"Oh I wish it could be Christmas every day"

For their last few lessons this term, many of my pupils are learning to play Christmas carols.  Every year I am amazed that a pupil who perhaps hasn't been doing a lot of practise and therefore been making fairly slow practise suddenly seems to find plenty of time to learn Christmas music and will end up learning almost all the Christmas carols I can get hold of!  The idea of playing songs they know and being able to perform them to friends and family seems to be really motivate them to practise.  

In that sense then, I do "wish it could be Christmas every day".  However, this also demonstrates how giving pupils tunes that they know is a great way of motivating them to practise and showing them that learning the piano can be very rewarding.  Some of my pupils have learned pop tunes, music from Harry Potter and Pirates of the Caribbean and TV theme tunes.  There is an excellent series of books called "Really Easy Piano" but sometimes I also find myself making my own arrangements of pieces.

So while its great to give some pupils some seasonal music to learn at this time of year, I'll also try to give them tunes that they recognise throughout the year as well as pieces from their tuition books and perhaps exam pieces if they decide to work towards grades.

First steps in improvisation

I was discussing improvisation with a pupil today and so thought I'd write some ideas of first steps you might take in improvisation.

Let's begin with a C major scale.  Play the scale a few times and then try changing the rhythm of the notes the scale.  You are now improvising!  You are creating your own melody using the scale as a starting point but creating your own rhythms.  Next, we can expand on this by changing the order of the notes - just remember to end your tune on the tonic (C) so it sounds finished.

As you get more confident in making up melodies using the notes of C major scale you might like to try adding an accompaniment.  The three primary chords used to accompany melodies are the tonic (I), subdominant (IV) and dominant (V).  The tonic is formed from the first, third and fifth notes of the scale (C, E and G in this case as we are in the key of C major).  For the subdominant, take the fourth note of the scale (F) and then the A and C above this.  The dominant chord is formed from the fifth note G with B and D.  Practise playing these chords a few times in the left hand and then try accompanying your melody with them.  You'll soon find which chords work at which points.  Chords are usually on strong beats (beginning of the bar or on beats 1 and 3 in 4/4 time) and need to fit the melody.  For example, if on beat 1 we have a G in the melody we can accompany this with chord I or V since both these chords contain the note G.  Again, remember to end on the tonic chord so it sounds finished.

Once you are used to this you can try using other chords including chord II and V7.  You might also like to try making up left hand melodies and using the chords to accompany in the right hand.  Using arpeggios instead of block chords or other accompaniment patterns will also vary the texture.

When you've mastered this in the key of C major try other keys.  It would be sensible to begin with G major or F major, which only have one sharp or flat, and then gradually move on to D major and Bb major and then later the keys with more accidentals.

Following these steps should get you started on improvising.  However, remember that improvising is all about experimenting! Try out different things and see what works - chromatic notes, different chords, minor keys...  There really are no rules so have fun!

How fit do musicians have to be?

Memorising Mozart

I am currently practising Mozart's Sonata in C K.279 for a concert this weekend and for the last few weeks all my practising has been from memory.  However, earlier this week I had a phone call which came just at the end of the second movement.  When I went back to practise the third movement I kept having memory slips even though I've been playing it for weeks without any memory problems at all! I then realised that I had been practising the third movement after the second and maybe my brain needed the connection between the movements in order to ensure I would memorise it correctly?  So, for the last couple of days I've been practising the movements in reverse order, starting with the third movement just to ensure the memory is really secure ready for the concert on Sunday.  Its strange how you can feel that you know a piece really thoroughly and then something like this can lead to memory problems!

One thing I like to do before a concert to ensure I know the pieces really well from memory is to practise away from the instrument.  Often its in the car while driving.  I simply go through the music in my mind and picture myself playing the piece.  If I can do this I find its a really good test as to whether I really know the piece well enough from memory.

Do you have any hints on memorising music?  Any ways you practise to ensure you know pieces from memory?  Feel free to leave comments.

Interpretation

I'm currently working on Mozart's Sonata in C K 279 for a concert on 22 November and thought I'd share some thoughts about how I work out the interpretation of the music.  There are so many points to consider:  

How will I shape each phrase?  

How will I play the ornaments?  

