Too good!

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Class

Bravo in Barcelona.
Shutterstock image. Source: Pixabay.

A new blog post!  Surprising, I know.  Having a few days’ vacation time gives me an opportunity to catch up a little.

A most amazing thing happened in musical theater class a couple of weeks ago.  I’m so excited to have a chance to tell you all about it!

A student took her turn a few minutes into the class, singing “Almost There” by Randy Newman.

She had nailed “All That Jazz” by John Kander just the week before, so I was anticipating that this would also be wonderful.

As it happened, she was anxious about something. When she began to sing, I could barely hear her. I wanted to get into it and play, but my sound would have covered her voice.

Why was she nervous?

It could have been anything.

• Was she coming down with something?
• Was she unprepared?
• Was she working on one aspect of vocal production rather than performing the song?

What was going on?

She was worried about the high note at the end of the first phrase, so she held back out of fear that her voice might crack. This is a freshman class. The students are shy about making a fool of themselves in front of other people, even in class. (I’ve been there myself so many times! As a freshman, I was so nervous in my first voice jury that I forgot every word after the title of a slow song in English! I changed my major immediately.)

The professor, who is also her voice teacher, identified the problem and found a way to deal with it.  Among other things, she vocalized the student to a top note a third above the one she was concerned about.

And THEN…

On the fourth or fifth try, she knocked everyone out of their chair!  She was SO GOOD!!!  It was perfect.

Next:

The professor talked about how well the student had just performed, giving her kudos for her substantial progress this semester.  She talked about how gratifying it was to witness this as a teacher, saying, “If I had my shoes, I’d throw them!” ++

Huh?

She elaborated.  In the African-American tradition, when something is “too good,” audience members throw their shoes! *

And then the professor burst into tears.  It was so moving.

The student was in tears soon after.

And the class was speechless.

And that, for me, is what it’s all about.

++  Class is held in a studio with a dance floor.  Everyone takes off their shoes so the floor remains grit-free. If a dancer were to trip on grit, s/he could sprain, dislocate or break something, putting him or her out of the game for a long time.  So that’s why the professor didn’t have her shoes!

*  Both professor and student happen to be African-American.  After class, I shared with the professor that I worked in an African-American church in Brooklyn for quite a while, also performing in other venues with the music director, who is a wonderful singer. However, when things were “too good,” no one threw their shoes.  So where did that come from?  She said it’s a Southern thing.  People even throw their shoes in church!

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Backwards Day!

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Music, pedagogy, teaching

A delightful seven-year-old, arriving for her lesson, immediately announced “This is Backwards Day!”  Who knew?

I went with it, of course.  Resistance would have resulted in one unhappy student.  What actually happened?  We had tons of fun!

What transpired

• We said, “Goodbye!”
• We shuffled her books so the top one was in back
• We chose a piece from the back of the book
• She played the end first
• We went backwards, line by line
• “I love it” became “It love I”
• Fast became slow, and vice-versa
• Loud was soft
• Cresc. was dim.
• She tried a piece with her hands crossed (good practice!)
• She taught me how to play something while she sat in my chair
• She asked me questions like she was the teacher
• And then we said, “Hello!”

Why backwards?

• Backwards is good!
• Start in different places
• Vary repertoire
• Play different dynamic schemes, different rubato, different tempi
• Try the opposite if Plan A isn’t working
• Find fingering backwards ~ where do you need to end?
• Nail the endings by practicing them first
• Practice movements, songs, and sections in reverse order for more flexibility and security

Why backwards works

• Reversing the order of movements assures “equal time” when something interferes with your practice session
• Going backwards is fun!
• Shaking things up enhances concentration
• The usual expectations of the same thing in the same way every day are avoided

Do you sometimes practice backwards?  Do you help your students mix it up?  Please share your thoughts in the comment section below!

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Where’s the beat? Teaching syncopation.

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coaching, music education, pedagogy, rehearsal, syncopation

A young boy plays with a toy drum that was given to him during Joint Task Force-Bravo’s visit to at the Sisters of Charity Orphanage in Comayagua, Honduras, Jan. 25, 2015. The Sisters of Charity Orphanage is one of seven different orphanages from around the Comayagua Valley that the U.S. military personnel assigned to JTF-Bravo have supported over the past 17 years. In addition to spending time with interacting with children, members have also collected and donated much-needed supplies and food, as well as helped in minor construction work on the buildings in which the children live. (U.S. Air Force photo/Tech. Sgt. Heather Redman). Source: Wikimedia. Public domain.

