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Gretchen Saathoff

~ Collaborative Pianist/Vocal Coach ~ forging partnerships, making memorable music together

Monthly Archives: August 2010

What Rehearsal Playing is NOT

26 Thursday Aug 2010

Posted by GretchensPianos in constructing a piece, learning, marking the score, pianist, preparation, process, rehearsal, responsibility, sightreading, tools

≈ 8 Comments

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rehearsal playing

Follow The Leader
Image by furiousgeorge81 via Flickr

A search on my blog recently asked the question:  “How do you follow a chorus?”

Short answer:  you don’t! You should be “following” the conductor.  Or, rather, both of you need to be on the same page, with you anticipating what’s ahead in the score as well as in the rehearsal.

In a previous post, I talked about how to play a rehearsal.

With choruses across the country about to start rehearsals, I thought this would be a good time to approach the same topic from the opposite point of view.

If you are a pianist who walks into a rehearsal expecting to follow everyone else, you will not be effective.  Our job is to help people learn the music.

Picture this:  the conductor is rehearsing an SATB piece.  You’re playing the voice parts.  Let’s say that the tenors have a difficult section, and slow down while they’re figuring it out.

What would you do?  Play SAB together, then the tenor part late?  (Try it!  Not so easy!)

A better approach would be to play all parts together, emphasizing the tenor line.  Because the tenors in this scenario are the only section having trouble, their part could be played a little louder and more percussively than the others.  (Try using your thumbs.)  In that way, we are contributing to the rehearsal, helping them learn their part.  They hear it in rhythm, and get with the program.

A rehearsal pianist is NOT wallpaper.  Even though you may hear people say, “You were so good, we didn’t know you were there!” that can be translated into how helpful you actually were.

When one part is rehearsing separately, as soon as the singers are fairly comfortable we can add the solo line, if there is one, and the bass line.  This could be the bass voice part or the lowest part of the accompaniment’s left hand.  The chorus gets an idea of the chord structure this way, which helps them hear where they are, how their parts relate to the whole.

Avoid playing anything that sounds dense until later in the learning process.  Density confuses people, when what they really need is something clear and reliable to hang onto.

An effective rehearsal pianist is NOT a passive attendee.  Just showing up is not enough.

If a rehearsal pianist does not play confidently, most likely s/he has not looked at the music.  Even in a situation where sightreading is required, the playing should be far  better than that superficial level.  If anything, rather than following anyone, you should be providing pitches ahead of time.

When a pianist looks at the music in advance, s/he knows where the key changes are; where the repeats are and marks them; knows all difficult passages, introductions, and postludes; knows all voice parts, as well as obligato instrumental solos; AND can play any part in combination with anything else.  If there is a difficult jump between pages, his/her eyes may not focus quickly enough.  As soon as that happens, s/he puts an arrow in the margin.

If these skills do not exist, then the pianist is hindering the rehearsal.  It is our job to move it forward.

What do you think?  Do you take the lead when playing rehearsals?  Please comment in the section below!

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My Brain on Rep (conclusion)

20 Friday Aug 2010

Posted by GretchensPianos in balance, build repertoire, choosing program, compositional style, concert, fingering, freedom, music, new experience, new insights, preparation, process, sightreading, something new, variety

≈ 10 Comments

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choosing a program

George Gershwin

Image via Wikipedia

As my New York super used to say, “Feeneesh!”

This post is the conclusion of my earlier article about choosing music for this 2010-2011 season.

Apparently things cooked nicely in the back of my brain during my week off.  That’s  a surprise, since I haven’t read through any of the pieces completely yet.

This week:

Monday

Bach, WTC I, Prelude & Fugue no. 5 in D Major

Individual parts are making more sense than they did two weeks ago.  And it’s fun to try two parts at a time for brief passages.  Hearing the harmonies and dissonances (and overtones!) close up for the first or second time provides the same element of surprise that audiences will hear.

Fingerings continue to demand attention. Whenever that goes into auto-pilot, sightreading takes over.  Allowing that to happen ensures the reinforcement of unwanted accents and flow problems due to bad fingering.

Katerina Stamatelos, Variations and Invocation Upon a ’Kyrie Eleison’ and an Anathema

Katerina is a composer I met on Twitter!  Several of her works are available in print and as audio files on her web site.  I became interested in her music upon listening to some of these and reading her bio.  She majored in composition at the University of Iowa!  So I feel a connection.

The Variations are wonderfully inventive.  In addition to melodic and harmonic considerations, they surprise when each variation proceeds to the next one.  Just as the listener expects a phrase to continue a certain way, perhaps, the music is already into the next section!