What tempi will I choose for the different movements?  

Have I got the right balance between melody and accompaniment?  

Will I do the repeats?  

Will I add embellishments to the repeats?

...

In my practise time I'll often try phrases out in many different ways to find what I feel works best.  I'll be trying to bear in mind the instruments Mozart would have performed on and how they differ from our modern pianos and I'll be thinking about the performance practise of Mozart's time.  At the same time, I'll also be trying to work out what mood or emotion Mozart is trying to get across in the music.  Is it humorous, sad, joyful, contemplative...?  I also find so much of Mozart's piano music is very orchestral in character and therefore I often think in terms of orchestral instruments.  

These are just a few thoughts I have when approaching a piece of music.  It can often take some time to work out exactly how to interpret a work and of course my interpretation can evolve and develop over many years. 

Putting together a concert programme

Today I have been working on putting a programme together for a forthcoming concert.  I enjoy trying out pieces and seeing which ones work well together.  There are several points to think about:  Do I give the programme a theme?  Do I feature the works of just one composer?  Do I programme the pieces chronologically?

A concert I gave last year featuring just one composer was a Mozart lunchtime recital which began with his Fantasia in C minor then the Sonata in G and finally the Varations in C on Twinkle Twinkle.  This worked well as showed different aspects of Mozart's piano works and each piece had its own character.

Theme and Variations were the subject of another concert programme which opened with Mozart's Sonata in A and was followed by Beethoven's Op. 109 where the final movement is formed from theme and variations.  The finale to this concert was the virtuosic Variations on Paganini by Brahms.
However, for the concert programme I was working on today I've decided to go with a variety of composers and pieces and will open with two Preludes and Fugues by J. S. Bach.  The main work will then be a Mozart Sonata and this will be followed by a selection of Grieg's beautiful lyric pieces.  The finale will be Chopin's Scherzo in B minor.

A programme certainly needs variety with each work having its own character and demonstrating a different aspect of the piano repertoire.  Its also important to use a variety of keys (major and minor).  Although the finale is often a fast and virtuosic piece, a gentle more reflective work can also work well to end a programme - I enjoy performing Schumann's Traumerei as a final encore.

So there's some of my thoughts on programming but please leave comments with your ideas and perhaps giving examples of programmes you've performed or listened to.

Piano Club

Yesterday I had my first experience of a piano club.  Some of you may have heard of these before and even attended a local piano club.  The one near me is held in a house where there is a beautiful Steinway Model B grand piano.  Around 20 people attended and the afternoon began with a cup of tea or coffee giving me the chance to meet others in the group.  There were quite a range of ages and abilities.  One lady played one of her grade 3 exam pieces while others played pieces closer to grade 8 standard.  Composers ranged from J S Bach to Scott Joplin.  We all drew a number from a bowl and that decided the order of performances.  The atmosphere was informal and very encouraging and following all the performances there was yet more tea and coffee but this time with cakes!

I really felt that this was one of the best ways of giving pianists informal performance opportunities that I have come across.  Playing in exams and music festivals, where you are assessed, can be quite stressful and isn't for everyone.  Playing in a piano club, such as the one I attended yesterday, can still create nerves but as the playing is not being assessed and everyone there is in the same situation and want to encourage each other, it is a much more relaxed environment in which to perform.

So, I would encourage pianists to try to find out about any local piano clubs and go along if they can and if there isn't already a piano club in your area why not consider starting one?

Getting a piano for a beginner

I often get asked for advice on buying a piano for a beginner pianist and in many ways my response is fairly simple - buy the best you can afford.  Often when pupils start piano lessons parents are wondering whether the pupil will stick at it and perhaps therefore don't want to fork out too much money on an instrument incase the pupil decides after 6 months or a year that they don't want to continue.  I've had parents ask me before if a very cheap keyboard will do the job and even a roll up keyboard.  There have been times when I've seen the instruments pupils are having to play at home and I suddenly understand why they're not keen to do any practise!  They perhaps have a very cheap small keyboard or an old piano which is badly out of tune with many notes not working.  A decent instrument will be a joy to play and therefore encourage a pupil to want to practise and make progress in their piano studies.

