Adagio sostenuto
This is a reminder to me that the two pieces on the agenda that I want to pick up [again] are
I’m tired of Bach’s two part invention in E major. It’s not coming right for me; it’s lagging far beyond the other three pieces that I am doing for the Grade 6 ABRSM and the more I work on it, the more dispirited I feel.
The other pieces were relatively quick to learn under finger so I wondered if I might do better with a different piece. I didn’t remember wanting to do much of List A for the Grade 6 when I looked so I wasn’t totally enthusiastic. But that was almost one year ago and I’ve happened across more music in the meantime. So at some point since then, I had bought CPE Bach’s Solfeggio and added it to the to be learned list.
Is it a good idea to skip on the two part invention? Do I really want to admit to a piece of music besting me? It’s Bach – it’s supposed to be a challenge.
But there’s the question of keeping focused on the objective and the objective was not actually Bach; that was just a contribution. Something else could contribute – it wasn’t the only piece on the syllabus.
So I went and looked to see what else was on the syllabus and I idly considered some Schubert before I noticed the CPE Bach and thought, wait, don’t have I have that piece now in the the sheet music collection? I’m sure I bought it in Trier….
The effort on the JS Bach is almost certainly not wasted. It feeds through into improvements in other piano skills. The read through of the CPE Bach was joyfully straightforward. My sight reading. It’s not necessarily a difficult piece to read although it’s a bit finicky to play with the hand switching, and also, the fact that it is played at Prestissimo. But it feeds into the Rameau that I want to do next year so there is that.
This decision will probably cost me a month (not superb but still) but I’m also a lot happier to move away from a piece that was making me unhappy. And this variety of syllabus was why I chose the ABRSM rather than the RIAM when I picked back up the piano exams.
Lucas Debargue has an upcoming album of Fauré’s complete piano music. Apple has been dropping tasters and it really is rather attractive. This arrived during the week.
I already have some Fauré on my TBL list, one of the romances from Opus 17. It’s been on my list for a while (that’s Alexandre Tharaud’s responsibility) and I even have the sheet music. I think it is also on the 40 pieces list but I am working (sort of) through the easy ones, Anyway, the music for this appears to be available via Barenreiter too. I’m not sure I want to buy any more music just yet though (this does not mean I won’t).
I listen to Brahms while working and discovered Radu Lupu’s recording of assorted opuses including Opus 79. I really like the second rhapsody from Op 79 so I bought it lately, Henle (so blue edition), nothing spectacular photowise.
It’s on the syllabus for the ARSM which is on my radar, although I was also targetting 118/2 for that (no work done on it this week). I’ll think about it. I had a look at it briefly yesterday at the end of a practice session. It was challenging to say the least.
If you ask me who my favourite composer is, I would still say Rachmaninoff. But I seem to own more music by Chopin and Brahms for some strange reason.
It wasn’t a great week for practice and I only got a couple of slots in. Also, I didn’t progress up to the silver leave in Tonic so yeah, bit disappointing.
I am struggling with the Bach. So much so I think I will see if Josh Wright has a lesson specifically for that piece (he doesn’t, I have just checked).
For the Mendelssohn Gondola Song, this morning was frustrating. I am getting to the stage where I would like to record it for the youtube and instagram and despite knowing every note of it cleanly, I’m struggling to get it clean through. And there is no consistent mistake. If there was, I could clean it. I love it though, it doesn’t pain me to replay it repeatedly but it pains me not to get it right repeatedly.
What I did work on a lot this week is Autumn Leaves (3, con afflizione) by Vladimir Rébikov. This is one of two pieces by him on my radar. A year or two ago, Pianist pulled out his Christmas Tree waltz for one of their Christmas repertoire suggestions. I haven’t started that yet (maybe I should, together with another Christmas piece I’d like to have ready for next Christmas. Need to update the repertoire plan I guess).
This is a two page piece, in F sharp minor. I don’t remember learning anything in that key before but I know I have pulled stuff out by ear in that key when I was a teenager (and also C sharp minor, was a big achievement when I was 15). Anyway, without going into the details I had serious reservations about it at the beginning – fingers weren’t the right shape and I questioned the wisdom of doing it. At some point, when it is finished, I will disassemble it, video it, and do an entry on it. One of the interesting things about it though is that there are not a lot of recordings of it around – the one I have on my learning list on Apple Music is I think Anthony Goldstone. Bing Chat cannot find it but if you have an IMSLP subscription, it is there too from what I can see.
It’s a piece I have come to like a lot – there are some gorgeous progressions in them. But the fingering is unduly challenging for my left hand. On the plus side, it will feed into what I want to learn.
