A Ghost Story

There are certain places in the repertoire where I can predict that a student is going to hurry. They will usually tend to rob long notes of their value by rushing on to the next event. Perhaps our instincts tell us we should be busy making sound, playing notes rather than holding them? I surmise it has a lot to do with the nature of sound production at the piano: once we have made the sound, we need do nothing to prolong it except to hold the keys with our fingers, or hold it in the pedal. Wind and string instruments require a continuous and sustained effort of the breath or of the bow throughout the life of the long note, in other words movement. I would suggest that we pianists need also keep long notes alive – physically and in our imagination. I liken the arm in piano playing to the breath in wind playing or singing, and to the bow in string playing. If we don’t incorporate the articulations of the fingers into bigger, longer gestures of the arm we end up playing syllabically, robotically and thus without real expression. If we stop all movement as soon as we have played a long note or chord, we disconnect from our conductor (our body) and thus from the musical flow, that sense of arch that takes us from the first note of the piece to the last. There is nothing more disturbing than seeing a pianist flailing themselves over the keyboard with excessive movements that are so often irrelevant – a substitute for real listening, or built in for theatrical effect. This is not what I mean. A good example of very basic arm choreography is […]

Preparing the Canvas

With the advent of the summer holidays, a lot of piano students will be learning new pieces. On the proceeds of lessons, we piano teachers will be sunning ourselves in the Algarve and our students beavering away with little or no supervision until September. Do we simply chuck a couple of pieces at them and hope they deliver? Before we can come up with a plan, we need to distinguish between a piece that may be in the ear already and a piece that is totally unfamiliar. In the first instance, we can get straight to the keyboard and begin work, in the second, we will need to do some groundwork. Even though I have not played Saint-Saëns’ second piano concerto myself, I have a very distinct aural map of the work, familiar with it through performances and recordings over the years, and from having taught it on several occasions. I already have a very clear understanding of the piece and how it should feel and sound and can justly claim that I know it. If I decided to learn it, more than half the battle would already have been won since I would just need to get the notes into my fingers (no small task in itself, I would add). If I were learning a new piece from scratch having no prior knowledge of it, I would need to dig some foundations before I approached the work at the keyboard. The obvious first solution to this would be to listen to a bunch of recordings (so instantly available to all of us nowadays) probably while following the score. In addition – or perhaps even beforehand – I would want to scrutinise the score and […]