Inspiration

Can Sight-Reading be Taught?

The Online Academy’s collaboration with the Read Ahead team is a very happy one for me, since I can heartily endorse the innovative programme they have created to help pianists develop their sight-reading skills. Today’s post is a guest post by Ken Johansen and Travis Hardaway from Read Ahead, and I shall now pass you over to them. ***   ***   *** Most piano teachers agree that fluent sight-reading is a very important skill, one that ideally all students should develop. Fluent readers are more at ease at the piano, learn music more quickly, have broader musical horizons, make music more often with others, and receive more opportunities to perform. The question is, how do we help our students to develop this fluency? We can start, first of all, by teaching them the skills that make good sight-reading possible. In reality, sight-reading is not one skill, but a set of several inter-related skills that include: scanning the score intelligently before starting, maintaining a steady pulse, keeping our eyes on the score, hearing the music in our minds, reading in groups of notes, looking ahead as we play, and simplifying the music when necessary. With the exception of the last one, these are all skills that apply not only to sight-reading, but also to learning repertoire. If we bring these elements into play at every lesson, in every piece the student learns, we will be teaching him or her not only the piece, but also the musical skills needed for fluent sight-reading. Of course, it is not enough to work on these skills solely on repertoire pieces, and only during the weekly lesson. Students must sight-read unfamiliar pieces regularly, not only at lessons, but at […]

Learning from Listening

I am delighted to publish this guest post by Frances Wilson, aka The Cross-Eyed Pianist, entitled Learning from Listening. Over to you, Fran… *** *** *** There are many benefits in listening to the repertoire we are working on, on disc or via a streaming service, and in concert, as well as “listening around” the music – works from the same period by the same composer, and works by his/her contemporaries. Such listening gives us a clearer sense of the composer’s individual soundworld, their distinct musical idioms, and an understanding of how aspects such as orchestral writing or string quartet textures are presented in piano music. Keep ears and mind alert to details such as articulation, phrasing and breathing space, dynamic shading and nuance, wit and humour, giving rests their full value (or slightly more) to create drama, tempo, and a sense of the overall architecture and narrative of the piece. Since November 2014 I have been studying Schubert’s penultimate piano sonata, No. 20 in A, D959. This large-scale work contains many fine examples of Schubert’s skill as a composer of orchestral music and tautly-constructed string quartets, as well as his expert handling of melody and lyricism (as evidenced, of course, by his many Lieder). As part of my study of this music, I have spent a lot of time listening not only to his late piano music (the Impromptus D899 and D935, and of course the other two piano sonatas which form the final triptych), but also to his late string quartets, the ‘Great’ C major symphony, and songs from the Winterreise cycle (composed the year before the A major sonata). Such listening has proved invaluable in my understanding of Schubert’s very distinct soundworld and […]

Pause for Thought

Have you ever stressed about what to do during a long rest that appears in a piece you are playing? In my experience of listening to pianists, rests often get shortened – sometimes really drastically. Because you’re at the instrument in the middle of a piece, you should be playing the piano, right? Not sitting there doing nothing. Quite apart from the logistics of maintaining the pulse during the silences, there’s that awkward question of what you should be doing with your hands. Do you keep them hovering eagerly over the keyboard, waiting for the moment you can start playing again? Or do you feel a sort of musical tea break is in order, and simply move your hands into your lap while your inner metronome keeps count? Rests are a vital part of musical communication, and just because for a moment or two we are making no sounds we must not assume that nothing is happening. Actors know that by pausing before they deliver a line they grab our attention – we are agog and wondering what’s coming next. By pausing after a line, they give us the chance to digest what has been said, a moment to think and reflect on it. Great actors milk this. Beethoven was a master of the pause – sometimes writing it out with rests, other times using a fermata. What do you feel is happening during the two rests in bar 9 of the introduction to the Pathétique? Players almost never realise the dramatic significance of this moment, it is as though they can’t wait to get to the next sound (bar 4 in this extract). Very often players do not seem to have worked out this bar rhythmically, […]

Mind the Gap! (Part 2)

