

Last week my wife and I took an enrolment in a local gym+pool. An orientation session was a real revelation, but the results have not all been positive. In fact, evenness of note flow while playing is not as easy, my neck nerve is pulling again and I’ve started feeling that scratch around my wrist and back-of-hand again…. not good!

I had asked my physiotherapist if I was ready to start going to the pool and she said it was fine, but gave many restrictions on what I could do: essentially, no straining of the arms …. how do you move in the pool without using arm strength? I started with back crawl (that was too much) and then just walking while using the arms to move away the water…. still too much. And also, using the hot-tub seems to have worsened the neck-strains that cause headaches. I’ve been getting headaches much more frequently, not so painful, just so annoying normal daily activities are difficult.

On the positive side, the trainer explained why I have a “dip” in my lower back which bulges my belly and also what is increasing constriction on the sciatic nerves, which results in weak legs and sciatica. Essentially, having spent too many years doing mostly computer work and math sitting at a desk really wrecked it for me. Good news, this gym has special machines that increase the effectiveness of key stretching movements that would not work half as well at home, on the couch.

Work the nerves, not just the muscles!

The physiotherapist had given me really simple exercises to do from the very beginning. I had also been neglecting these from the very beginning, mostly because they appear so simple and it’s hard to immediately see the benefits. Here is a video that explains the process, what I had to do was only one: lye on my back with arms out to the side and raise/lower them – that’s all!

Now, with the resumption of pain and blips when playing, I think I better understand why she gave me these exercises.

On another positive note, I had been wanting to ask for (and need to pay for) IMS in the legs as well as in the arms because I had been complaining for over 20 years of weak, sore legs, despite my proficiency on a bicycle and alpine skiing.

Luckily, the gym trainer gave me other exercises that just might work better: IMS is for neuropathic problems, my legs might be simply muscular concerns. He showed my how to use foam rollers to essentially roll-out knots in my muscles like a rolling-pin on a pie-crust…… it HUUUURRRRRTS!!! just as bad as IMS! But apparently the pain stops as the muscles get better. Strangely, when my wife does the exercise, she feels no pain at all while I literally sob from it! But the strain in my calves is likely reducing the depth of my sleep, so fixing that is really important.

So, for the next week, I’ll pay more attention to what the physiotherapist said, do her exercises and concentrate on my legs at the gym. Hopefully, musical fluidity will return quickly.