This piece is accessible to audiences, including those unaccustomed to contemporary music, largely due to the melody of the Kyrie, easily heard  throughout.  I can’t wait to perform these pieces!

Schumann, Kinderszenen

I’ve loved these pieces for a long time, but never thought of performing them.  Learning them for the first time is an excellent opportunity to use my imagination like a child!  (If I had a hobby horse…)

This set of character songs will be the center of my program.

Messiaen, Fantaisie Burlesque

This piece is so unusual for Messiaen, it’s going to be a great programming choice.  No one will know what to expect.  The harmonic and rhythmic language fit his style, but what about a burlesque fits his spiritual M.O.?

A customer review at Amazon says Messiaen wanted to write a “funny” piece.

The score has Messiaen’s extra staves above and below the staff, as usual.  But this time, only one hand has to move up or down.  So I’m thinking this is going to be easy!  Most of the time, Messiaen has so much going on that you could get dizzy.  When he has more to say and has run out of room, he just adds layers.

This piece has repetitions, both of melody and chord groups within sections, and whole reiterated sections.  There are several sections, and it’s a rather long piece.

Gershwin, Preludes

“Sleepless Night” and “Spanish Prelude,” and possibly “Novelette in Fourths,” probably not in that order.  “Spanish Prelude” would end the group more impressively, with energy.

An additional word about Gershwin

I feel compelled to play Gershwin.  There are three reasons for this:

  1. Gershwin was a very inventive and talented composer (so I don’t see programming his music as “dumbing down”
  2. I have been told that I play Gershwin well (Norman Luboff hired me based on his hearing me play “Summertime” from Porgy and Bess)
  3. Last Sunday’s performance of Gershwin’s Piano Concerto by the BSO was disappointing to me, giving me all the more reason to perform his music well.

Sunday’s performance was part of the Boston Symphony concert broadcast from Tanglewood.  The soloist, Jean-Yves Thibaudet, was wonderful.  His playing sounded jazzy and free.  The BSO, though, was playing straight 8th notes!  Why?  That would be appropriate to Haydn, Mozart, Schubert, and many other composers, but certainly not to this one!

Had Bernstein been conducting, the BSO probably would have sounded great.  Why wasn’t the orchestra listening to the soloist?

OK, what do you think? Do your programs reflect your interests? How do you feel about mixing styles?  Do you play Gershwin?

Please share your thoughts about programming in the comment section below.

Read about my new E-book here!

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2010-2011 Program

19 Thursday Aug 2010

Posted by GretchensPianos in choosing program, something new, variety

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Program

Tropo melisma musical largo Kyrie eleison
Image via Wikipedia

Yes!

Here it is!

Bach, Prelude & Fugue, WTC I, no. 5, in D Major

Katerina Stamatelos,
Variations and Invocation Upon a ’Kyrie Eleison’ and an Anathema

Schumann, Kinderszenen

Messiaen, Fantaisie Burlesque

Gershwin, 2 or 3 Preludes: Sleepless Night, Spanish Prelude, & maybe Novelette in Fourths

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A Reblog, with Gratitude: “Getting oriented”

17 Tuesday Aug 2010

Posted by GretchensPianos in Uncategorized

≈ 2 Comments

Image of Jenn German from Twitter
Image of Jenn German

Jenn German, who writes If it ain’t Baroque, has done an enormous favor for me and my E-book!

____________________________________________________________

Getting oriented

By Jenn

Firstly! WordPress has offered another new sharing goody. If you don’t want to “Like” a post, maybe you’d rather tweet it? I know you would! Post pages (that is, entries on their own individual pages, not on the main home page) now offer a “Tweet” button that enables you to tweet a link to the post to all your Twitter follows without taking a cursor off the blog. Sweet, no?

Secondly! Loyal reader and awesome name-owner Gretchen Saathoff sent me the following:

First, I would like to invite you to find out more about my new E-book!  It’s called Goal-oriented Practice: How to Avoid Traps and Become a Confident Performer.


Goal-oriented Practice

My book was written with both teachers and students in mind.  In it, I discuss how to make steady progress without getting stuck.  There is absolutely NO JARGON used.

NEW:  Now, for the first time, there is a volume purchase rate available!  So, if you are a private teacher, a class participant, or a school administrator, this offer is for YOU!  To find out more, just reply to this email.  Please use the subject line:  “Book”.

Enjoy!  Any questions you have prior to purchase are most welcome.

She certainly LOOKS like a piano teacher, don’t you think? The erect posture, the sensible black dress. I certainly think she can orient your goals with efficiency and aplomb. Show your fellow Aintbaroquer (Aintbaroquian? Aintbaroquette?) some love!