Obviously the best option is to buy a good real piano.  However, this can often cost £2000 or more and spending less than this on a piano can be risky.  The next best option is to get a digital piano.  While nothing is quite the same as a real piano, modern digital pianos are very good.  If you can get an instrument with 88 keys and a good weighted action it should be suitable for a pupil to practise on right up to quite an advanced standard.

A cheaper keyboard has several disadvantages.  Firstly the keys aren't weighted and therefore will have a very different feel to a real piano. Secondly, many cheaper keyboards are not touch sensitive meaning the pianist can't bring out the expressive qualities of the music.  Finally most keyboards don't have 88 keys and as the pupil progresses on to more complicated music they will find they are running out of keys.

I've also seen situations where pupils don't have the right stand or stool for their keyboard. I even once had a pupil tell me he practises while lying on the bed!  Obviously its essential that the instrument is at the right height so the pupil learns to sit correctly and play with the right posture.

One other option is to look into renting an instrument or a hire purchase scheme.  Pinkham pianos, for example, have an excellent scheme where you can hire a piano from £10 per week with the option to buy. A decent instrument will also hold its value well and therefore can be a good investment.

Musical Games!

One of the pupils I taught today sometimes finds it difficult to concentrate in the lessons and therefore quite often repeats the same mistakes.  I guess he probably does the same thing when practising at home.  So, today in the lesson I tried a different technique.  We took a small 4 bar section and decided to play a game with it.  The game was very simple.  We made a pile of three counters and the pupil's aim was to move all three counters to a different position.  Each time he played the section correctly a counter moved.  However, if he played it with a mistake then a counter would move back to the original pile. 

His reaction to this game was amazing!  His face lit up and he suddenly became very competitive and keen to win the game.  Not only that but he started to suggest improvements to the game!  He decided that he could start off with 3 counters and when he'd managed that he would have completed level 1.  He would then try the same game with 5 counters and if he succeeded with that he'd be at level 2 and so on!  

He's now asked me if we can try a different game at his next lesson so let me know if you have any suggestions!

My thoughts on the T. C. Lewis organ at Brompton Regis

Today I had the privilege of giving a concert and presentation on the T. C. Lewis organ at Brompton Regis.  You can view the specification of the organ here http://www.npor.org.uk/NPORView.html?RI=A00398.  T. C. Lewis is one of the most important organ builders of the 19th century and the wonderful instrument at Brompton Regis, except for some of the case work, is in original condition as Lewis built it in 1872.

One of the first things I like to try when getting acquainted with a new instrument is the diapason chorus and Lewis diapasons are renowned for their quality.  The great has an 8' open diapason and 4' octave and these have depth but also sparkle and provide a large, satisfying tone.  If you want some extra brightness this can be provided by the 2' flautina.  On the swell the 8' and 4' geigen principals have a softer and more string-like tone, meaning that they not only provide a wonderful chorus in themselves but also make a great echo to the great chorus.

The flutes on this instrument are fantastic!  The Rohr flute on the swell is beautiful and then on the great the lieblich gedackt is perfectly balanced with the 4' flute.  I could easily spend all day just playing pieces on these wonderful flute stops!  Although the 2' flautina is quite powerful, and probably designed to add to the diapason chorus, it nevertheless works well with the great 8 and 4 flutes if the swell rohr flute is also coupled down to provide a little more 8' pitch.

Unusually the 8 Vox Angelica on the swell is not undulating but is the softest stop on the organ and very beautiful.  The 8 salicional on the great is a little stronger but still soft enough to accompany the swell rohr flute or oboe.  So often I find small organs are lacking a soft 8' on the great and yet it is such a useful stop!

The reeds aren't necessarily Lewis' strongest point but are effective as solo and chorus stops and the horn certainly gives some extra spice to the full organ!  Both reeds do tend to get quite a lot softer in the treble register and some of the lower pipes are a little slow to speak.  However, the horn is very effective coupled to the pedals as a pedal reed.

In 2014, the church at Brompton Regis raised the necessary funds for the organ to be rebuilt by Michael Farley.  In recognition of its historical importance as an unaltered T C Lewis instrument it was awarded a historic organs certificate by the BIOS.  Farley kept the organ in its original condition. It therefore lacks some of the modern features such as a balanced swell pedal and combination pistons but is a stunning instrument with a lovely tracker action.  Although a fairly small instrument it is tonally very flexible and versatile and the full organ sound is impressive!

