I must be crazy to be learning flute at my age...
QUICK LINKS:
Record Yourself Flute Duets With Tascam PS5 PocketStudio5.
Review of SharpEye and PhotoScore for scanning music into MIDI files for flute practice.
Bach Sicilliano March 06?
My ABRSM Grade 3 Flute Exam in America Nov 05
Simulated ABRSM Grade 2 Exam August 05
My Flute "Studio"
Cincinnati FluteWorks' Jupiter 711
Olnhausen Flute Ring
Armstrong 80B
Silver Plating My Flute
Florida Flute Fair 2003
Zemer Atik, Feb 03
Corelli's Sarabanda, June 03
Tha Mi Sgith (Scottish Strathspey) July 03
May 21, 2002 (Advancing Rapidly)
Thank Jen Cluff, for tips on rapidly progressing.
> 1. Defining: 'Rapidly progressing'
> 2. "rapid progress" [Evangelism]
> 3. Self Confidence in music learning
> 4. Trusting your teacher
> 5. Practicing as a daily feature of your life
> 6. Listening to Music
> 7. Cultivating your curiosity and ask with grace.
> 8. Travelling to Flute-related events
> 9. Reading books that help your mind expand
> 10. Seeking out Ensembles to play with
> 11. Having a balanced life
> 12. Aiming for the top of the ladder
In many, many years of on and off attempts at various musical instruments, I had not felt the possibility of rapid progress, until several factors collided.
I found an article on effective practice which espoused working on tone, scales, breath, finger exercises, note reading, timing, technique, theory, repetoire, musicallity, posture, tuning, (and more) by including specific work on each area, not sequentially over the years, and not all at the same time on one piece of music.
(I still feel overloaded when the instructor tells me I am doing more than one thing wrong at a time; Besides trying to hit the right note, count the tempo, use the correct fingering, and breathe at the right place, you want me to control the air angle, push from some mythical body part, tongue softer, blow harder, through a smaller hole, while opening my jaw, not tilting my head, rolling the flute out, feeling the beat, emphasizing some notes, not raising my shoulders, not opening my mouth wide to gulp a breath, and leave my fingers close to the keys, don't tense up, but maybe push the flute against your chin a little more...and let's try to do it "right" till you get four pennies in a row here.)
A second factor which contributed to the new "feeling of rapid advancement" was an unplanned switch to a teacher that formallized the parallel practice regimen by sending a one-hour assignment sheet with a time allotment in the Wye Tone book, Taffenel & Gilbert, Bosey Scale Book, Rubank, and a "music" selection.
This regimon, the addition of finger exercises that cross d2, 1 hour practice at least every other day, a flute I am proud to own, and the Flutenet Yahoo!Group have allowed me to feel a quickened pace of advancement, but perhaps the most important factor is - balance.
It took trudging through 40+ years of life, including a (maybe it was several) "wrong wife for me" choice, to finally gain a balanced platform upon which to advance with consistency. During the "unbalanced" times, I got to third year on trombone, first year on classical guitar, first year on rock guitar, a few months on harmonica, first year on twelve string guitar, first year on piano three different times!, first year on a Martin guitar, a few months on a "G" flute, a few months on a Scottish Chanter, and a first year on flute.
At this time, finally, I am enjoying sight reading music graded for level 2 and some level 3, and the previous worry that my "less than total" commitment to the flute would plateau my progress at the one year mark have faded. This success has been another factor in raising my commitment to practice.
June 2002:
June 4, 2002:
After practice, I dry the inside of my flute and then grab the polishing cloth to chase all the smudges from the outside. Normally, I place the shiney flute upright on a flute stand on my desk with pride that I have managed to keep the instrument shining bright.
Last night was different. As I cleared away the finger oil, my eye caught the copper colored base metal showing on the D/F# key.
What a quagmire. I can't stand fingerprints on the flute, and clearly I have been cleaning too much.
June 7, 2002:
After my three, one-year attempts at organ and piano, (first time was organ with pedals, then twice on the piano). I came away thinking the problem was too many notes to read simultaneously. Assessing my progress on the flute, and looking back, I think my difficulties were much more complex than I thought.
My first first-year learning the flute had me thinking that I was not able to read even one line of notes fast enough and was not looking ahead at the next note.