Following on from last week’s post on slurs and short phrases in the Baroque and Classical periods, I thought I would look at some other examples from Beethoven, Brahms, Chopin and Ravel and try to distinguish a bit between those phrase marks that show the grammar of the music (those places where the commas and full stops go, indicating where the music breathes) and those that show the articulation. Phrase marks in Baroque and Classical period music tend to be shorter, and usually indicate articulation. Whether we make an audible separation at the end of a slur or short phrase, or whether we simply play the start of the phrase stronger and then lighten as we move towards the end of the phrase depends on context. It is not possible to make a hard and fast rule, but we do need to consider these markings – we cannot just ignore them. Needless to say, a reliable Urtext edition is absolutely essential. I was working with someone today on the Appassionata Sonata of Beethoven, who was using the old ABRSM Craxton-Tovey edition. While it has many excellent qualities, this edition contains numerous errors when it comes to slurs – including a whopping great phrase mark over the whole of the first four-bar phrase when Beethoven’s autograph clearly shows a break. We need to consider how we are going to realise Beethoven’s intentions here, evidently not a long seamless legato line as the Tovey edition suggests. But not a gap either – we might best realise this by giving a slight stress or placement of the first beat of the new phrase. In Romantic music we often find long phrase marks that indicate not only a prevailing legato approach but also the long […]

Mind the Gap!

There is a problem with certain performance directions composers write in the score – or the lack of them. Especially articulation marks. Some of the markings we find can easily be misinterpreted, especially when applied generically across the style periods or from one type of piece to another. The staccato dot is one example – sometimes it means a literal shortening of the note, other times it might mean a type of accent. And it does not mean we can’t use the pedal either. Notice the dot on each of the main beats in the LH of Chopin’s E flat Nocturne. This signifies a slight stress on each bass, and it is evident not only from Chopin’s pedal markings but also from the harmonic context that the bass notes are to be caught in the pedal. In the absence of specific markings, is a piece legato or staccato? May we add slurs and phrasing of our own? This depends on the speed and character, as well as its style period. There is only a certain amount of information a composer can write on the page, and in much music from the earlier periods performance decisions were either left up to the good taste of the performer, or players would have known how things were supposed to be done. Bach left a certain amount of articulation markings but a glance at a page of any Urtext edition may show none at all, or very few. In music from later periods, particularly the Classical period, a question that regularly comes my way is how to play the slurs and short phrases that are marked in the score. Do we always need to make a gap in sound between the note at […]

On Singing

I had always sung in choirs and choruses from my childhood to the end of my student days, and one of the highlights of my week as a postgraduate student in New York was my voice lesson. I came away from it feeling energised and exhilarated (as well as hungry) from the wonderful sensations I felt in my body as it became my instrument. This background in singing prepared me extremely well for my life in music, and I firmly believe that every pianist needs to know how it feels to shape music by singing the lines – be they melodic lines, bass lines or humble inner parts. I would go so far as to say I believe if you can’t sing a melodic line, you can’t really play it. You might be able to move your fingers over the right notes but you probably won’t be shaping it or feeling it expressively. The roots of music lie in rhythm and song, and we pianists devote our time to making our so-called percussion instrument sing. String players connect notes with their bow and wind players with their breath, but the way pianists achieve a singing style is mostly illusion, of course, since the moment we play a note on the piano the sound begins to decay. Keeping moving at the keyboard is one solution – not letting the arm stop as we move through a phrase and remembering to breathe, as Chopin taught, through the wrist. From the very first lesson to the very last, piano lessons need to be filled with singing, and no pianist should be shy to sing a melodic line in the practice room until they have found the ideal tempo, shaping, […]

Anyone Can Improvise!

Dedicated to helping everyone play the music they love and long to play, Lucinda Mackworth-Young has developed a step-by-step system for learning to play by ear and improvise, so that even classically trained pianists can play spontaneously, anywhere, anytime – and say “Yes!” when asked to play Happy Birthday! Hello Lucinda, I am delighted to be welcoming you as a contributor to the Online Academy. At present, we are happy to present the first installment of your series on playing by ear and improvising. You are one of the most passionate, inspiring and committed teachers I know – can you give us some background on your own pianistic journey? Hello Graham, it’s a real pleasure and privilege to be invited to contribute. Thank you, and for your kind words! My earliest piano memory is hearing my oldest sister play when she was 10 and I was 4. To me it sounded fast – and glittery, and I knew then that that was what I wanted to do – play-the-piano-very-fast! Lessons began when I was 8, and I was well (if conventionally) taught. The fun was with my three sisters at home playing Chopsticks and Heart and Soul etc. We played them over and over, and rhythmic and melodic variations evolved naturally. It never occurred to us that we were improvising – but we were! So have you always been able to play by ear and improvise? Far from it! Aside from Chopsticks and so on, I could hardly play without books at all unless I’d made a conscious effort to memorise. And, since I was supposed to be quite good, it was annoying and embarrassing that I couldn’t even play Happy Birthday spontaneously at social events, […]

Czerny Says You Can!

