Welcome to my blog!
A reminder that these blog entries are not ‘timely.’ They do not address issues that relate to the present news of the world. They address perennial issues faced by most pianists when striving to excel in their playing. I encourage you to search through the posts to find the ones that will yield the greatest benefit to you.
You can also use this list of all blog posts in order of keyword, which you can also sort by title.
You are also welcome to contact me to suggest a topic that you would like to see appear on the site, or ask questions or comment below each entry. Enjoy!
January 11, 2020
This entry in the blog is related to an earlier one that spoke about how many small degrees of increments in loudness are perceptible by the ear between, say, pianissimo and piano, as against the number of such increments between piano and mezzo piano, mezzo piano and mezzo forte, etc..
Two interesting facts emerged in that earlier blog. 1. When ‘shaping’ a phrase we should, from note to note, make use of every possible increment of relative loudness and softness, down to the most minimal ones that the ear can perceive. 2. That the number of these minimal subdivisions in loudness does not remain constant as we go from pp, to p, mp, mf, f, ff.. As we get louder, there are fewer and fewer minimally perceivable gradations in loudness before we have already spilledd over into the next ‘milepost’ of loudness for which we have a notation symbol. That, for example, between f and ff there are fewer distinguishable degrees in loudness than there are between mf and f, which in turn has fewer than from mp to mf.
December 4, 2019
Legato is the existential complaint and rebellion by the piano against its mechanically percussive nature and thereby against the inevitable decline in loudness of every note it makes once that note starts.
November 25, 2019
This is a way to help the student feel the connection between the various parts of their arm mechanism – from shoulder to finger tip.
In the steps that follows the teacher or the student can follow the instructions by doing the things described either to themselves by themselves, or the student and teacher can it to the other.
November 24, 2019
The hand has often, figuratively speaking, to divide itself into two parts so that it can pivot from the one side to the other. From one to four fingers lying either on its right side subdivision or its left side subdivision. What is most interesting about this process is that there is no firm line of demarcation between the two parts of the hand. Rather ,the hand can subdivide itself at any point along its left-right span.
List of the possible ways of diving the five fingers into two parts:
November 22, 2019
A.B.’s lesson on 11/21/19: The Well Tempered Klavier, Book I, C Major Fugue
A.B. has been so much preoccupied with separating and preserving the identity of each voice in the fugue that it has led to awkward transitions from a note in one voice to a note sounding immediately thereafter in another voice. This happens most especially when one voice has been sessile for a bit of time and then streams ahead again. There is a virtue to practicing the connection between the current voice (on which focus is being maintained by the pianist) “obliquely” across the staff or staves to the first note that is flowing again in the voice that was tranquil for a while.