Saturday, April 23, 2011
Tempest 3rd Mvt and others
Its been a while since I blogged. Have been busy with grad school. I'm currently working on tidying up the Tempest 3rd mvt and have started working on the second movement. I should have it done by my next lesson hopefully. I have also started a Mozart sonata (Sonata no. 5 in G, K283) and have learned half the first movement. Its a delightful piece. Listen to Barenboim play this on youtube. I have to get back to work (grad school) now. More later.
Friday, March 18, 2011
Bach Prelude and Fugue in C minor, BWV 847
I just got my piano tuned. Here's a quick, single take of the Bach Prelude and Fugue No.2 in C minor, WTC book 1:
Thursday, March 10, 2011
Chopin Etude Op.25, No. 2
I had captured a video of my practice routine. This was played at the very end, so its not perfect. I let loose at the end of the practice session to have fun with a tempo that's slightly higher than what I usually play at..and this is the result.
Wednesday, March 9, 2011
Brahms Requiem: The Performance
Last night was one of the best nights of my life. It was a privilege to be a part of that group of people and we consider ourselves extremely lucky to have this piece of great music in our lives. I'm not going to elaborate on the technicalities of the piece as you will easily find them online. However, I will tell you that there's some very exciting stuff in it.. including some amazing fugues. Its been a while since I had goosebumps listening to music and I've almost never had goosebumps when I've been part of the music making mechanism (including solo performances or as frontman of a rock band) but last night was different. The high I got singing "Behold all flesh.." the second time (fortissimo, Mvt II), is indescribable. I'd like to thank Dr Thomas Hart and Dr Robert Ward who trained us over the past 3-4 months. Its been an incredible learning experience. My wife captured a video of most of it, except the last 15 mins when the camera ran out of storage. It was impossible to hold the camera up for the entire duration of 1h 15mins but the audio should be clear enough for you to get an idea of what it sounded like!
I have also uploaded the complete audio files. So the last bit of the concert should be available there. The audio, followed by the youtube video:
0) Beginning of concert: orchestra tuning and applause:
1) Movement I: Blessed are they that mourn
2) Movement II: Behold all flesh is as the grass
I have also uploaded the complete audio files. So the last bit of the concert should be available there. The audio, followed by the youtube video:
0) Beginning of concert: orchestra tuning and applause:
1) Movement I: Blessed are they that mourn
2) Movement II: Behold all flesh is as the grass
Saturday, March 5, 2011
Seat Height
I have been telling myself to saw some part off my piano bench but I've been lazy. I also knew that it was precisely the reason for my low wrists and all the related pain. I've decided to cut back on the playing until I get a saw from somewhere to reduce the height of my bench. I bought the piano from a Church and they ended up giving me an organ bench with the piano. An organ bench is usually much higher than a piano bench.
Edna Golandsky explains the importance of seat height in simple terms:
Edna Golandsky explains the importance of seat height in simple terms:
Thursday, March 3, 2011
Brahms Requiem Performance
What has this got to do with piano playing? Well, we must realize that piano playing is just an instance of music making. Singing is another instance. Insights derived from each instance hold across many such instantiations and so any enlightening musical experience feeds into any activity that involves making music. I could take it a step further and say that it feeds into almost any activity in life but that would require more explanation and I don't want to go into that right now.
All I wanted to say really is that I sing tenor in the University Symphonic Choir and we are performing the entire Brahms Requiem (in English, we did a few movements in German last quarter) on the 8th of March. An hour long marathon of pristine music! It will be conducted by Marshall Haddock who is an expert in this field. We have had 3 sessions with him and he is absolutely inspiring. The importance of diction was drilled into us. A major reason for diction being so important is that we need to be heard and understood over an entire orchestra! Its the consonants that will help us there. Shaping melodic contours is yet another important aspect that we've worked on quite a bit. Its probably trivial to see now why insights gained from singing might be applicable to piano playing. Chopin, for example, held the legato of a well shaped vocal phrase as the pianist’s melodic ideal.
In any case, I'm very excited about the performance on the 8th. The experience has been very gratifying!
