Denis Azabagic – Competitions. . The Concept of Music and Competitions I started attending international competitions seriously when I was 18 years old. One of the most stressful situations that a music student (or any performer) encounters during their studies is the day, the hour or the moment of the performance. One of the most stressful situations that a music student (or any performer) encounters during their studies is the day, the hour or the moment of.
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Then I play competition film in my head. It gives the competitor a chance to get feedback on his or her playing. As I progress as a guitar player and musician, I have learned how to cope with that feeling better and better every time it arises.
The first time is always the greatest, but azabaagic the 1st prize at GFA was something special. On the other hand, you might hear the same things your teacher was telling you, thus helping you realize even better some things you should pay attention to.
There dnis a general opinion that competitions help you in building your career. During the course of the competition, which lasted four rounds, competitors had to play all different musical forms and styles: Denis Azabagic – Competitions.
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So, before any important performance event whether it be a competition, exam or concert, it is very useful to do try-outs. This I would divide in two areas: Does any of this sound familiar to you?
Still, I am con3 vinced that if I don’t keep fighting for my career all the competitions that I won will not help.
I was not even 6 when my parents enrolled me in music school, recalls the former. My program was made up of Spanish and South American composers, most of them from the 20th century.
For me it’s the same with music. The letters have to be identified, then letters make words, words make small phrases, those phrases make sentences, paragraphs, chapters, parts, and the whole story.
I came to the following conclusion: It would be nice if you could have an alarm in your head which tells you that no matter what, you have to trust yourself and not play all day long. Respect the fact that azabaagic rules re,quire a certain edition of the piece and that the jury can take it into account if you do not play the required edition.
In the competition brochure several composers were listed as possible choices. Of course I did not have this same experience when I started competing. On the other hand, winning a competition or several of them is no guarantee whatsoever that one will have a successful career.
Is it better to play in the beginning or at the end? So, I like to have a lot of energy when I go to the stage. I mean, if I play at the very beginning, maybe the jury won’t be “into it” yet, maybe they won’t notice my playing no matter what I do? There are also possibilities o finding sponsorship from corporate institutions, maybe those where your parents are working.
We can also put our own story behind a piece, and it is important to play music that allows denie to use our imaginations.
Denis Azabagic – Competitions. Dealing With Performance Stress
I do all of this without the guitar in hand. Guitarist denis azabagic evokes exotic sounds of four. In addition, at the end of the fIrst movement he replaced the eight bars of the closing section with the eight bars of the opening section! One of the good things that I have seen in some juries is that they include musicians who are not guitarists, like conductors, composers, pianists, etc.
On occasion you can find talented young people studying in one place and performing in an area where everyone just keeps saying how good he or she plays. One is by repeating and storing that infonnation in some part of the brain that is beyond our consciousness.
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I think in great part that is true. You are connected as. So, I tried to focus my energy on my playing and take my mind off all those other things that went through my head.
As there were five people in the final, two of them were left without any compensation for their merit. Her support and encouragement during the crucial moments helped me achieve my goals. What I mean here is that it is possible to practice the art of interpretation and the feelings and musicality we have inside can gradually be brought to the surface.
Are we able to recognize what the composer is doing with a phrase, how he shapes it, turns it around, breaks it into smaller bits or motives, and then plays with them again, putting them into sequences, changing the tonality, putting musical material close together, changing the texture, rhythm, tempo, etc.
On Competitions: Dealing with Performance Stress – Denis Azabagic – Google Books
This is especially true of those who are inexperienced in competition. Also, there are fewer competitions in the USA, even though it is a very big country. I also mentioned in the opening chapter that I would divide musicality into two areas: It was really very busy and there was very little time to do anything else. It is easier to work with those students because temperament or talent cannot be learned or taught, but the teacher can mold it or help it evolve and grow.
Chanterelle,49 pages, isbn a technique analysis and interpretation of j.