How I Prepare to Learn Or Teach A New Piece of Music: Haydn Sonata in C And Bourrée in F By Telemann1/8/2021 When I take on a new piece of music of any complexity I will go through some or all the following steps. My goal is to have a clear artistic impression of the piece before I begin. 1. Compare the different scores available to me. 2. Seek out professional recordings. 3. Print the music as I will be marking it up. 4. Study the form and phrasing of the work. Sometimes, as in the Telemann I will mark in the phrasing. 5. I will consider the era in which it was written for clues on possible interpretations. 6. I translate any unfamiliar terms I find in the score. 7. I might consult other sources to explore the style and era of its creation. For the Sonata in C, I enjoyed re-reading the section on Haydn ornaments in the book below. 8. I will listen to multiple professional performances and mark on the score ideas of interest. I often will slow down a recording to hear how the artist plays their ornaments. 9. I might consult with a colleague or my piano coach as well. In short, I will have a clear set of ideas, those I discovered and my own, to explore as I now start to "learn" the piece. I will share these with my students. If I can help you discover intriguing world of classical music, please call me. David
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Will I ever get there? Maybe. An adult student is working on the scherzo of Haydn’s piano sonata in F major Hob.XVI:9 A fun work from RCM level 4. It goes fast, it’s light, it’s fun under the fingers. It reminds me of joyful summer memories as a kid riding our bikes as fast as we can go, just celebrating the joy of movement and being alive. How does one play like that? Can I ever go as fast? Another story. I’ve a young teenage student preparing to sit for her level 8 exam later this month. One of her pieces is Solfeggio in C minor by CPE Bach an extremely fast and demanding piece of music. She runs like the wind through it. The power of youth. Can my 61-year fingers play that fast? Nope. Period. It’s as absurd as looking on while high schoolers compete in the 100-yard dash. Yeah, I can still run fast, but not like that. Moral of the story. Be at peace with it. Now can we learn to play faster. Of course. Can we ever go as fast? Maybe, maybe not.
Now back to Haydn. Pianists who play well, including fast, have worked patiently in the following areas.
If I can help you on your journey, please give me a call. David “Until it’s comfortable” Benny Greb Practice tip #1
How many times do I need to repeat a passage? “Until it’s comfortable” Benny Greb, expert practicer Most students practice until they get it. Professionals practice until it’s comfortable. I buy that. Practice tip #2 Why is proper fingering so important? “Under pressure, a performance, one does not want to train the brain with ineffective or multiple choices of fingering in difficult passages. Under stress the brain will have to decide. It might pick the poor fingering pattern and BOOM! a mistake happens.” So, when learning, take extra care to follow the fingering in the early stages of learning. Don’t give yourself an unnecessary handicap of poor fingering options. David Time to dream again. Covid-19 will abate this year; the vaccines are coming, spring will arrive. Time to get musically ready to share our music with the world again.
Here are 10 ideas to mull over.
Cheers, David
Bach's WTC would be one of the 2 music books I would take with me if I was to be exiled to an island. David Who know hundreds of tunes, in the right keys, at the correct tempo? He never complains, is ready day and night? Doesn't drag or get lost? Mr. Sunny Bass Someday I hope to buy him lunch, a small gesture for all the get help he has been to my students. David Heather Lotherington 13 December I took up the violin in early summer 2018. I reckoned I would get a running start on a bucket list project. But let’s fast forward a couple of years, past the commitment of buying a violin and a sustained period of caterwauling that inspired the neighbor’s dog to howl, past the perpetual state of terror at lessons, a wretchedly inflamed shoulder, constant and unending frustration, and perpetual tweaking of violin, shoulder rest, chin rest, bow to find a position where this instrument felt even quasi-comfortable. Let’s begin instead a few months into Covid lockdown when I reconnected with my violin teacher and we resumed lessons on Zoom. After brushing up my basic skills, I thought I might sign up for the Royal Conservatory of Music program to provide structure to my learning. We embarked on the preparatory level violin curriculum, and emboldened, I booked an exam date. My available practice time was limited by full time work (on Zoom), which, on some days, wiped me out past even starting the depressing regimen of hit and miss scales. But motivated by a fear of making a total ass of myself in front of an examiner accustomed to 5-year old’s capable of mastering this content, I practiced. I pushed onwards, I stretched, I