All I wanted to say really is that I sing tenor in the University Symphonic Choir and we are performing the entire Brahms Requiem (in English, we did a few movements in German last quarter) on the 8th of March. An hour long marathon of pristine music! It will be conducted by Marshall Haddock who is an expert in this field. We have had 3 sessions with him and he is absolutely inspiring. The importance of diction was drilled into us. A major reason for diction being so important is that we need to be heard and understood over an entire orchestra! Its the consonants that will help us there. Shaping melodic contours is yet another important aspect that we've worked on quite a bit. Its probably trivial to see now why insights gained from singing might be applicable to piano playing. Chopin, for example, held the legato of a well shaped vocal phrase as the pianist’s melodic ideal.
In any case, I'm very excited about the performance on the 8th. The experience has been very gratifying!
Wednesday, March 2, 2011
Lesson 2 (Fugue, Etude, Physicality)
My second piano lesson was on the 26th of February. I was extremely busy with school at that time. I'm done with that now and so will describe my lesson here now.
I started by playing the Chopin etude. I had worked on getting my fourth and fifth fingers more arm support. I messed up real bad on my first couple of attempts. The grand piano there is an old one with a somewhat heavier action than the upright that I practice on. I will describe some general issues with my technique below but before that, I will mention that the tenuto part on the last page of the etude is currently being played with a suboptimal tone. I'm playing harsh staccatos there. The teacher kept giving me an analogy of "chicken digging in the mud". She asked me to play lighter, but then I was playing too much on the surface and the resulting tone again is suboptimal in the opposite sense. So the "chicken digging" analogy does make sense.. press the key all the way down, but needs to be light. A lot of it probably also has to do with wrist/arm support again, for the kind of control required to execute a nice sounding tenuto in a "nonstandard" 5 finger pattern over black keys.
Let me now describe some major issues with my physical approach to this piece and piano playing in general. Prior to my lessons in Vienna in 2008, I had been playing with somewhat higher wrists but had a lot of tension in the muscles in my arm. The teacher in Vienna then showed me how to use arm weight effectively and that got rid of tension completely, especially in my left arm. I can now play a very relaxed left hand. However, I believe I ended up doing too much of it and so the way I currently play, my wrists are too low. I rely on arm movement rather than active fingers. My current teacher says that I have "lazy fingers". To work on some basics then, she had me do the following:
Play a D flat major scale (or G flat). Slow and steady, with keys depressed all the way down and somewhat firm higher wrists. As you go higher up, you move to the right AND forward, not solely to the right. Similarly as you go down, go to the left AND forward. This allows you to support your fingers better with your arm/wrist alignments (try it, the difference felt is immediate). That is not the major part of the exercise though. Play hands separate, stop briefly at every note that's played by the second finger. These are black keys now. These are the hinge points where if you have the right wrist position/alignment going, you will get the rest of them right too. The key is to feel the bounce from the keybed which cannot be felt with a floppy wrist. I also felt much more secure playing with firmer and higher wrists. Similar issues were observed when I played the third movement of the tempest for my teacher:
Let me record a minor issue first: too much pedal (easily fixed). Now for bigger issues: the sforzandos are being executed very harshly as of now. That again has to do with how much I rely on my arm strength. So we worked on that a bit, but employing a similar strategy as above: wrist alignment, using the fingers more, higher wrist and hence support from the wrist. The chromatic pattern that follows the sforzando also lacked control because of the same reasons. There is yet another section in this movement that we worked on and that helped me quite a bit. Its the sforzandos that appear again in the first reprise. Here, they involve double notes (A major, D minor forte section, for your reference). My tone again was extremely harsh because I've been using too much arm strength there. I was made to play it with better finger shape and better support for those fingers. The key is to form the shape necessary BEFORE striking. Use higher and firm wrists again. Also, the double note figure that follows the sforzando double note figure also gets a forte, unlike the earlier sudden reduction in volume that I'd been doing. Major lessons here to summarize: form the shape necessary before striking, use higher firm wrists, align so as to support the finger shape formation, and use more finger work. Point to note: I do not mean absurdly high wrists when I say higher wrists. I only mean higher relative to what I do now. So level wrists towards the higher end, would be a more accurate description. Lots of reworking basics ahead!
Another extremely important piece of advice was given to me when we were working on the sforzandos mentioned above. I kept repeating the figure implementing the instructions given multiple times, in quick succession. She stopped me short and asked me to play it once and then THINK about what possibly went wrong and what possibly went well. Then play it again with a better thought out strategy. Reevaluate!Taking a moment to reevaluate is extremely important! It made a huge difference when I stopped to think about it. I got it right faster.