Isn’t this a wonderful photograph?

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Background

A high school flutist and I performed the piece excerpted below on a recital in April. She plays quite well, but this piece was full of syncopation. Keep in mind that she was looking at the flute part only (top line). Pianists usually play from the complete score (solo line plus piano part).

Excerpt from “Allegretto” from Suite de trois morceaux, Op.116 by Benjamin Godard

First Run-through

The soloist knew her part securely. But the rhythm in the piano part, not surprisingly, threw her off. She took the right hand part (off-beat) to be the beat. So, for example, in the 3rd bar of the 2nd system, her quarter note was one beat late, played after the last chord in the piano part.

Second Try

I played my part as printed, counting out loud. We would stop along the way to correct rhythmic mistakes. She would look at the score when the rhythm threw her off.

That approach resulted in about 50% improvement in our brief rehearsal.

Taking a Closer Look

I continued to think about her that evening. How could this be a better experience for the student, with the performance in front of an audience only a few days away? Was it sink or swim? Or could I do something to help?

In Her Shoes

After considerable thought, I realized that the student was relying primarily on what she had heard during our brief rehearsal. She didn’t have the piano score, and told me she had not listened to recordings.

Going by sound alone complicates things in this case.

Try it! When you sing one low note followed by two higher notes at the same pitch, listen to the way the higher pitch is easier to hear. It would take a lot to make the low note take over as the anchor. Hearing the pitches without looking at the score can easily sound like the low note is an upbeat.

A singer, by contrast, would have the score to refer to. Instrumental parts are published separately, so only the solo line is available unless they keep a copy of the score (or someone provides it).

To add to the challenge, I learned the next day that the student has a cochlear implant. That would make it more difficult to hear anything, possibly also causing a delay in the perception of sound.

The Next Day

Fortunately, there was more rehearsal time available. I checked with the teacher to ask whether it would be acceptable for me to call the student’s parents with the goal of finding another time to get together. We found a time for the following evening.

Recording the Piano Part

I realized that we had only rehearsed the piece one way; as printed.

Since the off-beat is so easy to hear as the beat, I wanted to try something. The student had her phone with her, so we recorded the piano part twice:  the first time on the beat; the second as written.

The “on the beat” version went very well! We practiced the piece that way again. This time, the student tapped (stomped, really) her foot on the beat.

Then we practiced the piece as written. She was much closer.

The Core Problem

The student had been attempting to understand the syncopation without knowing where the beat was.  You can’t have an off-beat without feeling the beat first.

I encouraged her to march around the room, stamp her feet, and sing, play, clap… whatever would get the rhythm into her body. I suggestion that she count, tap, stamp, clap, or whatever else she wanted to do, louder than the piano part.

Her First Response

“I can’t tap my foot in the performance.”

I agreed, and went on to say that it’s OK to tap your toe inside your shoe, especially the first time you’ve ever done this. And you can do whatever you need to do in rehearsal. The audience doesn’t see you rehearsing, nor does it know what you’re thinking in performance.

Solo Flute Practice

She did it! She had two days left to experiment, and addressed the problem at home without my being there.

Performance

Wonderful! She played out, sounded secure, and was not particularly nervous.

Followup

Two or three weeks later, I ran into her at school. After we said hello, I asked how she felt about the performance. Her response: “It went better than I thought it would. I felt very comfortable.”

And that, of course, makes it all worth it.

Contrasting Performances of “Our” Piece

As good as it gets. Enjoy!

This performance is closer to our tempo.

Purchase the score

What do you do when a student is thrown by something new? Comments welcome!

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Please take a look at my e-book!

“Goal-oriented Practice”
Are you practicing well? What do you do when you hit a snag? How do you help your students practice?

Do you have a plan for putting difficult pieces together at performance tempo? How do you help your students achieve a steady tempo without slowing down in difficult passages?

This book will help you take a step back, save practice time, learn more music, and perform with confidence.