recorded myself and self-critiqued, I watched superstar violinists on YouTube, and listened attentively, studying how they held their violins and their bows. I practiced with my husband playing the piano or the ukulele, I played to recorded tracks, I sent video-recordings to friends and family. Mostly they were encouraging; a few were incredulous that I would undertake such a project at my age. But why not? A month before the examination my nerves started getting the better of me, so I intensified my practice time on weekends, bearing down on my scales and arpeggios, determined to get my fingers in the right place for each note. A millimetre up or down the string produced disharmony, yet there are no guiding frets on a violin. I practiced as deliberately as I could: open string bowing, scales, arpeggios, get that fourth finger in place ahead of time! My teacher advised me to focus my attention on one piece at a time, but sometimes I drifted off to picking out tunes by ear or playing old favourites from the early days: Mary had a little lamb, Twinkle, twinkle little star... I decided to do a mock exam with my teacher during lesson time. It was humiliating. The week before the exam, my pieces were running on a constant loop in my head. I practiced my fingering while I slept, when I slept, which was seldom and badly. I practiced maniacally. I worked out every kink in continual mock Zoom exams, doubling down on the bits I messed up. Two days before the exam, a curious sense of calm descended. Out of nowhere, I felt that I had learned the elements of preparatory violin, and performance of these basics was up to the vicissitudes of exam performance where, of course, anything can happen. I had memorized my repertoire pieces and, though not necessary, my étude. My scales were on autopilot. I needed to credit myself with accomplishment of this basic learning and damn the torpedoes. I was ready for the exam. The morning of the exam, I ran around in circles preparing: my violin needed to be acclimatized to the humidity of the basement. The piano and the violin had to be tuned exactly in pitch. Was there enough resin on my bow? My husband and I practiced our simultaneous piano and violin start: an audible sniff, and tally ho. I entered the zoom waiting room nervously. We were being recorded though no one was there. And suddenly there she was: my examiner presented a friendly face. I silently thanked the heavens above that I had been spared a hangman. Decades of examining graduate theses and dissertations had taught me that best performance in a tense examination situation was facilitated by an encouraging tone and not by a repeat of the Spanish Inquisition. All the same, my fingers trembled, my sweat glands went into overdrive, and I forgot how to breathe. I did remember to smile and to play with the conviction my teacher had taught me to show. There were to be no faces pulled, indicating disappointment or frustration, and if I made a mistake, I was to make it with pride and immediately move on. I began with my scales, and true to practice, practice, practice, they rolled off just fine. My teacher had told me to sing to my piece called (appropriately), Song: make up words, create a story and tell it in music. She told me to play what I heard in my head not what I produced with my fingers. So, I did. My étude began a little flat but it had spirit. My favourite beautiful slow song scrolled in my head, and I played as if that were me. My fast piece, the last in my program, was intended to be humorous, and it flowed with relief. It was the very final note in the exam that I blew, probably because I knew I was nearly done. I heard the ear test note perfectly but by that time, my flustered fingers just missed the spot. It was almost funny. And the exam was over as suddenly as it had begun. It had taken 7 minutes. In the academic sphere in which I work, I am not a fan of examinations, which create a ceiling as easily as a floor and encourage parroting of known standards rather than innovative thinking. But I was surprised by the excitement I felt taking a preparatory level violin examination. Learning the violin is qualitatively different from the cognitive learning I work with. Playing the violin is deeply embodied, requiring the player to learn precise physical skills to communicate with an instrument. There is no music without mind, body and instrumental medium working in concert. My mark—not yet received—now seems immaterial. I sensed that my performance was a pass for this level of accomplishment, and I could now pursue the next level of play. The basics I so fervently argue against in public education (which has developed over the past 200 years past the horse and buggy era) indexed something else in violin: an ability to perform skills enabling me to proceed to more complex embodied music making. I could now move into level 1 learning. And that is where I am now: learning the D harmonic minor scale and playing 2 octaves of the G major scale. Woohoo! I was the proud accompanist for Heather, my wife.