The teacher also suggested that I start working on the revolutionary etude, since she thought a study for the left hand would nicely complement the predominantly right hand Op 25 No 2 that I currently play. However, she asked me later if I wanted to do some Mozart and I let her know that I was VERY interested and she said that we'd save the revolutionary for later. I really want to get started on a Mozart sonata as I've never played any Mozart so far. We will also rework the Chopin Waltz (E minor, Op. Posth) that I learned in Vienna. I have a long way to go with that piece too. There are some challenging big jumps in that piece that I have not managed to secure so far. I almost forgot, the Bach fugue!
I played the Fugue after I did the etude. Sorry for the messed up order in this write up but the order doesn't really matter. So here's what she had to say about the fugue. Fugues are of three kinds: spiritual, cerebral, and dance-like. This one (BWV 847) is dance-like. The rhythmic pattern is what holds the piece together and gives it character. So the accents on 3 and 4 drive the piece. She played the piece for me and had me clap on 3 and 4.. and it sounded very much like a nice dance. So I got back home and attempted to play it like a dance. Signing off with a video now of the attempt at a dance-like fugue (disregard the suboptimal arm movements, am working on getting my fingers to work more):
I started by playing the Chopin etude. I had worked on getting my fourth and fifth fingers more arm support. I messed up real bad on my first couple of attempts. The grand piano there is an old one with a somewhat heavier action than the upright that I practice on. I will describe some general issues with my technique below but before that, I will mention that the tenuto part on the last page of the etude is currently being played with a suboptimal tone. I'm playing harsh staccatos there. The teacher kept giving me an analogy of "chicken digging in the mud". She asked me to play lighter, but then I was playing too much on the surface and the resulting tone again is suboptimal in the opposite sense. So the "chicken digging" analogy does make sense.. press the key all the way down, but needs to be light. A lot of it probably also has to do with wrist/arm support again, for the kind of control required to execute a nice sounding tenuto in a "nonstandard" 5 finger pattern over black keys.
Let me now describe some major issues with my physical approach to this piece and piano playing in general. Prior to my lessons in Vienna in 2008, I had been playing with somewhat higher wrists but had a lot of tension in the muscles in my arm. The teacher in Vienna then showed me how to use arm weight effectively and that got rid of tension completely, especially in my left arm. I can now play a very relaxed left hand. However, I believe I ended up doing too much of it and so the way I currently play, my wrists are too low. I rely on arm movement rather than active fingers. My current teacher says that I have "lazy fingers". To work on some basics then, she had me do the following:
Play a D flat major scale (or G flat). Slow and steady, with keys depressed all the way down and somewhat firm higher wrists. As you go higher up, you move to the right AND forward, not solely to the right. Similarly as you go down, go to the left AND forward. This allows you to support your fingers better with your arm/wrist alignments (try it, the difference felt is immediate). That is not the major part of the exercise though. Play hands separate, stop briefly at every note that's played by the second finger. These are black keys now. These are the hinge points where if you have the right wrist position/alignment going, you will get the rest of them right too. The key is to feel the bounce from the keybed which cannot be felt with a floppy wrist. I also felt much more secure playing with firmer and higher wrists. Similar issues were observed when I played the third movement of the tempest for my teacher:
Let me record a minor issue first: too much pedal (easily fixed). Now for bigger issues: the sforzandos are being executed very harshly as of now. That again has to do with how much I rely on my arm strength. So we worked on that a bit, but employing a similar strategy as above: wrist alignment, using the fingers more, higher wrist and hence support from the wrist. The chromatic pattern that follows the sforzando also lacked control because of the same reasons. There is yet another section in this movement that we worked on and that helped me quite a bit. Its the sforzandos that appear again in the first reprise. Here, they involve double notes (A major, D minor forte section, for your reference). My tone again was extremely harsh because I've been using too much arm strength there. I was made to play it with better finger shape and better support for those fingers. The key is to form the shape necessary BEFORE striking. Use higher and firm wrists again. Also, the double note figure that follows the sforzando double note figure also gets a forte, unlike the earlier sudden reduction in volume that I'd been doing. Major lessons here to summarize: form the shape necessary before striking, use higher firm wrists, align so as to support the finger shape formation, and use more finger work. Point to note: I do not mean absurdly high wrists when I say higher wrists. I only mean higher relative to what I do now. So level wrists towards the higher end, would be a more accurate description. Lots of reworking basics ahead!
