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Gretchen Saathoff

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

Tag Archives: piano reduction

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

24 Sunday May 2015

Posted by GretchensPianos in career, confidence, constructing a piece, directed practice, distractions, fingering, focus, goals, learning, metronome, motivation, music, new insights, perception, performing, piano, practice, practicing, practicing basics, preparation, process, progress, self-assessment, slow practice, tempo, tools

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piano reduction

I can't play this!

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.”

My audience!

 

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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Opera rehearsals, next stage

27 Friday Jan 2012

Posted by GretchensPianos in career, directed practice, fingering, learning, marking the score, music, piano, practice, preparation, rehearsal, tools

≈ 2 Comments

Tags

Haddon Hall, piano reduction, rehearsal

Programme for Haddon Hall from 1893

Programme for Haddon Hall from 1893 ~ Image via Wikipedia

Practice notes, short version.

Haddon Hall rehearsals will reach a new level next week.  The soloists have been asked to attend rehearsal, and will be integrated with the chorus.

Why practice differently?

The piece is difficult for both soloists and chorus.  The key level changes without warning, so it’s hard to hear where your line is headed.  In addition, the soloists, orchestra, and chorus play off each other in intricate rhythms.  Sometimes only the rhythms are difficult; at other times, the key level changes simultaneously.

Why more than once?

This afternoon, I practiced differently than in previous sessions for the same piece.  In fact, I practiced many sections 2 or 3 times.

In Monday’s rehearsal, I will be jumping around in the score more than ever.  So first, I made sure I knew all the voice parts (solos plus chorus).  After that, I practiced the piano reduction.

And then I went back to be sure the singers will be able to hear which key they’re in!  That means that it’s crucial to play some harmony all the time.

What we need to see

Keep in mind that when you’re dealing with opera scores, the voice parts are often out of order, i.e. a bass part often appears above a treble part.  It’s up to us to keep them all sorted out.  Brackets, arrows, and extra clef signs help, as do fingerings, circled bass intervals and harmonic changes, and surprising accidentals.

I frequently mark the key or time signature at the beginning of a line, page, or entrance, as rehearsals skip around in the score and start in the middle of a line or page.  There may be key or meter change indicated a page and a half before a starting point.  So if it’s not marked where you need it, you may not remember.

Also, writing in the name of the character at the top of a page in the middle of a solo line assures that we will play the line in the correct octave, even when rushed, starting in the middle of the solo.  (Tenor or soprano?)

Mark your score!

Got a pencil?  Marking the score can save you lots of time and even more mistakes.

Please share your thoughts in the comment section below.

Related articles
  • How to practice for opera rehearsals (gretchenspianos.wordpress.com)

E-books

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My book frees up time to learn more music, memorize, or do something else entirely!

“Goal-oriented Practice” is also available in print!

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August 2011 review by pianist Robert W. Oliver

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Imagine!

03 Monday Oct 2011

Posted by GretchensPianos in career, music, outside the box, tools

≈ 8 Comments

Tags

arts, Education, imagination, orchestration, piano reduction

Imagine

Image via Wikipedia

How wonderful would our practice sessions, rehearsals and performances be if we allowed free rein to our imaginations?

How much fun could we have?

This business is about creating sound. Sound is intangible! I think that, confronted with printed symbols, we forget that sometimes. When we do, the wonder of music gets lost.

We become so attached to the page that our playing can become tedious, academic, and boring. No life. No fun.  We need to present something much more engaging to our audiences!

What does the music say?

What is the piece about? Sometimes the answer is obvious, sometimes not. Sometimes we have to live with the music for a while. And sometimes we have to make something up!

The biggest mistake, to my mind, would be deciding there is no story. If there is no story, then how do you play the piece?

A recent epihany

This is a narrative about an aria for soprano and orchestra.

The Soldier Tir’d by Thomas Arne

The first few practice days

When looking at this piece (unknown to me) for the first time, I noticed the long orchestral introduction and interlude right away.  The piece looked like it had to be fast, and I wondered whether I could play it.

So I learned the notes, and after a few read-throughs, found fingerings that worked.

That meant that I knew the piece, right?  Um… no… everything was the same volume!  It’s a long aria.  Can’t get away with that.

The next level

I looked at how the piece was written.  There were florid passages alternating with chords.  What was that about?

The words say, “The soldier tir’d of wars alarms… But if the brazen Trumpets sound…”

I decided that the florid writing was for trumpets, the chords for strings.

Practicing at that point involved making a clear difference in sound on the piano between the different instruments in the orchestra.

That worked well… but each compositional section had repeated phrases.  They couldn’t be played twice in a row the same way… we’re back to boring.

The string parts were easy enough to vary:  length of sound, legato sometimes, 2- or 3-note groups within longer phrases, dynamic changes.

The trumpet parts were more difficult for me.  For a day or two I attempted a loud trumpet sound, then a softer trumpet sound, without too much luck.

After struggling with that several times, a light went on in my head.

An imaginative interpretation

I am so happy that I’ve always had a good imagination!  Although it was not encouraged until my late 20’s, I never stopped enjoying my inner life.