David Know more than the notes. Exploring the questions of sociological context, compositional techniques, recorded history and more will add depth and sophistication to your playing and security to your memorization. Click on the picture for more, or for the "science" click the link. Here is a simple example: 1st Movement of Sonata in F minor op. 1 Who created it? Beethoven, German Romantic era composer 1770–1827 When and where was it created? 1795 Vienna Austria Why and for whom was it created? Dedicated to his teacher Joseph Haydn. Apparently it was his first publicly published work. What does it sound or look like? Dramatic opening rocket type theme of the tonic, then dominant chord announces that there is a "new kid in town". Great dynamic contrasts throughout the movement keep us focused. A composition of a young man. What kind of structure or form does it have? Classic Sonata Form What is its subject? The interplay is between the 2 main themes in the exposition and their development through many key centers. What is being expressed? Youthful exuberance, drama and compositional skill demonstration of the classical era style. What techniques did its creator use to help us understand what is being expressed?
David Group activities will be back. In the meantime we will all practice, stay safe and continue our lessons online.
David Restarting piano after a 4-decade hiatus? How to get started. The hands will be slow. But they will improve. Patience is the key here. An analogy: You were at 18-year-old track star back in the day. You buy a pair of expensive running shoes, the kind that promise speed, endurance, and youth. First day out, you run 10K. It is glorious, next day you can’t move. Shoes go in the closet; you are back in front of Netflix. Oops, you’ve made a tactical mistake. Try this instead.
Have fun, if I can help, call me. David
David I'm 15 or so and I've been playing piano for just a year when I got the call from a singer of my acquaintance. She is cute and she needs an accompanist for the outdoor church strawberry social. I accept. (Though I'm way over my head, I'm keen to impress.)
We practice together. Somehow, I survive. However, I am about to learn the difference between the practice room and the stage. (I didn't imagine it is like basic training verses combat.) So, picture this: It's a beautiful day as I approach the piano the church has hauled onto the grass. The back of the piano faces the singer and the audience. I confidently sit down, and immediately my right leg starts to bounce uncontrollably against the underside of the piano. People are looking around for the source of the noise. I remain deadpan behind the piano. She keeps singing. It mercifully ends. Takeaways. 1. "Superbia et ante ruinam" Pride goes before the fall. But the show must go on. 2. Never underestimate the power of shameless audacity in a show business career. 3. The magic of the performing arts is its illusion that it is easy. David Revised June 2023 Bach - The Complete Sonatas and Partitas for Solo Violin by Arthur Grumiaux Mozart: Fantasia in D minor Classical students 1. Phrasing: Notice how the performer tapers each 2-note slur 2. Chords: Notice how the performer "strums" the chord from the bottom to top note 3. Dynamics: When the music goes up in pitch so does the intensity and vice versa. This is a common effect in classical music performance. Furthermore, phrases which rise often start softer before the crescendo. 4. Bach uses chromatic approach notes into chord tones measure three. Mozart uses these types of figures as well in the 10th measure of his Fantasia in D minor ten. Have fun. David Revised June 2023 Bach - The Complete Sonatas and Partitas for Solo Violin by Arthur Grumiaux Lockdown 2.0 Oh boy!
The article above supplies some great ideas to keep us practicing. I invite you to click the photo to read the article. David In 2018 I traveled to Poland to study with American Jazz Masters: Dena DeRose, Miguel Zenon, Aaron Goldberg, Mike Moreno, Ali Jackson, and Luques Curtis. This transformation experience was worth every penny. Aaron Goldberg, pianist, was my ensemble leader for the week.
But first. About seven years ago I first attended the Jamie Aebersold Jazz Workshop in Louisville Kentucky as a drummer. I was green but pumped. I was pulled out of the workshop on day one and sent to a room where two instructors waited. Instructor and bassist Bob Sinicrope started drilling me with questions. Who are you? Why are you here? Very direct. I explained I was a piano teacher and musician from Toronto who now played the drums. I had attended Berklee College of Music back in the day… He cut me off. “Who did you study with?” "Ah, Ray Santisi." “Ray Santisi, I’m his bass player!” We were instant friends. Which brings me back to Poland and Aaron Goldberg. On day one, after hearing us all play, we were put into groups and assigned rooms to report to. A bunch of us showed up, nervously eyeing each other. Language was immediately an issue. There were 5 Poles, 2 Russian teenager wunderkinds, 1 Chinese Rock Star, and 1 Canadian old guy. And we all noticed the room was devoid of music stands. Aaron walks in and introduces himself. Turns out h was a student of Bob Sinicrope! He then calls the first tune Body and Soul. Everyone knew it by memory! So, without music we sing, using solfege, together the bass line of the song after much discussion and negotiation of the chords. Then the singer, in halting English, explains it’s in the wrong key. Aaron gives us a new tonic note and low and behold we sing the bass line in a new key. He counts us in. Away we go. I was glad I was a drummer that day. At the concerts we are the only group playing without music. The lack of music meant we played with an intensity and conviction that the fakebook readers didn't have. I chalk it up to the terror of flying without a net. Our reward? Aaron buys us a bottle of Bison Vodka at weeks end and toasts us all. Thank you, Aaron, for the valuable insights and the vodka. David Revised January 2024
Memorizing simple tunes is the shortest way to get your jazz mojo swinging. The jazz method below is based on the wise words of Louis Armstrong and the teaching experience of Lenny Tristano. I credit the singing of the chord roots to Aaron Goldberg who I spent a week studying with in 2018.