Another extremely important piece of advice was given to me when we were working on the sforzandos mentioned above. I kept repeating the figure implementing the instructions given multiple times, in quick succession. She stopped me short and asked me to play it once and then THINK about what possibly went wrong and what possibly went well. Then play it again with a better thought out strategy. Reevaluate!Taking a moment to reevaluate is extremely important! It made a huge difference when I stopped to think about it. I got it right faster.
The teacher also suggested that I start working on the revolutionary etude, since she thought a study for the left hand would nicely complement the predominantly right hand Op 25 No 2 that I currently play. However, she asked me later if I wanted to do some Mozart and I let her know that I was VERY interested and she said that we'd save the revolutionary for later. I really want to get started on a Mozart sonata as I've never played any Mozart so far. We will also rework the Chopin Waltz (E minor, Op. Posth) that I learned in Vienna. I have a long way to go with that piece too. There are some challenging big jumps in that piece that I have not managed to secure so far. I almost forgot, the Bach fugue!
I played the Fugue after I did the etude. Sorry for the messed up order in this write up but the order doesn't really matter. So here's what she had to say about the fugue. Fugues are of three kinds: spiritual, cerebral, and dance-like. This one (BWV 847) is dance-like. The rhythmic pattern is what holds the piece together and gives it character. So the accents on 3 and 4 drive the piece. She played the piece for me and had me clap on 3 and 4.. and it sounded very much like a nice dance. So I got back home and attempted to play it like a dance. Signing off with a video now of the attempt at a dance-like fugue (disregard the suboptimal arm movements, am working on getting my fingers to work more):
Saturday, January 1, 2011
Lesson 1
The teacher is from New York. She holds a DMA from the Eastman School of Music. She visits Ohio once a month or so. Being the first lesson, she had me play some pieces that I currently play and made some suggestions. The most valuable suggestion was about needing more arm support for my 4th and 5th fingers, especially while playing the Chopin Etude (No. 2, Op. 25). More explanation later. Some of the pieces I played along with the teacher's suggestions:
Bach: Prelude and Fugue in Cm, BWV 847. I only played the Prelude as I hadn't learned the fugue. She played a bit of the fugue for me and suggested I play the eighth notes with articulation and not detached, though the notes had staccato markings on them. I guess it has to do with Baroque interpretation. The sixteenth notes (with the same staccato markings) needed to be more detached. In any case, the pattern used for the opening theme needs to be used for all the subsequent voices. I need to learn this fugue for the next lesson which should be in a month's time from now.
Chopin: Etude No. 2, Op. 25. The main suggestion was that I needed to use my arm a little to move in the direction of the 4th and 5th fingers when these fingers were being employed. This would result in less tension in the lower forearm and below the thumb region. This would also help me get more legato. The way I'm playing now, my hand (along with the 1st and 2nd fingers) maintains its position while the 4th and 5th stretch to play the notes they are supposed to play. Instead, the suggestion is to have the arm/wrist follow the 4th and 5th fingers. I tried it, it works. I'm going to have to work this out slowly with the entire piece. The resulting sound ought to be more legato and lighter than what I produce now. There was also a suggestion to use more flesh on my finger tips to play the keys. I think I play with slightly more pointed fingers now and that most definitely contributes to the slightly harsh (sharp?) tone. So paying attention to that should also help produce a lighter tone. Another important suggestion was to play with slightly higher wrists (again, this probably helps with lightness of touch).
Beethoven: Sonata (Tempest), Mvt I. The only suggestion here was to do the drop roll in the second measure (which I was already doing) but without so much of a flappy wrist. That would help with the accents on the first notes of those eighth notes and having a relatively firm wrist would probably also help being consistent with that accent. I have been asked to learn the third movement and if possible, the second movement too for the next lesson. I'm pretty sure I won't be able to do both. Being in grad school and in a non music related field complicates matters.
