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  • All right, hello, guys.

  • Welcome to another episode of TwoSet Violin.

  • Du-Shh!

  • Okay, about a week ago or a few days ago...

  • I can't remember when.

  • We did an Instagram story asking you guys...

  • Ow, that hurt.

  • Uh... To ask us any questions regarding...

  • Music conservatory life or music college life.

  • So we're just gonna go through some of them now.

  • On that note, accent the like button.

  • Music gang.

  • Asks...

  • - Now, all of the classes were music related. - It's music related.

  • Well...

  • Well, loosely...

  • - Music related. - They're meant to be music related.

  • How much some of these classes achieve that goal...

  • - Is questionable... - Yeah.

  • But I have heard...

  • - Yeah, they added more like... - In some colleges...

  • Different curriculums or different courses.

  • - Yeah. - That you have to take.

  • As a musician that makes me very sad

  • because we just want to get good at our art.

  • - We don't want to know how to write essays. - Oh, I think someone like took language classes.

  • Yeah and essays, it's like...

  • We just want to get better at our instrument.

  • And look, music research. We had to do that, you know?

  • I have to research about Bach.

  • But you can at least see the connection there.

  • One class that was kind of funny though...

  • That was compulsory for first years for us.

  • - Oh, yeah... - It was choir.

  • So we had to sing.

  • La la la la~

  • Maybe it's for people that have literally never

  • performed in an ensemble before, I don't know.

  • That's true, I feel like some classes out there just...

  • So everyone can get the scope of everything.

  • I mean, we went into music college

  • with prior experience.

  • - Mhm. - With music.

  • Yeah.

  • We kind of knew what was going on

  • and we went there cause we want to practice more.

  • Yeah, but for some people that haven't experienced

  • - some of these things, it could be really cool. - Makes sense.

  • - Yeah. - Cool.

  • Says...

  • Well, we did do performance major.

  • Yeah, so we played almost every week.

  • But in our uni, weekly workshops was optional.

  • So what ended up happening was

  • Brett and I played every week...

  • Maybe one or two others will play every second week.

  • And the majority of students never performed.

  • Which is really a waste, in my opinion.

  • Actually, if you have performance opportunity, I think...

  • - You should take it. - Any performance opportunity.

  • I know it's tricky, you get performance anxiety. But...

  • If you want to become a musician to perform,

  • you can't skip that process,

  • So you just do it while you can.

  • While you're with your peers.

  • It's something we do miss, you know.

  • You don't even have to try and get an audience.

  • They're already there because they have to get their...

  • Attendance marks.

  • So I think, give it a shot.

  • Half of practice is performing.

  • Now, going back to the question.

  • If you're not a performance major...

  • I don't know.

  • I don't think so.

  • Nah, you don't have to.

  • I think you just need more references in your essays.

  • Yeah...

  • - Yeah, say that, I think I said the name wrong. - Yaraakar.

  • Depending on your music college, the standard as well.

  • And depending how much you pay them.

  • Just kidding.

  • - Or am I? Am I kidding? - Cha-ching. Cha-ching.

  • - I don't know. I don't know. - Well...

  • - Some universities really like their cha-ching, cha-ching. - I only hear rumors about how this world works.

  • Where are you from?

  • International student, oh!

  • Ohhohoho!

  • Serious answer to that though...

  • Depends on the level of the university and

  • what level is around you as well.

  • Because obviously, it's a lot harder to get into Curtis...

  • Than it is to get into...

  • - Well, the music university we got into. - Yeah.

  • Curtis accepts like what, three people a year?

  • - With everyone applying from all over the world. - And you have to be like under 12.

  • Yeah, something ridiculous.

  • For those of you that don't know, Curtis is where...

  • Hilary Hahn and Ray Chen and all of them studied at.

  • Usually, the process though, is you have an audition.

  • So you're really being selected amongst

  • the peers that audition that year.

  • You know we did the ABRSM video recently, right?

  • That gives you an idea of the grades.

  • We both did the equivalent of the highest grade

  • when we were like 12.

  • - Yeah, yeah, 12, 13, I think. - 12, 13? Probably 13.

  • At that level though...

  • The highest level, you would get in.

  • Yeah. Oh, yeah, for sure.

  • So...

  • Probably, you know those like exams...

  • That you probably have in your country...

  • AMEB, ABRSM, RCM, whatever.

  • The highest or second-highest grade

  • will probably get you into a standard music university.

  • - Yeah. - But then, if you're going for...

  • One of the more competitive or prestigious schools...

  • You might have to be either really good or...

  • - Be really rich. - Connections...

  • There's three options, really good, really rich, really good conne -

  • - I'm just joking. Maybe cut them out. - Just kidding.

  • But if our editor forgets to cut it out, it's not our fault.

  • Yeah, it's not our fault, yeah.

  • I think it depends...

  • I was lucky enough to have a teacher

  • that was quite open-minded...

  • And encouraged me to think for myself.