50% off!!!  Absolutely NO JARGON!  Even my non-musician little sister says so.

Click on the link to see the book intro, table of contents, reviews, and reader comments.

What did you find here?  What would you like to see? Comments welcome!

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The single most important thing you can do right now to improve your practice sessions

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Music, music education, piano pedagogy, practice

Image via Wikipedia

 

​How often do you spend hours practicing, only to realize later that much of that time was wasted?  Do you find that you need to revise your plan as you go along from time to time?

If the answer is anything other than “occasionally,” you can do something about it.  Practicing does not have to be unconscious.

Life happens.  You get a phone call, expecting it to be brief, and it turns into something else.  Or someone comes to the door.  Your child’s school calls, and now you have to drop everything to pick up your daughter.  Schedule changes happen ever 5 minutes some days, it seems.

You had planned on having a block of uninterrupted practice time, and then this happened.  Sticking to your original plan won’t work.  How are you going to learn all that music?

Deciding what to do when you need to change plans

Make a plan for this practice session based on what you can realistically touch upon in the time available.

If some of your planned time has been derailed today, make a new plan.

• Less time per piece/section
• Save some repertoire for next time
• Look at the music you need to do soon
• Keep notes about what you left out; be sure to look at it next time

Adjusting your plans results in better practice than attempting to do everything, regardless.

Reserve part of your consciousness in order to self-journal your practice in your head.

• How much time have you spent on one passage?
• After a few minutes, are you making progress?

You may want to switch to something else for the time being.

If taking a minute every so often to assess your progress just doesn’t happen, try setting an alarm for every 20-30 minutes.  Sometimes musicians, myself included, become completely involved in the music and don’t want to stop.

Tailor today’s practice to the way you feel.

• If you are tired or under the weather, practicing at performance tempo can wait a day or two.
• If you are feeling pressured by deadlines or having too little time, practicing faster and faster is not likely to help.  If you are conscious of this as a tendency, you can set a slightly slower tempo and see better results.  The hardest part of doing that is realizing that you’re caught up in going faster because of a time crunch!

If you find yourself yelling at the composer, the instrument, the editor, the publisher, the wrong notes, or yourself, something is wrong.  None of that is helpful.  Take a step back, take a deep breath, and try another approach.

It’s not about the time you put in.  It’s about the music.

Identifying what needs to be done today, right now, can help you meet a deadline.

During college, I felt that putting in a certain number of hours per day/week meant that I was progressing. And then I found a wonderful teacher who was able to convey what was important. Learning the music well is the game plan, not awarding points for time spent.

I know from personal experience that revising one’s practice plan on the spot is easier said than done. But it is possible, and you’ll be saner for it. By being aware of how we use our practice time, we can obtain better results. Even if we reach the end of our available time today without realizing what happened, we can refocus tomorrow.

Do you have a habit of self-monitoring your practice sessions?  Or do you have regrets after you’re finished for the day?  Please share your thoughts in the comment section below!

Updated from March 2010

Related articles

• Debunking the Myth of the 10,000-Hours Rule: What It Actually Takes to Reach Genius-Level Excellence, by Maria Popova
  
• Do you practice with self-compassion? (gretchenspianos.wordpress.com)
  
• Learn music like a crossword! (gretchenspianos.wordpress.com)
• How to learn piano and organ fugues (gretchenspianos.wordpress.com)
• How to improve your sight-reading (gretchenspianos.wordpress.com)
• After your audition (gretchenspianos.wordpress.com)

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New review by pianist and conductor Andrei Strizek

Introduction, Table of Contents, Reviews, Readers’ Comments.

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How 2 high school seniors mastered Bach style in just 2 rehearsals

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baroque music, baroque period, collaborative piano, flute, high school, interpretation, J.S. Bach, Johann Sebastian Bach, music education, phrasing, style, trio sonata, violin

Have you worked from scores containing editors’ markings that could be interpreted as being misleading? How did you proceed?

Last week I had the privilege of collaborating with a talented violinist, a high school senior.  One piece on her recital program was the Trio Sonata for Flute, Violin and Continuo in G Major, BWV 1038, by J.S. Bach.  The flutist was also a high school senior.

Both played very well.  Baroque style, however, seemed to be unfamiliar to them. So they relied on the score much more than on listening to each others’ phrasing.