Reading: I need to work on my reading skills. The suggestion is to get Music for Millions (red = easy) and practice reading everyday. Take a piece, read through it once at moderate speed. Maybe do the same piece the next day. She also asked me to find my way on the keyboard without having to look at it. So that means, I close my eyes, decide on a note to hit.. search on the keyboard with my hands till I get there, play the note. The most important part though is next: visualize the hand position on the piano as you play the note. Open your eyes now and check if reality matches what you saw in your inner eye. The other idea is to effectively use the "ridges" between keys and all of those physical features in between keys to guide your fingers to the right positions on the keys. Once this becomes second nature, sight reading becomes easier because you no longer have to look down while reading.
I also need to buy the Chopin Preludes and Etudes. The teacher thinks that those etudes would be ideal for me to do right now. I had bought the dover edition book some time ago but I donated it to the music academy back in my hometown. The teacher suggests that I buy the dover publication (which is the Mikuli edition), the same that I had bought earlier. She also likes the Paderewski edition. I didn't read too many favorable reviews of the Mikuli version online. People seemed to prefer the Paderewski edition. Mikuli was a student of Chopin's though and one would think that his edition would be the "better" one. I'm undecided as to which one to get. I might go for the Paderewski one as I managed to find the Mikuli version online (Schirmer) at IMSLP.
I will also work on the Mephisto Waltz No. 3 (a later work of Liszt's) in the near future. So that sums up the first lesson. Please leave a comment if you have a question.
Bach: Prelude and Fugue in Cm, BWV 847. I only played the Prelude as I hadn't learned the fugue. She played a bit of the fugue for me and suggested I play the eighth notes with articulation and not detached, though the notes had staccato markings on them. I guess it has to do with Baroque interpretation. The sixteenth notes (with the same staccato markings) needed to be more detached. In any case, the pattern used for the opening theme needs to be used for all the subsequent voices. I need to learn this fugue for the next lesson which should be in a month's time from now.
Chopin: Etude No. 2, Op. 25. The main suggestion was that I needed to use my arm a little to move in the direction of the 4th and 5th fingers when these fingers were being employed. This would result in less tension in the lower forearm and below the thumb region. This would also help me get more legato. The way I'm playing now, my hand (along with the 1st and 2nd fingers) maintains its position while the 4th and 5th stretch to play the notes they are supposed to play. Instead, the suggestion is to have the arm/wrist follow the 4th and 5th fingers. I tried it, it works. I'm going to have to work this out slowly with the entire piece. The resulting sound ought to be more legato and lighter than what I produce now. There was also a suggestion to use more flesh on my finger tips to play the keys. I think I play with slightly more pointed fingers now and that most definitely contributes to the slightly harsh (sharp?) tone. So paying attention to that should also help produce a lighter tone. Another important suggestion was to play with slightly higher wrists (again, this probably helps with lightness of touch).
Beethoven: Sonata (Tempest), Mvt I. The only suggestion here was to do the drop roll in the second measure (which I was already doing) but without so much of a flappy wrist. That would help with the accents on the first notes of those eighth notes and having a relatively firm wrist would probably also help being consistent with that accent. I have been asked to learn the third movement and if possible, the second movement too for the next lesson. I'm pretty sure I won't be able to do both. Being in grad school and in a non music related field complicates matters.
Reading: I need to work on my reading skills. The suggestion is to get Music for Millions (red = easy) and practice reading everyday. Take a piece, read through it once at moderate speed. Maybe do the same piece the next day. She also asked me to find my way on the keyboard without having to look at it. So that means, I close my eyes, decide on a note to hit.. search on the keyboard with my hands till I get there, play the note. The most important part though is next: visualize the hand position on the piano as you play the note. Open your eyes now and check if reality matches what you saw in your inner eye. The other idea is to effectively use the "ridges" between keys and all of those physical features in between keys to guide your fingers to the right positions on the keys. Once this becomes second nature, sight reading becomes easier because you no longer have to look down while reading.
I also need to buy the Chopin Preludes and Etudes. The teacher thinks that those etudes would be ideal for me to do right now. I had bought the dover edition book some time ago but I donated it to the music academy back in my hometown. The teacher suggests that I buy the dover publication (which is the Mikuli edition), the same that I had bought earlier. She also likes the Paderewski edition. I didn't read too many favorable reviews of the Mikuli version online. People seemed to prefer the Paderewski edition. Mikuli was a student of Chopin's though and one would think that his edition would be the "better" one. I'm undecided as to which one to get. I might go for the Paderewski one as I managed to find the Mikuli version online (Schirmer) at IMSLP.
