And may there be no moaning at the bar line
July 14, 2018
Irving is an intermediate student. We are working on one of the numerous, smaller Schubert pieces: a Waltz in A Minor.
I am aware that at various places he hesitates before going on to the next note. This seems to happen especially when going from the last beat of one measure into the first beat of the next measure. It happens much less when going from one beat inside a measure to the next.
This situation reminds me of a “steeplechase,” or any other race in which horse, or human, must periodically jump over hurdles. In between the hurdles, the path is flat and so it is easier to maintain momentum. In Irving’s case, it is as if each vertical bar line is a literal hurdle or obstacle to be overcome through a greater amount of effort, although the connections over the bar lines are not generally any more difficult than the connections inside a measure.
Could it be that the bar line is just a psychological hurdle and no more? Is it the mind’s reaction to seeing a vertical line that, visually, appears as a barrier to be crossed or surmounted to continue in the piece?
It could be that the effect is due to the fact that the first beat of the (next) measure often requires extra energy to create the ictus due to a downbeat?
Or, it could be that there is a certain limit to how many upcoming notes the mind can digest before having to pause and take in some more notes, and that a convenient place to fill up the mental buffer is at the beginning of a new measure.
Let us consider instead the cases where the transition between bars only seems more difficult than the changes that occurred within the measure.
In our case, given the 3/4 time of the waltz, the student should play four (sic) consecutive beats at a time. Doing this will always involve going over one bar line. Let us say, Irving is playing from one downbeat of one measure through to the next downbeat.
Having executed these four beats, pause. Repeat the same four beats as necessary until there is no hesitation going over the bar line.*
Continue by advancing one measure at a time, starting with the downbeat that ended the previous four beat segment. Advance through that measure and come to a pause on the following downbeat. Repeat this process, updating the starting point from the downbeat of one measure to the downbeat of the next measure. In this way, the student continuously updates his mental cursor to the position where he had previously stopped.
Here is another, more direct technique for crossing bar lines: Get rid of the bar line. The neatest way to do this is to mentally erase the bar line. We chose to erase every other bar line. The result is that piece in 3/4 time now seems to be in 6/4 time. Doing this often automatically removes any hesitation that occurred between what used to be beat three of the first measure going into beat one of the second measure. The forward motion flows freely through where the bar line used to be.
* Part of the advantage of practicing this way is that how we play the next measure’s downbeat is not interfered with by any mental or physical preparations we may be making about continuing beyond the new downbeat and further into its measure.