The edition we were using contained editors’ markings which were misleading if taken literally.

First rehearsal

This was to be our only rehearsal together, with the exception of a short time in the hall prior to the performance.

I liked many aspects of what I heard:

• In-tune playing.
• Good balance of sound (one player not louder or softer than the other).
• Legato playing, appropriate for this largo movement.
• Nice tempo.

In the “needs work” department:

•  Give and take so the moving part could carry the music.

Each player needed to diminuendo on the long notes, as they had alternating parts. Both players were more familiar with other musical styles, where a crescendo would be called for instead.

Notice in this clip that the top part (flute) plays tied notes while the 2nd part (violin) has more melodic and rhythmic interest.  The give and take in the sound when the players honor that approach changes the sound completely. Now it sounds baroque rather than romantic.

•  The music needed forward motion.

This could be heard primarily in the flute part.  The flutist, looking at the editor’s markings, playing the slurs as indicated.  In addition, because she needed to breathe, she would breathe after a short note.  That took just enough extra time to interrupt the flow of the music, whereas taking time away from a long note in order to breathe would not have had the same effect.

 

 

Take a look at the top two parts (flute and violin, respectively).  Notice how the markings seem to ask for the longer note to be slurred to the shorter one?

The music flows when exactly the opposite phrasing is used, as in the notation at the right of this example:

So we changed it!  The sound improved immediately.

Second rehearsal 

This rehearsal was with violin and piano only.  However, we had an opportunity to discuss the Bach.

At the end of the first rehearsal, my impression was that the violinist understood the changes we had made.  The flutist had improved, but was still relying on the printed score more than listening to the flow of the music.

My suggestion was for the violinist and the flutist to get together by themselves.  They attend the same school and have free time, so this was not a problem.  I asked the violinist to coach the rehearsal, finding musical lines they could play together, such as this one:

My goal was to make any differences in phrasing between the two players as clear as possible. Rehearsing alternating lines might not have had the same effect.

Pre-recital and performance

I am delighted to say that the sound was transformed!  During our brief time in the recital hall prior to the performance, we had just a few minutes to rehearse this piece. After marking in accidentals that crept up on both players, likely because of nerves, I felt encouraged.  If everyone could remain calm, count, listen, and enjoy it, we had an excellent chance of performing well.

And… it happened!  The audience loved what they heard, and I felt gratified.

Here are two YouTube videos of this beautiful piece.  Enjoy!

One version, performed with piano:

And another version, this time with harpsichord:

Have you worked from scores containing editors’ markings that could be interpreted as being misleading?  How did you proceed?

 

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Teach students as individuals, and perform with confidence.

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Optimize your practice time!

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manage time, optimize time, practice, preparing for concerts, save time

Image by romaryka via Flickr

How do you manage your practice time?

[This is a repost from December 2009.  Enjoy!]

Since it is almost impossible to have the same amount of time available every day, it helps to be organized and flexible.  After all, exact repetition every day is soooooooo booooring.

Do you start at the beginning of your program each time you practice?  Are you able to practice everything each time?  Do you have several programs going at once?  It usually happens that I have many different situations to prepare for all at the same time.  With all those variables of performance dates, types of music (vocal, instrumental, collaborative, solo, choral music, etc.), there is rarely a time when everything is ready to go on the same day.

I have found it crucial to set priorities for each practice session.  Depending on the time available, the dates of upcoming concerts, and whether or not a piece is ready to perform, I make a list in my head ~ or sometimes on paper ~ about what I can realistically accomplish that day.  (Most of the time it works.  Sometimes I revise my goals along the way ~ and don’t get mad.)

Keeping a notebook of practice sessions helps immensely.  When you can see the last date you worked on a certain piece, as well as what you did, progress is easier to achieve.  If you don’t know what happened last time, or what state the piece is in, you could spin your wheels for quite a while just figuring out where you are.  And while it may feel good to just play something, it is a huge waste of time.  If you use your time well, you can learn twice as much music.

If I’m increasing the tempo, I write down metronome markings in my practice notebook (but not on the music).  While things are in such a state of flux, I’d rather not have all that writing on the score.  (And erasures wear out the paper.)