Today, something has changed after this second "first-year" on the flute, and I think that something is that I actually know some of the individual notes in finger memory, rather than as "the fingering that follows some previous note/fingering in a scale". All those Hannon piano scale exercises, and even flute scale exercises did not teach me the individual notes. Dean Stallard has talked about "never learned/practiced scales" at flutenet.com. The major differences from this second "first-year" learning the flute and my first "first-year" on the flute, are that I am working out of lots of different books AND attempting to sight read / play lots and lots of music.
As it turns out, I am pretty sure that I am slaughtering any music which I do not know, because all this effort to learn notes has hindered me in learning to feel the printed ryhthms.
Alas, I am excited about my progress. I am beginning to internalize the notes above high C now. I can feel it. Last night I was able to play the same Bach Musette which I memorized on the piano ten years ago, albeit with occasional breaks in the musicality. It felt so good.
*Real Chamber Music*
20 August 2002
I recently posted on CMP-list and on the flute list, asking about a "First Chamber Music" books. I ended up ordering a flute|violin|oboe part 1 of "Music for Three volume 1" from lastresortmusic.com and last night started sight reading through it.
The first piece, Musical Moment, was unfamiliar as I punched through it. I was playing some notes, but no music could be heard. I moved on to the next work. The "Air on the G String" and "Traumerei" were recognizable as I sight read through them and I felt pretty good imagining the second and third parts with my, most assuredly beginner performance.
As I turned the page to see what challenge was next, the "Eine Kleine Nachtmusik - Allegro" title was immediately familiar. With a few false starts till I began to hear the music in my mind, I began to feel that I was actually playing the music (versus just playing some notes).
I am a software engineer by profession, and my "tech-ey" brain is very hard to silence. Usually it is analyzing the music and my playing, and thinking about the fact that I'm thinking too much about playing the flute.
As I tried to listen to the music inside my head and make my fingers keep up with what I was hearing, I experienced the most peaceful silent brain playing... this I have sought since beginning to play the flute. Occasionally as I heard myself playing trills, seemingly endless arpeggios, and wandering chromatic slurs, a concious thought (that I haven't learned how to play these things yet) would attempt to intrude, but I just kept pushing to keep up with the music I was hearing.
Every repeat mark raised the stakes, how long could I keep this feeling going. After what seemed like forever, I found myself out of repeats and at the end of the first movement. I had just played the longest single piece of music to date. Compared with eight bar etudes, two octave scales and arpeggios, or even the formerly long Gymnopedies 1,2, and 3 that lumber along with plenty of time for extraneous tech-ey brain patters, I felt like I had finally played some chamber music.
I turned the page to see what as next. After a few more false starts on the Romanza till the music started up again in my head, I repeated my excitement sightreading faster than I had previously played my practiced etudes.
Alas, after two movements of this, I was spent. Water was dripping from my flute, going all over. My imaginary partners vanished and reality returned. I had finally played some chamber music, albeit alone in my "chambre".
I still have a lot of learning before I attempt a repeat with real partners, but this was a giant step for this 49 year old beginning flute player.
*A Stab At Arranging*
20 December 2002
Just created Hatikva in Dmn for trio (flute, violin, cello):
Click here to listen
Am I happy with my Armstrong 80B?
Yes, very for my level (Adult beginner) and price paid (abt.
US$960) in 1996.
I listened to a pro flute player on about 10 brands, and models in the $800-1800 range that were available in my largest "local" flute store and chose this particular 80B. The flute needed some keys replated after two years, (I cleaned it too often? too forcefully? with the treated cloths.) The warranty covered the repairs.
Things I like most about my Armstrong 80B:
Things I dislike most:
I had the flute in to UMI/Armstrong to replace the G# key for plating
wear, (under warranty), after three years. Now an edge of the D key
and the footjoint-body collars are showing a little yellow base
metal. Obviously, I over cleaned with the polishing cloths. I
recently switched to an Altus silkweave cloth, but the damage is
evident to me. No one else notices the tiny yellow edges, but I do
and they bother me. (See 12 Jan 03 below...I fixed it myself!)
I am just learning about the "resistance is good for tone color and
dynamics" debate, having tried only one other flute recently which
had so much resistance I nearly asked for oxygen after playing it. I
didn't play it long enough to compare tone and dynamic range.