  • I did wish I had a bit more confidence

  • in thinking for myself back then.

  • But my suggestion would be try to understand

  • not so much just what they're teaching you,

  • but the principles behind why they teach you something.

  • Why are they trying to give you this technique?

  • What are you trying to achieve?

  • - Yes. - Is it better tone? Is it better phrasing?

  • Is it better articulation, whatever it is...

  • Yeah, always try to internalize for yourself, like...

  • Don't rush.

  • Why shouldn't I rush?

  • Oh, okay, it's because rushing creates this effect

  • in the music that's not good, you know.

  • I have heard of some teachers

  • that force you to play a certain way.

  • Okay, if a teacher force you to play a certain way...

  • - That's not good. - That's questionable.

  • Even if they have all the experiences in the world.

  • Because not everyone plays the same.

  • - At the end of the day, use your ears. - Yes.

  • Actually, just listen to the sound.

  • Record yourself. Do something.

  • Like listen, use your ears.

  • And I think you'll find your answers there.

  • Actually the most -

  • More important question is, did you practice?

  • Yeah, did you practice!

  • Cause at the end of the day, if you practiced,

  • - you're gonna get pretty good. - Yeah.

  • If you don't practice, then wishful thinking.

  • Yes.

  • 40 hours a day.

  • Duh.

  • Yeah, duh.

  • Um, we did like 4-5 hours a day.

  • Depending on the circumstances.

  • Yeah, I still suck.

  • I still remember that room 1.11.

  • Yeah. Yeah.

  • With the big acoustics.

  • - So you go in there to think you sound better. - You sound good, yeah, yeah.

  • And always looking for a practice room.

  • Actually, half the time,

  • practicing is looking for a practice room.

  • Dude, we just practice outside at the end.

  • I think we pissed some people off.

  • I don't care, like I need to practice.

  • Yeah, all the rooms are gone, I have a class in one hour,

  • what am I gonna do, I need to practice.

  • Some students don't practice,

  • but some students also practice a lot.

  • We knew a guy that practiced like eight hours a day.

  • Yeah, yeah, yeah.

  • I think it's also about practicing smart.

  • You do have to practice a lot...

  • But don't stress practice.

  • Stress practice is one of the most

  • ineffective things you could probably do.

  • Some people under stress perform better,

  • but I'm talking about the ones where they're just like...

  • "Oh my god. Oh my god, audition is tomorrow."

  • And they're not really processing what's going on.

  • That's not good.

  • - That's actually really counterproductive, yeah. - Counterproductive.

  • Asks...

  • - Yeah... - Love you too.

  • Thanks for the love.

  • Oh, ****.

  • Hello?

  • - All right, guys. Video is finished. - Time to go.

  • Please like and subscribe.

  • Joking.

  • What's the admission process like?

  • Um...

  • All right, you apply.

  • They send you an invitation to audition.

  • You audition by playing...

  • Depending on the uni, but for our case,

  • it was like two pieces.

  • Yeah, two pieces.

  • And then they ask you a few questions like a...

  • Five-minute interview and then you get your results.

  • Very straightforward.

  • Well, actually I never did an audition.

  • I did it in my lesson.

  • Connections...

  • To be fair, um...

  • I don't know if I got in because of connections,

  • but I had already known my teacher

  • - before going into the uni. - Yeah, yeah exactly.

  • But we're also - To be fair though - We also played okay.

  • - Like... Our playing was good enough for it. - Yeah, yeah, yeah. Yeah.

  • - It's not like we sucked. - Sucked. Yeah.

  • - I mean... - But I mean, we suck...

  • But we're not, yeah.

  • We don't suck suck.

  • Uh, watch more prodigies.

  • Ten-year-old destroys our self-esteem.

  • Destroy your self-esteem. You have no more self-esteem.

  • You just go for it.

  • You're like, "who the hell cares, let's go."

  • Rather than trying to build a self-esteem...

  • Just let go.

  • - Just let go. Get rid of it. There's no self-esteem - - Have no self-esteem.

  • Self-esteem is just is.

  • - The ego is gone. - Yes.

  • Yes. I don't really wanna talk about it.

  • Oh yeah, he was a...

  • Interesting...

  • Situation.

  • But yeah, I had to take eight months off playing

  • and I got into a wheelchair.

  • Yeah, gotta be careful.

  • Do your stretches.

  • One became a Youtuber.

  • Ahahahaha.

  • - A lot of them are teaching. - Teaching. A lot teaching, some -

  • Some in orchestra.

  • And also, a lot of them are doing something else.

  • Sometimes music related,

  • sometimes they just go completely to engineering.

  • Yeah, I think it can go either way.

  • It's probably the same for most -

  • I get the feeling with most courses as well.

  • Cause you might do it and

  • you might not like it after awhile.

  • Yeah.

  • Asks...

  • Depends on the subject.

  • You have aural class, where they give you aural exams.

  • They'll play like a tune on the piano,