It is so encouraging to see a small village church that understands the historical importance of their organ and have taken the efforts to raise funds for a rebuild and ensure the organ has a secure future and will continue to remain as T C Lewis originally built it!  A real gem of an instrument and one I do hope I shall have the opportunity to play on again!

You can find out more about the instrument and see some pictures by visiting http://www.bromptonregis.com/organ.html.

The importance of being flexible as a piano teacher

Today I had one of my pupils turn up with their right arm in a sling!  They hadn't told me in advance that they had broken their arm and I was pleased that they went ahead with their lesson rather than cancelling it.  It did however remind me that no matter how much we might plan things as music teachers we always have to be willing to be flexible!  Today we spent the lesson working on left hand notes and improvising some tunes based on various scales.

Very often I find a lesson going in a different direction to what I might have planned.  For example, a pupil may ask a question, such as "Why are there G sharps in this piece when it ends with a C major chord?  C major doesn't have G sharps!"  This can then lead to a discussion about A minor scale and relative majors and minors.  We can learn how a piece might move from the major key to the relative minor.  We might try improvising tunes in both major and minor key and perhaps putting 2 or 3 shorter tunes together to form a longer piece which modulates between major and minor.

This is just one example but there are many ways in which, as teachers, we need to be willing to be flexible.  The pupil's mood, the questions they ask and if they've broken an arm can all effect the direction of a lesson.  I look forward to seeing what challenges and opportunities tomorrow's day of teaching brings!

Ferry pilots

I was listening to BBC Radio 4 earlier today while driving in my car and they were talking about Ferry Pilots.  These are aircraft pilots who fly planes from manufacturers to customers or from one base to another for maintenance purposes etc.  They were saying that this is often quite a dangerous job as it can involve flying small planes over much longer distances than they were originally intended to fly.  However, there are some pilots who love this work and because they get to do all the flying manually rather than using computers and autopilot as is often the case in commercial flights.

This led me to thinking about music. I wonder if they will ever come up with an "autopilot" for musicians?  Perhaps robots who can play the music for us? I guess in a small way this has already happened with player pianos and mechanical instruments.  However, it really isn't the same as live music played by a real person. If you went to a concert and watched a grand piano play itself you wouldn't feel you had received your money's worth!  Just as the ferry pilots are taking risks by flying long distances without the benefit of autopilot, I wonder if part of the thrill of live music, from the audience's point of view, is the risk that the musician could have a memory slip or make a major mistake and fall apart in the middle of a performance? I wonder if this keeps the audience on the edge of their seat?  Or maybe its the spontaneity that can happen in a live performance with a real musician?  The musician can adjust to the acoustics of the building, the reaction of the audience and the instrument in a way that a robot or computer could not.

So am I worried that musicians could be replaced by robots or computers in the future?  Certainly not!  Like the ferry pilots, musicians prepare and practise as much as they can but there is always that chance that something can go wrong in a performance.  The ferry pilots have emergency equipment on board ready for these occasions and in the same way musicians often have ways of dealing with things when mistakes happen in performances.  However, there is always a risk in performance but surely that is partly what makes live music so exciting for audiences (and nerve wracking for musicians!).

Maintaining Instruments

This morning I was playing at Ilminster Parish Church and there was a problem with a cyphen (sticking note) on the swell (top keyboard).  Thankfully after playing the note for quite a while before the service it started to work fine and there were no further problems during the service.  However, the church has been getting quotes on having the problem repaired and it has turned out that fairly major work is needed.

It's a reminder that these wonderful instruments we have in churches and cathedrals throughout the country do need regular maintenance and indeed can require a complete rebuild every 30 or 40 years in order to keep them in good condition.  Often this is not something churches are able to prepare for financially and many pipe organs are being lost and replaced with digital instruments.  While modern digital organs are excellent and in smaller churches they may often be the best way forward, its a shame when some really good quality pipe organs are being lost.

Mozart described the pipe organ as the "King of Instruments" and lets hope that this "King of Instruments" will continue to reign in years to come in Ilminster and many other churches throughout this country.