Have you ever pondered how many teaching hours in the course of piano teaching history have been devoted to certain famous passages from the repertoire? How much time, how much blood, sweat and tears have gone into the short introduction to Chopin’s G minor Ballade, for example? I am usually unimpressed when I hear an awe-struck student recount how their teacher spent a whole lesson on just the first phrase, sometimes even on one bar – or one chord! Is this something to be respected and admired, or is it an ego trip on the part of the teacher and actually a colossal waste of lesson time? Some places in the piano repertoire are so loaded with historic angst and baggage that the teacher feels the weight of tradition and, instead of just giving some suggestions or a few specific directions based on what the student might want to do with the passage, spouts forth from on high. No matter how well the student plays, the teacher has his or her prescription and is darned well going to pass it on. Chances are an hour spent thus on a bar of music will forever burden the student, making them feel they are never going to be able to reproduce what the teacher wanted. They will always feel unworthy – jinxed, even. Don’t get me wrong – there is no substitute for incredibly detailed and painstaking work at the piano, sitting hour upon hour day after day in our practice striving to get something just right. However, we all know that there is no such thing as the one perfect interpretation of any piece, and that great art allows a multitude of possibilities. You only have to listen to a number of different recordings […]

Rediscovering Bach’s Prelude in C

The C major Prelude from Bach’s Prelude and Fugue in C (Book 1 of the WTC) is very familiar to us all. This beautiful progression of harmony in broken chord texture continues to inspire generations of keyboard players. Here it is as a chorale. Play it first as solid chords – faster than Bach’s broken patterns allow – to get a stronger sense of the progression in this pure form. If you’re uncertain how to play this Prelude expressively, all you have to do is feel the rising and falling levels of intensity implied by the harmonic progression. This map from Siglind Bruhn’s analysis of the work is a useful guide. For those who have a knack for improvisation, see what you can make from these harmonies. French Romantic composer Charles Gounod’s Ave Maria consists of a melody especially designed to be superimposed over the Prelude – and very beautiful it is too! Perhaps you can come up with something of your own? Here is Rami Bar-Niv’s inventive and amusing Etude-Vocalise on the C major Prelude Transpose I am working with an especially talented and ambitious young student who, if he is going to readily assimilate the mainstream repertoire he is destined to play, needs to develop his harmonic awareness as well as general musicianly skills at this stage of his development. Part of the work we are doing is transposition – a skill I wish my own teachers had stressed more, and one that I feel is indispensable to aural training, general musicianship and as a specific pianistic tool for memory work and solving technical problems. I tend to push this with those who are capable of, and willing to embrace it. Not everyone is, but this particular student […]

Flexibility in Interpretation

You only have to listen to the same piece played by different pianists to appreciate there is no such thing as the one “correct” way to play it. Tempo and timings, pedalling, style, phrasing – the list of variables goes on and on. Here is an example of such diversity, Liszt’s La leggierezza study as recorded by Carlo Vidusso, Earl Wild and Georges Cziffra. Each performer plays the piece in his own unique way. There are some pianists who agonise over each and every detail of their interpretation in the studio, sweating blood until they have crystallised their vision of the music and got it just right. Their one true version remains steadfast, a statue permanently carved in sound. Here is Clifford Curzon‘s working copy of No. 5 from Schubert’s Moment Musicaux, completely covered with his annotations. You can listen to his performance here, from 11:40 Shura Cherkassky, on the other hand, said he never played a work twice in the same way. He didn’t know how he was going to play even as he walked out onto the stage; it was as though he were improvising his interpretation in public. He had the necessary technical control that gave him absolute freedom of expression, and this is one of the reasons his live performances were always so exciting and unpredictable. A paradox exists in musical interpretation. If we haven’t made any decisions about what we want to do, we have no idea what is going to come out in our performance. It might be wonderful or it might be terrible, but it will certainly be unpredictable. If our performance decisions are too rigid, our playing risks sounding stiff, staid and boring. We set ourselves an impossible task, since the rigidly planned approach does not take […]