Joe’s Blog

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!

General technique for keeping an even touch when the hands are skipping from place to place on the keyboard.

September 2, 2020

This falls under the heading of obtaining two or more notes from one continuous gesture through time.

 

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Practicing Procedure: using the voice.

September 1, 2020

When W.B is playing a run she sometimes loses the sense of the individuality of each pitch.  It gets lost in the crowd of its neighbors.  Having her try to sing along with the melody formed by the run is helpful,

 

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Relaxation as the effect of something rather than the cause of something.

September 1, 2020

Today I am wandering through the Brahms Piano Trios.  I am struck by how different the revision of the first piano trio is compared to the original version.  The revision sounds like “Brahms” while the original seems tepid and incomplete sound-wise.  I hung out with the Horn Trio for a while marveling at what he does acoustically to blend the unlike combination of violin, horn, and piano.  And the late clarinet trio.  My only words for this last piece is “Oy!” (how beautiful).  What part of heaven was Brahms walking around in that day?

 

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Increasing the speed and evenness of a trill.

August 29, 2020

Trills can come out of glissando-like feelings rather than oscillating repetitive motions.

 

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How chords shine through melodies and tint the musical sky with colors.

August 29, 2020

The relation between the chord and the melody is at the heart of Western music.  Are there ways of imprinting the chord into and over the melody so that we have a more vivid sense of how the two interacts; so that their relationship is more obvious to the listener’s ears?  So that neither is isolated from the other and each reinforces the other until the result is an amalgam of chord and melody which would bring out the properties of the chord and of the melody more than if each were to sound alone.

 

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