____________________________________________________________

Jenn’s blog is excellent, published frequently, and very funny.  I hope you’ll subscribe!

A Twitter comment from Jenn:  “I had to restrain myself from calling this post “Charcoal Aintbaroquette.”

Punniest thing I’ve heard all day!

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Programming “lighter” music: is it dumbing down?

14 Saturday Aug 2010

Posted by GretchensPianos in build repertoire, choosing program, concert, engaging the audience, music, outside the box, priorities, process, variety

≈ 8 Comments

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arts, audience, Education, George Gershwin, Greg Sandow, Music, Programming, Speech

Playbill from Eva Gauthier's breakthrough 1923...

Image via Wikipedia / OK, so it's not much of a pic ~ look at the program!

Greg Sandow, American music critic and composer, is writing a book entitled “Rebirth:  The Future of Classical Music.” A recent post on his blog speaks to his line of thought.

Upon reading his well-considered post, I found myself commenting rather extensively.

The topic concerns programming “lighter” music as part of a concert.  Is it a sellout?  Unacceptable?  Dumbing down to the audience?

Let’s continue the conversation!

My comment (beginning)

“Hi Greg,

I agree, and can speak to #7, especially.”

[This next section (indented) is from a portion of Sandow’s post, originally written by Ken Nielsen.]

“7. I believe that greater engagement with and involvement of the audience is an important part of the puzzle. A concert should be more like communication than a one-sided speech. .”

My comment (cont.)

“For the past 2 or 3 yrs., I’ve been speaking to audiences to introduce a piece if it’s unusual. They love it! Contemporary music and Bach fugues both qualify.

First, they immediately feel like they’re welcome participants, not cabbages who are expected to just sit there.

Second, when something is introduced in friendly, not dry, terms, they are able to listen and understand some of what they hear.

How do I know this? They make a point of talking to me afterwards! When I’ve played Messiaen, people tell me about the pictures they saw in their heads.

One of my favorite scenarios is to introduce some Messiaen preludes, then let the audience know that Gershwin is next! That way they know that even if they don’t like 7 or 8 minutes of the program, they’ll be able to go home happy.

Take care,

Gretchen”

There are other instances of programming “lighter” music, of course.  Two of those would involve presenting an entire concert of “lighter” music or playing simplified versions.

I do not believe that any audience needs to be accommodated by simplifying the program. It is important to me to try for a good “fit,” matching the type of audience with the sort of program offered.  But that feels like a different way of going about programming.

Meeting the audience where it is has always been successful for me.  I find it important to speak to my audiences without talking down to them, but also without assuming that everyone has a music degree.

Inquiring in advance about the likely makeup of the expected audience is very helpful.  Talking to the person who hired you is usually an excellent place to start.

One way to arrive at a place that works, for me, is to remember what it feels like for me when a different field of expertise is involved.  I have had economics explained to me in clear terms, without jargon.  And that same approach is entirely possible in speaking to audiences about our programs.

Another example: I’m completely out of the loop when I walk into a hardware store!  (Well, OK, I’m a little better than I used to be…)  So I always find the manager immediately and ask for help.  That effort always saves me at least 1/2 hour!

So, what do you think?  Do you program “lighter” music?  What percentage of your program is devoted to that?  What are the circumstances?

Please share your thoughts in the comment section below!

And while you’re here, please check out my new E-book!  It’s called “Goal-oriented Practicing:  How to Avoid Traps and Become a Confident Performer” Both individual and volume purchase rates available!  Buy now, before the price increase!!!

Also, a progress note:  next week’s post will be “My Brain on Rep, cont.”  The one-week delay is due to my having whatever bug was going around, so, no practice.  Better now, though.

You can also click below to drive traffic RIGHT HERE! Thanks!

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My Brain on Rep

07 Saturday Aug 2010

Posted by GretchensPianos in Uncategorized

≈ 4 Comments

Recreated :File:Neuron-no labels2.png in Inksc...
Image via Wikipedia

This week I began choosing repertoire for my 2010-11 solo concerts.  The unsettled nature of the process makes me crazy.

The plan is to find several groups that can be mixed and matched, depending on the requirements of each concert series.  Almost every concert needs to be a different length of time, for example.

I hope that telling you what’s in my brain during this time, with all its variables, will help you choose a program, or raise a few questions, or encourage you to think.

What follows has been expanded from my practice log, Tuesday through Friday.

Tuesday

My goal was to practice for at least an hour.

I played all Bach, all the time, reading through 5 Bach Preludes and Fugues.