The light that dawned was about the placement of the trumpet soloists in my imaginary orchestra.  Until that happened, the entire orchestra was in front of me.  But why did it have to be that way?

I kept 2 trumpeters on stage, and moved 2 more players offstage (stage right, to be specific).  Now 4 trumpeters were employed, and things became a lot more interesting and fun.  And easier.

Before the players moved offstage, I had been telling myself, “No!  You have to play softer!”  That didn’t work especially well at all.

Channeling imaginary players placed strategically in a hall could be the answer to all sorts of technical challenges.

In thinking further about this, it becomes obvious that calculating incremental variations in the weight with which we depress the keys doesn’t work, not to mention that it’s boring.  We’re playing music.  Sound.  A practice session, rehearsal, or concert is not an illustration of a scientific experiment!

Use your imagination!  No one can take it away from you.

Please share your thoughts in the comment section below!

E-books

Learning a new piece? New program? Back in school? Looking for teaching ideas? Read “Goal-oriented Practice: How to Avoid Traps and Become a Confident Performer!”

Goal-oriented Practice

August 2011 review by pianist Robert W. Oliver

When You Buy a Piano

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Working with an opposite personality

22 Friday Apr 2011

Posted by GretchensPianos in career, concert, extremes, performing, practicing, rehearsal, security, tempi, the unexpected, work

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concert, conductor, Music, piano reduction, rehearsal, tempo

200th day of birth of Wolfgang Amadeus Mozart ...

Image via Wikipedia

There is an occasional performance situation in which I feel consistently thrown off my game.  Does the same thing happen to you?

It’s about major changes in tempo or interpretation at the last minute.

Background

I was trained never to sightread in public.  And I never do in a concert situation.  Sight-reading is often required in rehearsals, though.

During the Art Song Festival at Westminster Choir College one summer, I heard a recital presented by a famous singer and an equally famous collaborative pianist (not my teacher).  It was wonderful.

The audience clearly wanted an encore.  What happened next is something I will always remember.  And it isn’t positive.

The singer walked onto the stage, followed by the pianist.  The pianist had his face in the music as he was walking ~ not a good sign.  Apparently the singer had surprised him with the music backstage.

And then the pianist started the song, played a few bars, and stopped.  He started over in a different key!  I don’t want anyone to remember my playing for that reason.

​Scenario #1

A talented cellist with whom I worked rehearsed one way and performed another.  The timing of the rubato would change drastically in performances with no warning, making good ensemble impossible.

Other pianists must have encountered the same problem, as the cellist changed pianists every six months.

Scenario #2

There is a conductor who works in the opposite way to my approach.  I was trained to prepare very well in advance.  So I am accustomed to having a handle on what is likely to happen during a performance.  When I feel secure in that way, the unexpected just goes with the territory, no problem.  Major changes the day before, though, throw me.  The conductor, on the other hand, is quite comfortable with this.

While practicing for a concert, I found myself editing a piano reduction because my part was unplayable.  This took a significant amount of time, after which it was necessary to practice the edited version for several days.

Rehearsals went well, and I reached performance level a week before the concert.

In the dress rehearsal the evening before the concert, the conductor decided on a drastically faster tempo.  It was so much faster, my revised version of the piano reduction was impossible to play, particularly in the interludes.  How were the soloists to get their cues?  Marked allegro, we were racing along at presto, at least.

When I mentioned my discomfort to the conductor, the response was, “I like it fast!”  There was no further discussion.  The sound was exciting, but I felt that there was no way I could catch up.

On the day of the concert, I practiced in the new tempo, deciding to omit most of the inner parts in order to preserve the melody and bass.

When I arrived at the concert venue 15 minutes before call, a student was just beginning to set up the electronic keyboard for the performance.  I had planned on having a few minutes to acclimate myself to the keyboard, but that didn’t work out.

In the concert, the conductor reverted to the previous, slower tempo.  I wasn’t ready for that, and wasn’t happy with my playing.

How could this be handled in the future?  Do accompanists have a say?

I could have called the conductor to confirm the tempo before practicing.

I could have practiced both the slower and the faster tempi.

Arranging for a few minutes to play the keyboard may have helped.  Playing on different pianos, even without warmup time on the instrument, is something I am used to.  And playing a keyboard is no problem, but the action, sound, pedal, and sustain time are all different from the piano.  The absence of warmup time for this concert was likely a contributing factor to my heightened sense of unease.

What would you do?  Please share your thoughts and experiences in the comment section below!

E-books

Goal-oriented Practice
Review by pianist and conductor Andrei Strizek

When You Buy a Piano

How to Maintain Your Piano

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How to edit a piano reduction

27 Sunday Mar 2011

Posted by GretchensPianos in career, chorus, editing, goals, marking the score, music, piano, preparation, priorities, process, serving music, tools, work

≈ 11 Comments

Tags

edit, Mozart, piano reduction, Regina Coeli

Piano reduction of the Wedding March written e...

Image via Wikipedia

The program for an upcoming chorus concert includes Mozart’s “Regina Coeli.”  I am currently editing the piano reduction.