I confess that I am compulsive about cleaning my flute after every playing session. I used to use a two layer polishing cloth and wore the plating off the edge of two keys in three years. I did without my flute for about eight weeks to have the manufacturer replace the two keys.
After three more years the silver plating on the brass ferrules, between the foot and body, had thinned out (gone) and an edge of the F# key was showing yellow metal as well. The flute was out of the five year warranty so I couldn't send it back again.
A year ago I switched to an Altus "silkweave" cleaning cloth which appears to clean just as well and perhaps is less abrasive, but when I spoke to several folks about replating the flute, everyone said it wasn't worth it to replate a thousand dollar flute, (never mind that it is $2000 list, almost no one sells them at list).
Rarely taking no for an answer, I searched the Internet for a silver plating kit and found Silver Plating Kit which is an inexpensive silver plating "wand" for touching up the plating.
I bought the kit (US$35+$5shipping) and tried it out. Easy success, no mess, and no exposed metal anymore. I didn't even microwave the silver solution (or heat my flute!) I just attached the alligator clip to a post and brushed some silver on the worn spots.
It went on slow, probably because everything was room temperature, but after rubbing carefully with the wet wand for a few minutes, and then polishing with my Altus cloth, I had a nice layer of shiney silver.
It was a little scary at one point when some black appeared, but it polished right off with the cloth. The silver plating is the same color as my flute, and it is not possible, (even for me), to tell where I plated.
I'm so happy, I played my flute, (and cleaned it), four sessions this weekend!
I must be cursed by the flute gods...those that have
been following my litany of flute teachers might think
that I'm a good reason not to teach adults.
I finally started with a new flute teacher three weeks
ago. She is the most expensive teacher I have had
yet, and I was encouraged at the first lesson by her
use of music history to explain how I should approach
playing Shumann's Traumerei, but I got a little
concerned when her little daughter stood in my
briefcase flute bag and the puppy started crying from
the bedroom.
I dragged my wife to the next lesson thinking she
could distract the little girl, and I put my flute bag
on the sofa table instead of the floor. That worked
some of the time, but when the little girl wandered
under the music stand to hand me the blank check from
out of my bag, I had to stop playing mid measure.
Thinking it couldn't get any worse, I resolved to keep
the check in my pocket, take the wife again, and put
the bag on the table closed.
As we arrived for my third lesson yesterday, I spotted
a cat sitting calmly in the living room. Now I'm quite
allergic to cats inspite of my daily Claritin pill. I
can stand outside at the door of a cat owner's house
and after a few minutes will start sneezing. An hour
inside will close my throat and set my sinus polyps to
action for the rest of the week.
Thinking it was only a half hour lesson, and after so
much trouble finding a new teacher, (and not knowing
of another teacher to try), I said nothing and
prepared my flute and music for the lesson. I had
to ask where the music stand was and the teacher
retrieved it. As I tried to raise it for playing in a
standing position, she explained that it doesn't go
any higher and that someone walked off with her good
stand. (That had to be more than three weeks ago.
Ironic that just this week I purchased a great new
music stand - Belmont 5051, for less than the price of
the first two lessons I'd paid to her).
We started off with scales from memory in three
articulations so I didn't need the stand anyway. In
the middle of one of the scales, I heard a strange
tone, then someone talking... The volume on the
telephone answering machine was up full and the person
was leaving a dissertation. "And the barber kept on
shaving...", (I'm such a critic?)
As we moved on to playing music, I became jealous that
the teacher had a music light on her piano part, and I
was looking down at my part in an unlit room. At 50
years old, my eyes need lots of light to stop down to
a sharp view. "And the barber kept on shaving..."
Just when I had the timing down and was relaxing into
the piece, the little girl wandered up and reached up
to write on my music with my pencil from my bag. I
discovered that I had left it open on the
table...shame on *me*. "And the barber kept on
shaving..."
After playing through a second telephone call
distraction, paying with the check from my pocket, and
waving good bye to the really cute little girl and the
teacher, my wife mentions that she hopes I have
everything, because the little girl was playing with
something that looked like a little camera, at one
point in my lesson. As I panicked not remembering if
my metronome was in its pocket of my bag, she
commented how good my breathing was considering there
were *two* cats in the house.
What an adventure this is turning out to be..."ha-choo!"
Alan
"...Sir critic, good-day! And the barber kept on shaving."
How do I sound?