Venues and pianos

I was discussing some possible concerts today and we were saying how much more we could do if the venue concerned had a decent piano.  There are so few churches and halls now, it seems, with pianos.  If they have an instrument it is often a very old piano, sadly not up to concert standard, or a digital instrument which is never the same as playing on a real, good quality acoustic piano.  However, having a decent instrument can be a great investment.  It means the venue can be used for all kinds of concerts, exams, master classes, rehearsal space... and for churches the instrument can also be used in their regular worship.  I do understand that many halls and churches are under a lot of financial pressure but I do hope that maybe more venues will realise the benefits of having instruments up to concert standard and consider fundraising towards this.

Marmite Music

While having my lunch today I listened once again to Cameron Carpenter performing his version of the J S Bach Toccata and Fugue in D minor at the Royal Albert Hall https://youtu.be/JVccUxvk9aY. It reminded me of my feelings about Marmite! I'm perhaps a little unusual in that I'm never quite sure whether I like or dislike Marmite. Usually when I try it I decide I'm not that keen on it but I'm always curious to have a taste and I don't think I've ever totally decided that I dislike it!

 My views on Carpenter's performance are very similar. In some ways I like it: It is certainly virtuosic and shows off many of the colours of the famous Royal Albert Hall organ. Having played the organ myself I can also appreciate that there is so much to explore on what is this country's second largest organ and many of the softer sounds are not easy to hear from the console so you have to register music as if you are listening to it from the auditorium.  At the same time though I'm also put off by Carpenter's frequent changes of stops which seem to keep breaking the music up rather than allowing it to flow as surely Bach intended.  If you look at the comments in the youtube video you'll notice people either love or hate Carpenter's performance, a bit like most people's views on Marmite. However, I have to say that just like with Marmite, I'm not sure! Part of me is curious about it and therefore I'm sure its a recording I will listen to again in the future and I'm fairly sure I'll continue to remain undecided in my views on it! Maybe its just me being indecisive!

Paying to Play?!

I was recently in touch with a well-known musical establishment about a possible concert. They were looking for musicians who might be willing to do concerts for free in order to help them raise funds. This isn't unusual and there are times when I have chosen to donate all or part of my fee to a charity I wish to support. However, on this particular occasion I was shocked that this musical establishment not only expected musicians to perform for free but also wanted to charge almost £100 for the use of their facilities! The Musicians Union have been running the "Work not Play" (worknotplay.co.uk) campaign supporting fair play for musicians. While as musicians we love what we do, it is surely also not unreasonable for us to expect a fair fee given the hours of practise and preparation that goes into each performance and of course the cost of our instruments and maintenance of them. So while there may well be times when I may choose to donate all or part of my fee back to a charity that I want to support I certainly won't be paying almost £100 for the opportunity to perform!

Variety is the spice of life

So welcome to my new blog! I am a pianist and organist based in Crewkerne, Somerset. On this blog I hope to share some of my musical thoughts with you and give you a bit of an insight into life as professional musician. I hope you'll enjoy reading and feel free to leave comments! Do visit my website at jonathandelbridge.com if you'd like more information. So, here I am in Crewkerne in my studio and today I've been practising for a "Confounded Box of Whistles" concert I am giving on the organ at Brompton Regis as part of the Two Moors Festival as well as working on composing a "Magnificat" and teaching some pupils. Of course there's also been the usual responding to emails and doing paperwork! Quite a varied day! Sometimes it can be difficult and even a little frustrating trying to balance the teaching and performing work but at the same time the various aspects of my work seem to complement each other. I often find, for example, that when teaching a piece to a pupil I end up learning more about the music myself as we explore the work together and perhaps look at different ways of getting around a particularly tricky section. Directing a choir helps me to understand how to shape phrases and allow music to breathe in order to create the desired singing tone which isn't always easy to achieve on a piano. Composing helps me see music through the eyes of the composer and understand why certain changes of harmonies or transitions between sections need to be brought out. Would I rather just be a performing musician and be able to spend 9 hours a day practising, perfecting the interpretation of pieces and developing my technique? Would I rather just focus purely on teaching? No. I actually find having the variety to my musical life is what makes it interesting and enjoyable and I hope that through this blog I'll be able to share a little of that enjoyment with you!