Opening a program with Bach works very well for me.  There was no need to eliminate pieces yet, so I only wrote down my choices for the day.

Total time:  1-1/2 hrs.  I love it when that happens!

Wednesday

I read Messiaen’s Fantasie Burlesque well enough to hear harmonic changes.  Where to place this on a program is an open question right now.  I like the piece, and don’t think audiences would know it.

One concert series I’ve played on twice features performances as an extended prelude to the church service.  This piece wouldn’t work there.

Next, I read through some music with an “Internet Group” in mind.  There are a few composers I’ve communicated with via Twitter whose music I’m interested in.

This idea led to reading one piece from a set, and 3 variations from a different composer.  The general mood seemed to be about nocturnes.

So then I thought of following those pieces with Gershwin’s Sleepless Night. That one should be a slam-dunk ~ an easy mood to call up!

A good followup to that might be Spanish Prelude, also by Gershwin. Upon reading through it, the music seems much easier to play than listening caused me to think.

And then I looked at Schumann’s Kinderszenen.  I’ve read some of it in the past, but never felt comfortable.  Maybe it need to cook in the back of my brain.  Today it felt good. So I read more movements than previously.

Today, these pieces felt like character songs, something I’ve had lots of experience performing.  Also, they are more laid back than the music on concerts I’ve played recently.

Goal for tomorrow:  think about Kinderszenen as the core of a program.

Thursday

Today looked like a good time to narrow the Bach choices to 2.  I concentrated on runs, playing hands separately and focusing on fingering.

My inner sight-reader loves to take over when I’m learning music.  To keep a lid on this tendency, I hold the tempo and stay alert, practicing short phrases.

For example, when there is an octave, thumb to 5th finger in the right hand, sometimes the next passage is a scale upward from the 5th finger’s note.  If I don’t pay close attention, I’ll be sitting on that note with my thumb!  It’s much easier to get the right notes when sight-reading that way, but it won’t be legato, and may even create an unwanted accent.

When a sight-reading glitch happens, I will back up, find a fingering that works for the music, and get that into my hand.

I’m happy to have the time to notice!  Learning music during “crunch” times is different, more pressured.

Some fingerings provided by the publisher don’t fit my hands.  So, by playing under tempo, I can feel the sweep in my hand and hear what works and what doesn’t.  Then I write in the fingerings that work for me.

That comes from experience.  By now, I know very well what my hands will do on stage, whether I’ve practiced a certain fingering or not!  So it saves a lot of time to deal with that right from the start.

After making some decisions about Bach, I tried a little Messiaen again.  I still think it’s a nice piece.

Then I decided to read all the Theme and Variations. That worked very well, and will fit in with the Bach and Schumann.  So it looks like the other “Internet” composer I’d been considering will work better another time.

Finally, I worked on the 2nd movement of the Schumann in detail, mostly hands alone.  I’d never read it before that I can remember.

Friday

Everything still has to be timed.  But it is looking like the 1st Bach choice will be enough.  The Prelude is fairly long.

With Schumann as the main event on the program, it’s important to protect its character.  Preceding it with something too showy will cause the audience to have difficulty hearing it.  So, in that case, the 1st Bach Prelude is the better choice.

In the Bach, I practiced fingering and listened for legato.  Again, it’s important for me to avoid the morph over to sight-reading mode.

After that, I got going on more movements of the Schumann:  #’s 8, 2, 9, and 3.

Then I translated the titles.  Even though these are instrumental pieces, it’s crucial to translate everything. How else do you know what you’re playing about?

How about you?  Please share your experiences with programming in the comment section below!

Also, do you find yourself sight-reading when learning notes and fingerings?  How do you handle that?

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James Levine, cont. Someone finally said it!

03 Tuesday Aug 2010

Posted by GretchensPianos in Uncategorized

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Tanglewood Music Shed and Lawn, Lenox, Massach...
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In today’s New York Times, reviewer James R. Oestreich finally tells it like it is.

“LENOX, Mass. — This was to have been another weekend of hectic triumph for James Levine here at the Tanglewood Festival, in what increasingly emerges as a ridiculously overcrowded schedule for someone in dubious health.”

Read the rest of the article here.

Thank you, Mr. Oestreich!

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Hey! Check THIS Out!

01 Sunday Aug 2010

Posted by GretchensPianos in Thank you!

≈ 6 Comments

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A big THANK YOU to Tom Saul!

Tom Saul, a jazz clarinetist who writes the blog Mahatma Candy Project, included me there this week, BIG TIME.

Please take a minute to check out what he does.  His trio collaborates remotely!  I’m thrilled that they are making that work.

http://bit.ly/d302du

Thanks, Tom!

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