When I’ve worked on dynamics, I write that down.  How did it go?  What needs to improve?

Sometimes my impression of a composer’s intent will change, so I write that down, too.  That could change again in a day or two.

Trouble spots definitely make the notebook.  And then I make sure I concentrate on them until they’ve been solved.  Allowing portions of a piece to stay unlearned or remain uncomfortable is truly asking for trouble in performances.

Keeping written comments is the best way I’ve found to get all elements of a program together at the same time.  (It’s like cooking a large dinner, except there’s no backup such as a warming oven or a microwave!)  Having one piece or movement that I’ve ignored until the week before a concert makes me very uncomfortable.  (That happened exactly once.  I discovered on stage, of all places, that I had never put fingerings in a Haydn trio.  Oops.  I felt nervous just for that one reason.  A friend who was in the audience said she noticed, but that it was a good performance anyway…  and I trusted her not to lie to me.   And it will never happen again!)

On days when my practice time is limited, I often surf from one problematic spot to the next.  The next time, I do the same thing in reverse.  Why waste time practicing what you already play well?  You could be reinforcing unusual fingerings, making fast passages more comfortable, calibrating accelerandi and ritards, improving dynamic contrasts, playing the end of one movement and the beginning of the next, practicing intros and interludes in piano reductions or songs, or making a myriad of other effective choices.  What about the ending?  If it’s faster and louder, especially, I spend short periods of time getting it to be foolproof so I can be memorable in the concert.

A word of caution:  I have found that I often feel rushed when I have limited time.  So I play faster.  NOT helpful.  I have improved upon this tendency by being aware of it.  Now I frequently practice under tempo when there is too little time.  That increases my concentration and keeps mistakes from creeping in due to tension and anxiety.

And on those days when there is plenty of time, I revel in it.  Finally!  Time to “perform” an entire program!

How do you manage your practice time?

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Improve your practice results even more with my e-book!

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I can’t play this! I’ll NEVER be able to play this!! NO ONE can play this!!!

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piano reduction

These thoughts go through my head every time I open a difficult score for the first time. How about you?

Background

This is the slow section of Mozart’s Concerto for Violin and Orchestra #5, first movement.  In other words, the “piano” part is an orchestral reduction.

The right hand, when played by the orchestra, is divided between two string parts. Pianists, though, are required to perform gymnastic feats in the reduction, playing both parts in the same hand.

This section of the concerto is serene, slow, and quiet.  To achieve a murmuring sound on the piano is difficult, especially due to the fingers passing over one another and because the normally resulting accents must be avoided.  (It is not possible to play all the notes in the right hand while keeping the hand quiet, playing only five keys ((one for each finger)), and not moving to a different range on the keyboard several times.  In other words, don’t try this at home!)

Facebook comments

When I posted the above pic on Facebook, the following discussion ensued:

First, on 5/1:

[Photo caption]
The most recent addition to my catalog of Finger Busters.

[Discussion]

DG:  Finger busters is right!

AE:  What she said!

HW:  Dang!

MDS:  Wowser.

CBW:  Oh my!  😦

Then, on 5/22:

[Photo caption]
Remember this? The “ack!” phase?
Aced it in today’s performance.
I feel a blog post coming on.

[Discussion]
CH:  Looks “Greek” to me Gretchen but I’m grateful there are artists like you that let those like me enjoy the music!

CBW:  OMG!!!

TP:  Makes my head ache just looking at all those notes!!!

GS:  Exactly. My 1st thought when opening a score is often, “I can’t play this… I’ll NEVER be able to play this… NO ONE can play this!”

And then I learn it.

TP:  Some people like a challenge and some are gluttons for punishment!GS:  And some find it necessary to freak out EVERY TIME. I don’t think child prodigies do that…

TP:  In my trade we call it it SIDS…self induced disaster, the process of psyching yourself out before you even know what you’re up against! lol

GS:  I b the expert!

SN:  So how did the tempo end up?

GS:  120 and 72. Felt reasonable, thank God…

GN:  A great feeling to have worked something out in practice and then play it in performance with no “hitches” . . . .nice work!

GS:  Thank you!

KC:  cool, still growing into the job, Gretchen, that is so great.

GS:  Oh, I have the same reaction every time I open music I haven’t played that looks difficult.