In both cases, I have struggled a lot with memory in playing this morning. It may be because I haven’t had enough sleep lately (I haven’t, this is true). My fingers are slipping a lot more easily than I ever remember being the case before since Christmas. I keep the piano keys covered and I dust but still. It’s like the ice I have enjoyed (not) this week in Brussels. That’s infuriating.
I have not [yet] today touched the Bach or the Hillne. I will probably do a second and third practice session later on today. I will need to work on the Bach and also analyse where those rhythmic figures turn up. At some point if I get through that (and do the exam) I should write/vlog that up too.
On the 40 pieces project, I started the second piece today. It’s an Ecossaise in E flat major by Beethoven. In many requests it is very easy; I just don’t like it very much. But I can see that it is instilling some reading discipline in me, this and the Haydn. You’ll find notes on the pieces when I feel like updating it on the relevant page.
In other crazy ideas, things which went wrong: La Jetée by Yann Tiersen, particularly late last night; and I bought some more sheet music because Brahms OP 79. Shout out to the sheet music shop who saved me the danger of browsing it. I need to do a read through with a recording because the initial sight read was a bit of a disaster.
In general, the weeks (there have been more than one) where I get to do daily practice of around 90 minutes are hugely piano productive for me. So I like that very much. It’s just this week again will be disrupted but at least there is only one day of business travel.
Having written two rants on organisational stuff, I want to touch on where I see skills gaps that I want to resolve over the coming year that support the fluffy “I wanna play anything I want” aspiration we all have when we listen to Chopin.
As noted elsewhere, I have some sight reading fluency gaps. That is to say, the ledger lines still have to be counted and although I drilled them a lot last year, it’s different in actual sheet music rather than on an app while you are getting the bus to work. The other thing I want to fix are ornaments.
There are plenty of resources around for that and one of the things I intend to do is put them into my sheet music sketchbook. It’s a solvable problem and then once that is done, they will need some practice. I expect one of the practice goals to be achieved sometime in the next few days so will put that into the rotation of what I do.
Sight reading demands a bit more effort. I’ve watched enough videos to know that the issue is not a lack of knowledge but a lack of fluency. In short, I need to read more by sight. There are no tricks beyond that other than how to achieve this. Given I’ve just written a rant on the question of excessively devoting time to planning and pussying around with journals and the like, what comes out of this entry might be unexpected.
One of the things I need to make some decisions around is how much time to devote to this. I like to hope that soon, I will not be devoting 45 minutes to Bar 7 of a Bach invention (it’s frustrating given how fast the rest of it will go). I’ve seen some people talk about 10 minutes on sight reading a day, or 30 minutes a week. I’m not sure which one goes faster.
I came across something via reddit this morning: some user pointed at the 40 pieces challenge on Piano World. I dug a little deeper and came up with this blog entry by Elissa Milne. I know this name. She wrote one of my Grade 6 pieces, the jazz piece, Indigo Moon. It’s a lovely piece which will be getting much more of my attention after the dreaded Bar 7 of Bach.
The general idea is to learn at least a piece a week. I liked the underlying thought here because basically, I lived it.
The more students progressed in degrees of difficulty the more their sight-reading skills lagged behind.
Elissa Milne
You should read the piece. It’s an eye opener to know that this has been an issue for about 170 years. It’s one of the week points of the music grade systems in the Anglo Saxon world, I think. That aside.
Where I run into problems – and have done with 100 Days of Practice – is that real life can very often be a great obstacle to dealing with my dreams of playing more Chopin. I get a bit sad when I see people talking about how everyone has the same 24 hours a day. Honestly, the quality of those 24 hours vary dependent on how many of them you have to spend getting money to live on or washing dishes. There’s a reason that there’s a saying Behind every great man, there’s a great woman. Someone had to do the laundry and it wasn’t the man.
So, in reflection over breakfast, I muse on this, and here is one place where planning is truly an investment. It’s not an investment in individual practice sessions but in a series of them. Sure, teachers who engage in this with the kids they are teaching will have a well of resources but for an adult Who Is An Amateur, it’s worth planning this in some way.
There are a couple of useful sources here (and they can be built into a forScore setlist I believe).
There are books of pieces knocking around. Hal Leonard does one. But I might want to choose freely and there is IMSLP.
Here’s where my inner project manager comes out: pick 40, not including the two easy ones you know already such as the Petzold, and list them in an Excel Spreadsheet. And then tick them off. Put them on the YouTube Channel on a playlist.
We will see how it goes.
It’s 17 December. I suppose I should have done this a few weeks ago. Sorry about that.
