The Baroque Urtext Score – Dynamics (2)
I would like to suggest some guidelines for using dynamics in the music of Bach (and others) at the piano. The only absolute rule, in my book, is to play expressively!…
The Baroque Urtext Score – A User’s Guide (1)
Further to last week's post about taking ownership, I thought I might say a few words about this in relation to Urtext scores - of Bach in particular (click here…
Taking Ownership
Some years ago, Dame Fanny Waterman gave a masterclass for the BBC (Beethoven Sonata, op. 2 no. 2 , I think it was) and had made some suggestions to the student…
A Make-Up Removal Tip
Someone once said to me "As long as you are trying to do something, you are not actually doing it", and this resonated with me. When we first start working…
Silent Practice: The Art of Inner Listening
Somewhat reluctantly, I have just sold on my Virgil Practice Clavier, having watched it gather dust and take up space for the past few years. For those of you too…
The Study Editions of Alfred Cortot
I first heard Alfred Cortot when I was a boy. The magic of his recording of Chopin's Étude op. 25 no. 1 made an indelible impression on me - it made…
Inventing Exercises
One thing I can say for certain is that we are all different. When it comes down to rituals in practising, there is nothing more personal than what we do…
Overpracticers Hanonymous
It is not so much what we practise, but how; it is the quality rather than the quantity that matters. We need a specific aim when practising an exercise, a piece, a phrase…
On Double Notes (Part Two)
This post deals with the "how" of double notes. Because double notes appear to be very finger-based, making demands on the weaker fingers on the outside of the hand, they…
On Double Notes (Part One)
Technikos: "of, or pertaining to art, artistic, skilful" But there is no difference between interpretation and technique. Every dynamic and nuance must be produced simultaneously by a technical means (Walter…