Reality check 

How long did it take to reach performance level with this piece?

Although my Facebook “bookend” posts were three weeks apart, I was busy when I first looked at the score.  There was no time to practice it right away.

After consulting my practice notes, I realized that I had learned the piece at performance tempo in 8 or 10 days.

Got perspective?

This is not an idle question.  I am genuinely curious.  This is an aspect of people’s careers that is rarely talked about, as far as I know.

I am well aware that many musicians learn music faster than I do.  One of the vocal coaching fellows at Tanglewood (there were 3 of us that summer) could learn even a newly composed score still in manuscript form and perform it in 3 days.  He had the enviable ability to skip the practice stage most of us need to get the music into his hands.  Currently head of the composition department at BU, he is a conductor, composer, wonderful pianist, and vocal coach.

My teacher at Aspen was practicing Hindemith slowly with the metronome when I arrived for my lesson one day.  She had never played the piece.  Four days later, she performed it flawlessly, much faster.  So I went home and learned how to practice slowly with the metronome, increasing the tempo in increments.

On the other hand, another teacher practiced Schubert’s “Die Schöne Müllerin” for an entire year before performing it.

What was Horowitz’s time requirement for mastering the repertoire he performed? Rubinstein?  Glenn Gould?  Myra Hess?  Clara Schumann?

A pianist who was interviewed on NPR, when discussing a recent CD release, let it be known that he had practiced one piece for 15 years before ever performing it!

So it seems that preparation time is highly variable.

First take

What do child prodigies say to themselves when first opening a score?  Have you heard anyone talk about that?

I suspect that my self-talk may stem from the fact that I was not a prodigy. While there was music in my family, many musicians I know listened to recordings and attended concerts from an early age.  Several had parents who were professional musicians.  They had mentors who connected them with effective teachers.  Good instruments were acquired early.  All of that makes a difference.  I’ve been playing “catch up.”

A childhood friend recently reminded me that, when I would be invited to go somewhere, my response would always be, “I can’t.  I have to practice.”

Following my senior recital in college, a few friends came back to the recital hall from the distant reception to ensure that I was planning to attend.  They were afraid I would go back to the practice room immediately.  (I’m slow about packing up after a performance.)

B.B. King said it very well:

“It seems like I always had to work harder than other people. Those nights when everybody else is asleep, and you sit in your room trying to play scales.”

 

And now I’d like to thank my audience, who listens attentively whenever I practice and never, ever complains.  And thanks also to everyone who commented on Facebook.

What do you say to yourself when you open a difficult score for the first time?  Do you have a panic response?  See it as a challenge? KNOW you’ll be fine even before you begin?  Do you have an idea about how long it will take you to learn a piece before you’ve even started?

★ ☆.•*´¨`*•.¸¸.• ヅ★

Are you heading into June without a teacher? Need fresh ideas to share with your students? 

My E-book helps you practice more effectively, teach students as individuals, and perform with confidence.

http://gretchensaathoff.com/e-books/e-book-goal-oriented-practice/

Thank you!

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How a piano technique book changed my playing forever

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"Rational Principles of Pianoforte Technique", Alfred Cortot

Image via Wikipedia

Would you like to improve your technique and feel more secure on the keyboard?  This free download will put you on the path to improvement.

(Reposted from 2011.)

Shortly after college, my teacher insisted that I work through Alfred Cortot’s “Rational Principles of Pianoforte Technique.”

It is no exaggeration to say that this book changed my playing forever.

Does this provide instant improvement?  No.  Not if you’re looking for the kind of results that come from calling the number on your television screen in informercials.  One commercial features a guy who promises pie-in-the-sky results.  Learn to play the piano in 5 minutes!  In fact, his method works so well, he demonstrates how to play with a red and white checked tablecloth thrown over the keyboard!

Cortot’s exercises, done daily for a few minutes, will have you playing so much better in 6 months, though.  That sounds worth the effort, doesn’t it?

Full disclosure:  I completed half the book in six months, opting not to continue.  I use what I learned every day, and it has been a long time since my first introduction.

Exercises

Cortot’s instructions indicate that the exercises begin in C Major, 5-finger position (one finger on each key, C-G).  After that, you do the same exercise in C minor.  As soon as that’s comfortable, you move up 1/2 step.  That, of course, immediately changes one’s perception of how easy the exercise is.