Here's the Armstrong (and me) playing Zemer Atik, ("Ancient Tune")
Tried some flutes at the Florida Flute Fair
I've almost recovered from a serious bout of flute fever.
On the way to the Florida Flute Fair, I stopped at Gary Underwood
Music near Orlando Florida to try the Powell Signature in a quiet
environment. I was concerned when I realized that his shop strongly
supports sax players, but he had the Sonore, Powell Signature and
Conservatory, as well as two Armstrong flutes. The Signature is in
short supply right now, so this was a great opportunity.
I tried the Sonore briefly. It clacked when I played it fast and had
a very weak tone. Not a candidate for me.
Next out of the case was the Powell Signature. I was amazed at the
pleasant tone. It had a real "sweetness" about the tone. It was
also louder in the first and second registers than my Armstrong 80B.
It spoke quickly and seemed quite nimble. I think the keys had
slightly less travel than my Armstrong and the springs were quite
light. With Straubinger pads too...quite nice. I was shocked to see
the case the Signature came in. It was a rough wood outer shell with
brown plastic inside. Considering the beautiful leather covered case
with velour interior of my $1000 Armstrong, I'm not sure I could pay
$3000 for the Signature with that case. The flute is a serious
contender for me, but the case is a real hurdle. I like the fact
that Powell is a US made flute, but that doesn't really enter into
the decisions.
My wife was unable to hear a difference in tone between the Signature
and the Conservatory, but the Conservatory seemed just a tad more
responsive to me than the Signature.
After getting to the fair and registering, we headed for the exhibit
hall. At last I would get to play an Altus. I'd read so much praise
for the Altus flutes that I expected them to be very different than
the Signature. Indeed. I immediately noticed that the 1007 was
loud. The embouchure hole is quite small, but the sound is quite
large. The tone was very different as well, almost too pure.
We met Shaul Ben-Meir, the owner of FluteWorld, who suggested I leave
a credit card and take the 1007 up to my room for a half hour. The
card jumped out of my wallet and we flew up to the room to try the
heralded gem. My wife immediately announced that I sounded better on
the Signature, and that even my Armstrong was more pleasing to her
than the Altus. Try as I might, with different embouchure shapes, to
get that rich, reedy first register C and D that I want so much, I
couldn't make the Altus perform. It was just loud. In fact, I was
hoping for a softer third register, not stronger. Clearly, my
immature embouchure needs more time to adjust to the Altus headjoint
than the half hour I was given, but should I have to?... (It is also
nearly a thousand dollars more than the Powell Signature, but the
1007 is a solid silver body, not plated.)
We moved on to trying a Miyazawa 201, which the wife thought I should
try more seriously in a quiet room to compare with Powell Signature.
I couldn't tell anything except that the volume in low register did
not seem as loud as the Powell and definitely softer than the
Altus1007.
The Muramatsu GX did nothing special in the noisy room except that
the fine engraving felt like sandpaper to the stubble on my chin.
This headjoint will not get slippery, but my chin might get raw.
I tried the Brennan-Cooper $28,000 flute. It was so dark I could
hardly hear it in the exhibit hall. Not for me.
I tried a nice Tom Green flute, a Pearl and a Nagahara. By that
time, I think I could have put a pencil to my lips and it would have
sounded like a flute but unremarkable. The cacophony was building
inside the room and inside my head.
I didn't get to hear anyone perform on an Altus (that I knew of at
least); most folks were playing Muramatsu and Miyazawa flutes. One
guy played an exceptional hour of amplified jazz on a Pearl, and a
girl that played a Powell Signature sounded very airy, but I have no
way of knowing if it was her or the flute. She said she had been
playing four years. I sure hope I can play that fast in a couple
more years.
That night I didn't sleep well at all, fighting a want versus need
battle all night. There is a clear difference between my flute and
these other flutes, but since I don't perform, don't audition, don't
record, and rarely even play with others, the only person that is
going to notice the difference is me. As my wife put it, when I can
play scales as fast as those kids, then, I will *need* a new flute.
In the mean time, if I *want* a new flute, buy one. That was the
second reason I couldn't sleep. Even if I was ready to plunk down
three to four thousand dollars, it takes a lot more to know which
flute to buy.