I will also work on the Mephisto Waltz No. 3 (a later work of Liszt's) in the near future. So that sums up the first lesson. Please leave a comment if you have a question.
Friday, December 31, 2010
Introduction
I've started writing this blog primarily as an aid to myself for remembering what was said during the lessons and to have a record of this that's online so that I don't lose all my notes if I misplace the hard copies of these notes. I can also imagine this blog being useful to piano students, especially those at the intermediate-advancing level.
I started playing the piano at the age of 8. We moved to a different State one year later and I was fortunate enough to find a better teacher there. I consider him my first teacher (Fr. Thomas Chakkalamattath). He taught me the basics of piano playing and gave me a lot of important ear training in my early ears. He himself had a very good teacher, Handel Emmanuel, I think his name was. I remember hearing some recordings of Mr Emmanuel's a long time ago and they were pretty good! I learned under Fr Thomas' watchful eyes for maybe 7-8 years subtracting the breaks I had in between due to health related and other (read laziness) reasons. I stopped taking lessons after the 10th grade and practiced much less frequently. After the 12th grade, I went to New Delhi to prepare for the JEE (which is the entrance exam for the IITs). That year was an important one for me, musically. I spent all the money that my Father gave me on cd's (so many that music world gave me some special membership which let me buy classical music cd's at discounted prices). I read a lot during this time (mostly Russian classics). It was also during this time that my friends took away my cd's for a couple of weeks and gave me some Led Zeppelin and Pink Floyd to listen to. That was the first instance of me opening up to other kinds of music. I was hooked! I didn't realize at that time that two years later, I would do a Floyd tribute show where I would meet my future wife..
In any case, to cut a long story short, here I am in Ohio, with my wife. I'm in the second year of a graduate program in Psychology (made a shift from Physics, which I did for 5 years and decided that it wasn't my cup of tea). The only piano lessons I've taken in the meanwhile was in 2008. I had gone to Vienna for an internship at the Acoustics Research Institute. I spent all my earnings on piano lessons at a music academy there. I had a wonderful teacher there, Blazenka Arnic, who did wonders for my playing in the short span of a month and a half that I took lessons from her. I've finally decided to resume taking lessons. I found somebody whose profile I was impressed with. I had my first lesson with her today. It was good and I'm looking forward to more. The next post will contain the notes for the first lesson.
I started playing the piano at the age of 8. We moved to a different State one year later and I was fortunate enough to find a better teacher there. I consider him my first teacher (Fr. Thomas Chakkalamattath). He taught me the basics of piano playing and gave me a lot of important ear training in my early ears. He himself had a very good teacher, Handel Emmanuel, I think his name was. I remember hearing some recordings of Mr Emmanuel's a long time ago and they were pretty good! I learned under Fr Thomas' watchful eyes for maybe 7-8 years subtracting the breaks I had in between due to health related and other (read laziness) reasons. I stopped taking lessons after the 10th grade and practiced much less frequently. After the 12th grade, I went to New Delhi to prepare for the JEE (which is the entrance exam for the IITs). That year was an important one for me, musically. I spent all the money that my Father gave me on cd's (so many that music world gave me some special membership which let me buy classical music cd's at discounted prices). I read a lot during this time (mostly Russian classics). It was also during this time that my friends took away my cd's for a couple of weeks and gave me some Led Zeppelin and Pink Floyd to listen to. That was the first instance of me opening up to other kinds of music. I was hooked! I didn't realize at that time that two years later, I would do a Floyd tribute show where I would meet my future wife..
In any case, to cut a long story short, here I am in Ohio, with my wife. I'm in the second year of a graduate program in Psychology (made a shift from Physics, which I did for 5 years and decided that it wasn't my cup of tea). The only piano lessons I've taken in the meanwhile was in 2008. I had gone to Vienna for an internship at the Acoustics Research Institute. I spent all my earnings on piano lessons at a music academy there. I had a wonderful teacher there, Blazenka Arnic, who did wonders for my playing in the short span of a month and a half that I took lessons from her. I've finally decided to resume taking lessons. I found somebody whose profile I was impressed with. I had my first lesson with her today. It was good and I'm looking forward to more. The next post will contain the notes for the first lesson.
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