After becoming comfortable at C-sharp, you will continue moving up 1/2 step at a time.

After doing several exercises in this way, you begin to think that the C-sharp 5-finger position can be just as comfortable as C Major.

Results

Feeling in hands

Working on these exercises allowed me to feel the weight of my hands for the first time.  I had a new sense of where I was on the keyboard, and could feel intervals.

Finger independence

This book shows you how each finger can play independently of the others.  You learn that you can use combinations you never would have thought of.  And playing one part more prominently than others in the same hand is much easier.

Directionality

Passing the thumb under the right hand on the way up a scale is so much more than that.  I can now proceed in the direction of the line I’m playing.  My hands are no longer square with the keyboard at all times, and I can feel my arm moving.

Fingering choices

Any fingering you need becomes available to you because you develop so much more flexibility.  The fingerings indicated in the exercises make so much sense.

Sticking

Like a gymnast “sticking” the landing from a dismount, I feel like I can stick to the keys.

Security

Because of practicing scale and arpeggio passages in 2 groups, thumbs and everything else as a block of notes, I know where I’m headed and find each new hand position quickly.

Free download!

This book was $90 (or was it $100?) when I was in college.  It is now available as a free PDF!

​Also available for purchase from Amazon for $15.54

Have you come across these wonderful exercises?  Please share your thoughts in the comment section!

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Are you heading into June without a teacher? Need fresh ideas to share with your students? 

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I can sight-read. Why bother with fingering?

Tags

damper pedal, music education, pedagogy, pianistic fingering, piano reductions

Source: Pixabay

This is a question I encounter so often!  

Short answer:  Because if sight-reading is all you ever do, then that’s the best you will ever play.

Today, while learning a Mozart piano reduction (violin concerto), I had to stop myself from switching between fingers on a single key several times.

We have two options:  sight-reading and improving.  (One is more fun than the other!) The pic above accurately represents the way I feel when I have to write fingerings in my music.

The problem, for me, stems from three sources:

1.  Sight-reading (both music I need to learn and music that’s put in front of me in work situations);
2.  Organ playing; and
3.  Playing for chorus/opera/dance/musical rehearsals.

To elaborate:

1.  Sight-reading is a great skill to have!  Without it, there would be far fewer work opportunities.  The problem is that when one relies only on sight-reading, fingerings are random and so is the resulting sound.  The playing will be slower and have considerably less finesse.  In addition, when sight-reading is the only game in town, the music benefits from very little thought.

2.  Organs and pianos both have keyboards, but they are completely different mechanically.  To sustain a pitch on the organ, the key must be depressed. On piano, the damper pedal is available.  Organists are trained to play a key with one finger, then switch to another while still depressing the same key.  That’s how they navigate around the keyboard while playing legato.  Playing the piano in that manner, however, is not helpful except in cases where the fingering cannot be solved in other ways.

3.  When playing piano reductions (chorus, opera, and concertos where the pianist acts as the orchestra), pianistic fingering is not possible.  There are too many notes included in a piano reduction to fit under the hand. (Reductions are not “pianistic.”)  So “bad” fingering often results.  The object is to get to the next location on the keyboard however you can, ahead of time.

So, what is “good” fingering?

• Good fingering is pianistic (comfortable);
• Good fingering enhances the flow of the music;
• Good fingering makes use of different parts of the hand for intended results.
  • The thumb is heavy;
  • The pinkie gets a bright sound;
  • The 3rd finger can imitate French horn;
  • The 4th finger is guaranteed to be softer; and
  • 2 and 5 are great for flute solos.

Try playing Mozart.  Unintended accents will be immediately disruptive. Making good fingering decisions is the shortest route to playing appropriately.

Schumann, Verdi, and Prokofiev sound distinct from each other when played by good orchestras.  Why not play them with different sounds on the piano, too?

Why spend valuable practice time eliminating accents produced by the thumb when you could find a better fingering?  Practicing for hours attempting to produce an accented downbeat with the 4th finger is similarly a waste of time.

What do you think?  Is fingering important to you?  How many practice sessions do you spend playing the same music before writing in fingerings?

