January tends to be a quieter month for concerts so I've been spending quite a lot of time planning concerts for later in the year and and working out programmes. Choosing programmes is always an interesting process. Some of the programmes have a theme (for example a Mozart piano concert in May and a Remembrance concert in November). For other concerts I have to bear in mind what the instrument is capable of. For example in April I'm performing on a fairly small organ in Cornwall so I need to find a programme that is exciting and interesting but also appropriate for the instrument. I also have to bear in mind where I may repeat the same pieces and which new pieces I might like to work at learning through the year. Of course, each programme must also be enjoyable and entertaining for the audience, although I always try to introduce them to some new music as well as including pieces they are already familiar with.
I find this an enjoyable process and look forward to exploring new repertoire. However, I'm also interested to hear whether there are some new pieces you hope to learn over 2016? What are you musical goals for the year? Feel free to leave comments!
Tuesday 19 January 2016
Thursday 10 December 2015
"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.
Thursday 3 December 2015
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!
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!
Thursday 26 November 2015
Thursday 19 November 2015
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.
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.
Thursday 12 November 2015
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.
Wednesday 4 November 2015
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.
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.
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