A quite unexpected and unpleasant experience also occured at the fair. I had sent an email to Drelinger Headjoint Company many months back and recieved a very nice brochure and a sign up card to be informed when Drelinger would be in my area. Last month I got a notice that Sandy Drelinger was going to be visiting the Fort Lauderdale area, about an hour south of me, the weekend before the flute fair and that he would not be able to attend the fair. I did not respond to set up an appointment, not wanting to put my wife through two weekends of flutey stuff.
When we were descending in the elevator at the flute fair, I noticed a short fellow with a Drelinger company tag and asked if he was Sandy Drelinger. He said yes, and I told him I would visit him in the exhibits later that day.
Moments later my wife and I watched in horror as the space shuttle disintegrated before our eyes on a large screen TV in the breakfast area. Just terrible. I won't try to express here the impact this had on us and the flute fair experience.
Eventually we grabbed my flute and headed to see Mr. Drelinger. He asked me to step behind his table and play a few notes for him with my Armstrong. I did and he pushed the flute down to the bottom of my chin and told me "Now try it". Nothing came out, and he told me not to try so hard??? Then he took my flute and put my headjoint on a chair. He put one of his headjoints in the flute and when I tried it, not a sound. He grabbed another headjoint and placed it into my flute. It was a little loose so he put some cellophane tape around the joint and gave it to me to try. I played a single note that sounded big and reedy, really wonderful. I was ready to try playing the little tune that I had been using to try flutes out, when he grabbed the flute from me, removed his headjoint, and handed my flute back while turning to greet another person who had approached the table. I tried to get Mr. Drelinger's attention and asked could he tell me a little about the headjoint; to which, he responded "Make an appointment." I asked a second time to know more about the headjoint, but he turned his back to me and started conversing with the other people.
I'll just say this more: That rude man will never see a dollar from me.
I think I need to try the Altus 1007, the Miyazawa 201, and the
Powell Signature in my home for a week, but first I have to get over
the dose of humble pie I'm still chewing.
7 February 2003
Last night I had a great opportunity to meet and play with the Gold Coast Community Band here in Boynton Beach, Florida. They rehearse every Thursday night at a local middle school. It was an exciting experience, albeit a bit humbling. Most of the sixty members have played music all their lives and their ability was evident.
The rehearsal began promptly at 7 and ended promptly at 9pm with no break in the middle. When I arrived, there was a chair and music stand in the front row just beneath the conductor's platform. The music folder had my name on it already; I guess the assumption was if I had the courage to come to the rehersal, I must know how to play well enough to join the band. In my case that was a wrong assumption.
Since they had just performed a concert the previous weekend, all the music in the folders was new for the entire band. A quick look through the music was enough to tell me that I am not ready for this level of music yet. There were some works that never came down onto the staff, including quite a few notes that I don't know the fingering for yet (B3 and above). (I had hoped that playing second flute would save me, but some works seemed to only have one flute part, not first and second. In fact one of the works was actually marked for piccolo with flute in parentheses. There were rapid 16th note chromatic scales in three, four and even five flats. (I only have two octave three sharp, A mj, and three flat, E-flat mj, scales memorized so far, with a fairly slow two octave C chromatic. My scales are not crispy clean every time and not fast for notes above D3 yet.) I know where I have to focus now.
I was able to play about half of the pieces, actually. That was encouraging since the tempo was often faster than anything I have played to date. I did very well with the rhythms. I had thought this to be one of my weakest areas. I did very good at counting the rests, which usually were four to ten measures long, but there were 58 measures of rests till the 2nd flutes came in for Bolero. It felt good to be able to point to where we were when the Oboe sitting next to me would ask at some point in nearly every song. I did good at watching the conductor for rhythm and the endings. Thankfully it wasn't me that twice gave an extra toot after the final note.
For the parts that I couldn't play fast enough, I either played the first and last note of the run, or fingered the first and last note and kept quiet. For the parts above D3, I just listened and kept time in my head ready for the melody to drop down again into my comfort zone.
The horn section was quite strong and often seemed to overpower the four first and four second flutes, (counting me when I was playing!). I contemplated that I probably could hide my inability for a while and would really learn a lot by rehearsing with them, but I don't think it would be fair to the band.
Maybe I could be ready to join the band next year; it is hard to know how much I will progress with my hour a day practice.