Anyway, there are just a few ideas to think about if you are stuck. I’ve no handy pictures. When I do this next year I’ll do it better.
Most pianists already own a piano but if you are a multibillionaire with a nice big house, then Steinway Ds or Faziolis are always popular. If you are not wealthy and your pianist already has some sort of piano, then the chances are this is not your market segment.
Lego do have a grand piano model which is several hundred euro worth of bricks. You may want to consider it.
Annique Gottler has a grand piano model on a shelf in her studio. I covet it. I have no idea what it is but as she is a Boston ambassador I’m going to guess it might come from Steinway.
The safest bet here are vouchers for your pianist’s sheet music dealer of choice. There may be several. Credit for Henle Digital is always useful too but difficult to do in secret.
The cotton hardback editions of Rach and Bach are an attractive addition to any bookshelf. I don’t recommend Bartok in any shape or form. If your pianist is a teenager, consider books of computer games music as well.
But vouchers. Vouchers are always possible
Or vouchers. Most concert halls do them. Vikingur Olafsson’s Goldbergs are the hit tour of the minute. Check out your local options or plan a trip to, say, Verbier, the Elbphilharmonie. Are they notably partial to a particular concert pianists like Martha Argerich or Danil Trifonov?
Verbier’s schedule is out on 15 Jan, and public sale starts on 29 Jan. Not sure what will be available but let’s put it this way. I would love to have been in the room for this.
There are Metronome apps on both the Apple and Android stores. But there are battery operated little beauties (I bought one the other day) and then, your budget can cover a multitude with the Wittmer or antique ones. I’m conflicted between a turquoise or a ruby red little Wittmer. Ebay is full of antique wooden pyramids with brass fittings. If your pianist has a youtube channel, check their styling. A 19th century brass thing is going to look out of place in a cold modern black and white studio.
You can get lifetime subs to ToneBase and Josh Wright Piano. I’m not going to recommend one over the other and these are high end gifts anyway. But there are some pianists who give private lessons on line lessons. Youtube premium for ad free watching of Garrick Ohlsson lectures might also be an option but that is a monthly commitment.
I ordered this, and Cornish Rhapsody a couple of weeks ago. They arrived during the week, making me very happy.
It’s odd to see the pre-decimalisation price on both of them, and of the two, this is less fragile. Both lots of sheet music date from the 1940s. I intend to scan them and add them to my digital library and use forScore to do the annotations and fingering, etc.
When I was looking for this sheet music, I came across documents about how the music for this and especially for Dangerous Moonlight (Warsaw concerto, mentioned a couple of times on this site) were subject to major demand once the films were released. I know that early in the twentieth centuries, the music charts were based on sheet music sales rather than recordings – that changed of course.
It’s a rather romantic idea, this idea of buying the sheet music to play it yourself rather than buying the recording. People still do this – Interstellar is an example of one, and of course Yann Tiersen’s gorgeous music from Amelie.
The piano is a bit inaccessible at the moment so I haven’t had a change to go at this. I like to feel that these pieces come from a golden era of piano/film music. I kind of day dream about it.
Yes. It is in transit at the moment and I hope it is not raining on the postman’s van wherever it is on its way from the UK to Ireland at the moment.
I ordered two things:
I’ve written about the search for the Rota before but I bit the bullet and ordered it last night. I found Cornish Rhapsody while I was looking around there too.
The version I’ve linked is Philip Fowke’s recording with the RTE Concert Orchestra on Naxos. It’s one of two recordings I picked up in the past, the other being I think, Kenneth Ogden on HMV Classical. I’m not sure when I will have time to do read throughs.
I did a recital at the end of October at my current place of employment. I also agreed to play on the recital at the end of November. I have no idea what I will play and I have a chronically overwhelming lifeload for the next few weeks.
My brain is refusing to cooperate on all sorts of things. Bach, for one thing. Planning for the next six months, which has implications for the Grade 6 plans for end of Q1. I have a brand new notebook beside me for that, and calendars and stuff like that but the ideas for what I want to do are currently in a high security jail in side my head.
And I am afraid to even touch the piano. I don’t know if that is JSB’s fault (it’s hard to blame a man who has been dead for more than 200 years) or whether it is mine or whether it is linked to a whole pile of other stuff. Net result is the practice account is empty for the week. This is a pity on two fronts; one I made no progress on the piano and two I’m also berating the hell out of myself. About the only thing I did do was tidy the sheet music library (the printed one):
Oh and I found lots of lovely music in D Flat. More about that below.