How do you get around the keyboard?

Source: Pixabay

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Please take a look at my ebook,

Goal-oriented Practice.  Now available at 50% off, only $10!

Free of musical jargon, it will save you time.  By identifying practice goals, you will soon be able to learn music more accurately, resulting in confident playing.

Click on the link to see reviews, book intro, and table of contents!

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How can we improve congregational singing? Part VI

Tags

alternative harmonizations, anthem, church choir, church music, congregational singing, Education, Hymnal, music education, new hymns

Source: Pixabay

The following conversation, in response to Part V of this series, took place on Facebook:

• Contributor Hi Gretchen, what’s your suggestion making sure the congregation doesn’t get thrown off when using alternative arrangements to accompany congregational singing (as opposed to using them when the choir is singing a hymn as an anthem)?
• Gretchen Saathoff  Hmm… I’ll think about it! At Riverside, it’s not a problem. Have the choir sing the melody, disperse the choir throughout the congregation, try the Hymn of the Month approach, Try practicing the alternative arrangement for 2 minutes with the congregation, then use it in the hymn. Use the traditional harmonization for all verses except the last. That way, the congregation has been singing the tune for several verses already.
• Gretchen Saathoff  And try not to go too far afield with the alternate harmonization. The green Lutheran hymnal that replaced the red one had so many funky arrangements, they made very little sense. So why would anyone want to sing them.
• Contributor  Thanks, Gretchen. Good advice here. There is a new red Lutheran hymnal, the ELW, that kept some of the old arrangements from the green LBW, and has lots of new hymns without harmonization, just melodies. So that helps. (But they left off the time  signatures, which leads to confusion.) But if the hymn is new, even if only the melody is printed, the alternative arrangement still challenges the ear. And about the funky arrangements, people who can sing parts, oftentimes can sing even the funky ones, and some need to do that, because the melody is too high for them. I like the idea of practicing the alternative arrangement with the congregation – hadn’t thought of it as a possibility before!
• Gretchen Saathoff  No time sigs? Not especially helpful, I’d think.
  Also, there is no need to use only the arrangements in the book. Change it so it works. Keep some parts and not others. Write a new one. If the melody is too high, something needs to change, such  as trasposing down or maybe singing the melody an octave lower. The congregation needs the choir to sing the melody in unison on alternate harmonizations. When they can hear it, they sing better.
• Contributor  Great advice!
• Gretchen Saathoff  There are lots of alternative harmonizations out there: volumes of hymns for organ, choral anthems, hymnals from other denominations, AGO website, etc. Plenty of hymn improvisations can be heard on YouTube.
• Gretchen Saathoff  Free association, you understand… and now it’s time for dinner! Back later.

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And a followup Facebook Message from yours truly:

During services in various denominations, I sometimes would play an alternative harmonization from a funky organ collection (The Sunday Morning Organist, I think). Just leave out the whiz bang awful parts when they don’t work.

Similarly, there are plenty of anthems that work, for the most part, but also have spots that don’t.  One example is asking the choir to hold the last note for 8 bars.  Does this make the ending better?  Does singing a high note improve the message?  That all depends on the choir, what else is going on (i.e. the keyboard part might be just fine on its own).  Sometimes a “festive” ending will be tacked on that isn’t really needed.  When the rest of the piece works well, I omit the parts that don’t work.

There may be one stanza of an anthem that splits into 8 parts, for example.  When you have 6 people in your choir that Sunday, you have to think on your feet and find something that works.  What do you have to keep?  The melody and the bass line?  Is the alto part more interesting than the tenor, or vice versa? 

If one stanza is too elaborate for your circumstances, then sing the rest of the anthem and omit that one.

If the printed introduction is too long or too short, or is confusing to your choir/congregation, then by all means change it!

Thanks so much to my contributor, who prefers to remain anonymous.

Which approaches have the most success in your church?Comments and suggestions welcome!

Please see previous posts in this series.

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While you’re here, please take a look at my ebook,

Goal-oriented Practice.  Now available at 50% off, only $10!

Free of musical jargon, it will save you time.  By identifying practice goals, you will soon be able to learn music more accurately, resulting in confident playing.

Click on the link to see reviews, book intro, and table of contents!

Thank you!

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