It probably doesn't speak well for the band's sound that their admission policy is so loose, but it made the atmosphere very pleasant for this experience. It was forty years ago that I sat in a band chair. Then, it was with a shiney trombone and somehow not rewarding enough to keep me practicing. Last night, it just seemed like heaven to be among so many musicians and to be playing real music.
Click here for more on the James E Buffan Gold Coast Community Band
June 2003
July 2003
September 2003
April 2004
March 2005
I also demo'd a couple Full Circle wooden "Louis Lot" cut headjoints.
Pictures, samples, and analysis are here
August 2005
Lass Of Richmond Hill Segment (James Hook, arr. Ian Denley)
Love Walked In (Gershwin, arr. Harris)
Wilhem Popp (No. 10 of 63 Easy Melodic Studies for Flute ed. Hunt)
November 2005
March 2006
My scales and arpeggios remain weak, but I am working a little more seriously on them with the help of a Paul Harris book for ABRSM students called "Improve your Scales".
No recordings lately. Probably should lay down a few just to document how I'm doing.
October 2006
The flute on #1 was multi-tracked (about the 20th take..) with a Nady CM-2S stereo mic. The accompaniment is from my PocketStudio5 MIDI. Reverb added (20% return 0.7s) in the mix and down-sampled to conserve web space.
The flute on #2 was also multi-tracked and then mixed dry, with the accompaniment of John Alley, Piano from the ABRSM Grade 4 Exam CD.
October 2008
copyright 2009 Alan McDonley.
* free blowing and quick speaking headjoint
* gold plated lip plate (aesthetics, but its gives me pleasure)
* seems to maintain playing condition well
* plating wear on keys and collars (from over cleaning)
* poor reputation of Armstrong among some flute teachers
Silver Plating
12 January 2003
I have to tell about my success this weekend...I am so happy I can't stop grinning.
Further adventures in flute lessons...
January 26, 2002
February 2003
31 January 2003
Rehearsal with the James E Buffan Gold Coast Community Band
Here's the Armstrong, (without the Olnhausen ring), playing
Corelli's Sarabanda
with a MIDI backing from the PocketStudio5, using the headset mic, a little reverb, high cut -12db beginning at 4khz. "Volume Normalized" by Nero Express, then reduced from 128kbps to 64kbps by MusicMatch in an attempt to keep the size down. Its just a little less than a megabyte now for two minutes playing.
Here's a great Scottish tune that came out better than the Corelli: Tha Mi Sgith (I am weary)
Purchased a new flute
Cincinnati FluteWorks' Jupiter 711
After returning from a great flutey vacation in Israel, I'm settling down to the music for the final concert of my first year with (Boynton Beach, Florida) Gold Coast Community Band.
Here's the Jupiter 711-II playing
Bach Sicilliano
with a MIDI backing from the PocketStudio5, using the headset mic. Didn't normalize or add reverb, only down sampled big time... running out of (free) space.
Simulated ABRSM Grade 2 Flute Exam
Here's some of my Grade 2 List A,B,C exam pieces. I used MIDI on my Tascam PocketStudio for accompaniment and played my Jupiter 711RBS. I used a Dell x50v PocketPc to record them.
My ABRSM Grade 3 Flute Exam in America
Recital at the "Bet Ezer"
I had a great vacation in Israel this year and had opportunity to put on (my first ever) recital at the retirement home of Kibbutz Kfar Masaryk. I played ten songs with backing from my PocketPC plugged into their bookshelf stereo system. I played:
August 2006
Studying and Improving
I've been working hard on the ABRSM Grade 4 repertoire and scales. I especially like the Adam Gorb arrangement of Jerry Bock and Sheldon Harnick's "Sunrise Sunset". I discovered a great book of slightly jazzy compositions when I purchased Graham Lyons' book "Compositions for Flute", Volume 1 to get the Grade 4 list B song "The Dark Forest". The book came with a play-along CD for all the compositions and there are eight or nine songs beyond "The Dark Forest" that I really enjoy playing with the CD.
Recordings I made while I am working on ABRSM Grade 4:
1) "Sunrise Sunset", Jerry Bock and Sheldon Harnick. This is a beautiful arrangement by Adam Gorb
2) "The Dark Forest", Graham Lyons
Two selections from a nursing home visit:
1) "Hayu Leilot (Those were the nights), Naomi Shemer
2) "HaLecha LeCesaria (Going to Cesaria, also known as Eli Eli), Hannah Senesh