Because we passed from October (that month flew), a new set of Piano Jam pieces went up on r/piano. I tend to look at that list with a view to using it as sight reading fodder which is something I managed once and then found a long searched for piece of music. Somehow I missed the three monthly list that went up in October (despite catching the Tiersen that I genuinely intended to do for that month but never got around to) and it has George Winston’s arrangement of Carol of the Bells, together with a link to MusicNotes. I have mixed feelings about MusicNotes and nKoda (I really don’t much like the subscription model) and it’s not clear to me with all the “you can only print once” or “you can’t print at all” how much this is really musician friendly. I don’t tend to want to print the stuff I have on Henle but nKoda and MusicNotes, and Sheet Music Plus are really in your face about that. I have downloaded a couple of pieces from Stretta and they had some version of the Carol of the Bells arranged by George Winston sans prelude. I have no idea when I can possibly start it and it will hopefully go into my forScore.
Rather irritatingly, on the first real day off I had in months, ie, I didn’t have to do anything, go anywhere, be anywhere, I was sick and I was effectively useless for 2 days for anything that involved concentration. Very unhelpful. I had hoped to get past the problems with the Bach that stands between me and the Rameau that I want to start sometime after Christmas, and clean up bits of the pieces for the exam which I had initially scheduled for March on the basis of regular practice which is just not happening since about the second week in October.
This has an impact on the planning for the following exam which includes a grade skip to 8. Like grade 5, Grade 8 is a gatekeeper grade in that unless I pass that, I cannot go onto the diploma programmes. I’m fifty and horribly afraid I won’t be up to Chopin Sonata III which is my plan for the FRSM in about 10 years time. It frustrates me and worries me. I get nervous about it.
My plan was to be more or less finished the finger/learning/memorisation work for the Grade 6 pieces by around Christmas and to continue polishing them for 2-3 months while starting some basic work on one or two of the four pieces for Grade 8. But I got impatient and looked at the Rachmaninoff sometime recently, mostly to investigate it for murderously big chords (there are two that I will need to roll) and to see how hard it was to read. It’s a measure of how differently my mind works that in fact, I don’t find it harder than the Bach that is eating into my self esteem. So at some point this week I watched a Tonebase webinar on planning piano practice for the next six months and I really need to start nailing down actual practice session goals.
I just wish I wasn’t missing so many. It’s like the piano is laughing at me.
For Grade 8, one of the pieces is in D flat, the aforementioned Rachmaninoff. For this, I’ve at least started two exercises that tend to support the playing of stuff in keys I don’t usually think in, the scales and improvisation. Because I somehow played stuff in C sharp when I was a teenager (by ear, so who knows, it could actually have been in D flat) my fingers fit the shape and improvisation and scales fit okay. I read through the Rachmaninoff, and I keep forgetting that G is flattened. What would be helpful would be other things in D Flat.
Reader, there are other things in D Flat. This for example:
Have I already mentioned this last week? I think so. Anyway, there was also a piece by Cecile Chaminade. We’re not talking about other things in D Flat that will make the Rachmaninoff any easier.
So I will probably finish off the C major Prelude by Bach (not the stuff that is keeping me awake at night) and transpose it into D flat. I’m not sure how much that will help but I think it might be complex enough to force me to write it. Someone told me the jazz guys, or at least the good ones could all play all of Well Tempered Clavier in any key they liked.
It’s just occurred to me that I haven’t played the piano since I went to hear Vikingur Olafsson play last week. I’m not sure why.
In the meantime, my brain is currently attacking me with the following: “Do All the Bach”. “Do all the Rebikov” = Oh Rebikov, I forgot to mention that. There’s a piece on the Grade 6 repertoire. Some days it goes beautifully, other days there is open warfare between my fingers and the piano. Isn’t the word mercurial? But also, a few years ago, Pianist Magazine listed one of his pieces, Yolka? Waltz from the Christmas Tree as a nice idea for Christmas, not too taxing. I should like to learn that. And the Carol of the Bells. Do the Carol of the Bells. Do all the sightreading from the November piano challenges. Do bits of the Chopin Ballade in G minor just for the pure hell of it. And you can start that Rachmaninoff.
LEAVE ME ALONE.
Oh and there is that waltz that Gregory Sokolov plays as an encore from time to time. And Le Matin by Tiersen which I was supposed to do in October on the side while working on the exam pieces as well.
WAILS IN PAIN.
I know the best thing to do is sit in front of the piano and at least do some of the Bach so that it goes forward. But I also want to plan. And I need a mindmap to get all of these cries out of frustration.
May I recommend Dvorak’s Piano Concerto if you are looking for something different to listen to?