Download “Regina Coeli” for $2.44

It is not necessary to play a piano reduction as written.  Publishers are not always pianists, and some reductions are practically impossible to play.  Different publishers and editors make different conclusions about how to reduce orchestral scores, so you will see wide variations between reductions of the same piece of music.

The intent is what matters, as well as support for the solo and chorus parts.  And, as always, clarity is more important than playing every note printed.  After all, this is not piano music!  No points are handed out for playing piano reductions exactly as written.

​Types of piano reductions in collaborative piano playing

  • opera
  • oratorio
  • vocal/instrumental solo with orchestra
  • chorus with orchestra

Notation in piano reductions

  • often misleading ~ instrumental solo lines may not be accurate ~ listen to recording, also look at full score if possible
  • chords often arpeggiated when not performed as such in orchestra
  • parts sometimes written in a different octave for piano
  • stretches too wide to be played on piano

Editing

Listen to a recording for orchestration and sound (articulation, length of notes, how accents are performed, etc.)

Provide full orchestral sound when needed

Rewrite for clarity in piano sound

Retain composer’s style

  • arpeggiated chords appropriate?
  • broken chords possible or disruptive?
  • melody must be in a clear register
  • what sort of sound are you hearing?  Brilliant top?  Substantial bass?  Important inner parts?  Subdued?  Sharp attacks?  Sustained?

​What to strive for

complete chords ~ exception possible when chorus sings full chord

  • character of phrasing
  • supportive, consistent bass line
  • counter-melody
  • inner harmonic parts
  • clarity

​What to change

  • anything that interferes with playing important elements ~ put it in the other hand or simplify
  • doublings when difficult to reach
  • wide stretches can often be rewritten as triads, for example.  If that sounds convincing, it trumps a broken chord.
  • arpeggiated chords ~ reductions frequently contain arpeggios when there are none in the score.  The notes are plunked into the reduction at their original pitches, but since no one can stretch far enough to play them as solid chords, the editor adds wavy lines to indicate arpeggios.  Don’t buy it!
  • separated tremolo (i.e. a 2-note chord followed by a separate 2-note chord) when solid tremolo sounds more orchestral.  It’s only notated separately by an editor, not the composer.  Play a solid chord to start, then tremolo.

Mozart’s “Regina Coeli,” K. 276, Kalmus edition

Download “Regina Coeli” for $2.44

My changes:

Page/Bar​

​

2/18

​

​Omit ”D” in RH to accommodate trill.  Altos sing ”D,” so the pitch is heard anyway.

4/21

​

Omit 2nd ”E” in RH to accommodate leap of a 10th in melody.  Although ”E” is missing from the harmony temporarily, upon practicing the passage this way several times, there seems to be enough going on so it won’t be missed by the audience.  Every 16th note is still present rhythmically.​

5/36

​

Move 16ths in beats 2 and 3 to LH, down an octave, to accommodate melodic leaps in melody.​

5/37​

​

Add ”C” to RH under trill, add ”B” under ”G.”  Omit 2nd “middle C” and ”B” from LH (wide reach).  Open 5th on beat 3 for LH would be unacceptable, as would omitting low ”G.”​

6/45

​

Play ”C” and ”E” with left hand, same octave, to accommodate trill.​

6/47

​

​Drop lower RH part down an octave, play with LH, resume as written with dotted chords.  The accommodates RH trill.​

7/49

​

​Fast tremolo, not 16ths.

​

10/81

​

Divide 16ths between hands as necessary to accommodate trill and bass line.​

10/83

​

3rd beat, drop 16ths down an octave, play with LH.

​

10/86​

​

Play 16ths with LH.

​

10/87

​

3rd beat, play ”C” and ”B” with LH.

​

11/96​

​

Beat 2, drop 16ths down an octave, play with LH.

​

11/100

​

4th beat, omit lower octave in LH.

​

12/101

​

Omit lower octave in LH through low ”C” on 3rd beat.  2nd beat, drop 16ths down an octave, play with LH.​

12/102

​

Tremelo in LH.

​

12/108

​

Omit ”G” in RH.

​

14/123

​

Play root position triads in LH.

​

16/145, 146

 

Divide middle part between hands as necessary.​

16/148

​

Beat 4, drop RH “F” down an octave, play with LH.  Omit low ”D” in RH.  Trill doubles, don’t need.​

16/149

​

Beat 1, end trill on ”C” in RH, omit remainder of RH chord.  Chorus sings complete chord anyway.​

16/150

​

Beat 4, omit ”F” in RH.

​

16/151

​

Beat 1, finish trill on ”C”, omit remainder of RH chord.  Full chorus is singing, piano plays ”E” octave in 2nd 8th note of bar.

Bottom line

The “piano part” you play should sound like the piece was composed.  Don’t introduce sounds that are not in the orchestra if you can help it.

How do you approach playing piano reductions?  Please share your thoughts in the comment section below!

E-books

Goal-oriented Practice
New review by pianist and conductor Andrei Strizek

When You Buy a Piano

How to Maintain Your Piano


Related articles

  • Q&A: sight-reading in chorus rehearsals (gretchenspianos.wordpress.com)
  • Basic piano skills: the ultimate guide to why you need them (gretchenspianos.wordpress.com)

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