Let us consider the benefit of singing the bass lines in the manner above
If I can help you through these steps, please call me. David Revised June 2023
It is two months before the big date. What do you do? How do you practice?
Some thoughts:
David Listen to superb musicians playing great music. It is a musical truism: "we are who we listen to" because who we listen to inculcates the sound of the music into our being. This inculcation will colour how you play.
Try this on your next new piece.
Have fun. David Revised January 2024 A good question. If you are in a hurry to be great, it is going to be difficult as greatness takes a long time. Furthermore, today the level and depth of training in all fields of skilled physical activity, like sports, and music, is much greater than the past. Yesterday's heroes wouldn't make the team today. So, what worked 50 years ago, won't work today. However, consider the roles of the following: humility, patience, aural training, tutors, learning to practice, realistic goals.
I'm available to help Just call me. David Revised 2024 1. Immerse yourself in jazz music. The more you listen, the quicker the journey. This is because you need to be able to identify when you’re playing correctly. Adopt the listening habits of a musician. There are numerous resources available online, such as blogs and courses, that can guide you on how to listen effectively. For instance, consider the audio lecture series “Elements of Jazz”. 2. Commit three songs to memory: a blues, a ballad, and a standard. These will serve as the foundation for applying your expanding knowledge. 3. Master the fundamental elements of Jazz. A good start is the major scales for the three songs you’ve memorized, and the jazz chords played in broken inversions. There are additional aspects to learn, but we’ll tackle those later. 4. Experiment with the melody. Pay attention to how the greats have “interpreted” the melodies on the ballad and standard. Try to emulate them. 5. Develop your instrumental skills to match the level of the jazz solos you aim to perform. 6. Identify a brief sequence, perhaps three or four notes, within a jazz solo you admire on YouTube. Listen to it repeatedly until you can sing it, then locate it on your instrument. The “licks” you learn this way will become uniquely yours. I can guide you on how to transpose these licks onto the other chords of your three songs. Here is a demonstration transposing a 3 note lick in “Autumn Leaves.” 7. Analyze the solos of other musicians on YouTube. Search for something like “Autumn Leaves Transcription” and explore the results. Try to find multiple versions of your three songs. 8. Focus on the basics before diving into more complex techniques. Ensure you can play a12 bars blues without losing your place before moving on to complex tunes. 9. Deepen your understanding of music theory. High-level jazz involves applying theory in real-time at a fast pace. 10. Invest time in ear training. It’s challenging to play what you can’t hear. Remember, I’m here to assist you with each of these ten steps. Call me David It's a honor and thrill to teach piano. After all these years I still look forward to going to work each day making dreams come true.
I'd be pleased to help you find your way. David It is fun.
It’s fun if you are young and playing with your mom, it’s fun if you are older and playing with your spouse. The experience of duet playing is social bounding. The piece teaches so many skills to a neophyte.
If you like to be part of this, call me. David It might. If the instrument you play now is uneven, out of tune, and has missing notes, joy will be dampened. Chopin is reported to have said, “play the best instrument you can when learning.”
Here are other thoughts on staying in the game:
These are problems all musicians/students must deal with from time to time or in these times. David "A landmark in jazz studies, 'Thinking in Jazz' reveals as never before how musicians, both individually and collectively, learn to improvise. Chronicling leading musicians from their first encounters with jazz to the development of a unique improvisatory voice." Amazon description.
A worthwhile read for every jazz student for the first hand recounting from master jazz musicians on how they learned to improvise. David |
You've got to learn your instrument. Then, you practice, practice, practice. And then, when you finally get up there on the bandstand, forget all that and just wail. AuthorI'm a professional pianist and music educator in West Toronto Ontario. I'm also a devoted percussionist and drum teacher. Categories
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