Quality distinguished from quantity
July 31, 2018
Quantity versus quality, the immeasurable versus the measurable.
Non-typically, Irving has chosen to start work on a piece by Debussy.
This affords an opportunity to revise his customary way of approaching a new piece.
Part One: Keeping score on the number of wrong notes.
Usually, when Irving begins a practicing session, he measures his improvement in direct proportion to the increasing percentage of right notes that he plays and the decreasing number of errors.
This means he is devoting his conscious effort to ‘measurable’ quantities (the pitches of notes) rather than other things that are, in contrast to quantities, best termed qualities that are evoked in his playing.
How do we sidestep his “pointillistic” application of correct notes to the piece?
The first step was a bit drastic. I asked him to leave the right pedal down until a large group of notes were all swimming around in a common and confusing sounding tonal pool.
We then refined this so the notes that were thrown in the pool were only those that were chord-tones according to the current harmony. By doing this, a chord was being gradually built up, one note at a time, until all the notes of the chord were sounding together.
Now came the leap of musical imagination together with a slight derailing of the forward arrow of time. “The sound of this chord-cluster in its entirety,” I said, “should be in your imagination from the moment you play the first sound of the group that is going to form the chord at the end of the process. It is like a magical pedal that not only combines the sounds left in the wake of each sound, but can also summon up the presence of the sounds that remain to be heard.”
Once this effect is achieved with regularity, the next step is to re-create that feeling at will, with or without relying on the literal application of the pedal.
Part Two: Some other the desirable ‘qualities’ to evoke in the Debussy.
One note then the next:
A new note doesn’t always ‘eclipse’ an old note. The new note should not be opaque, in time, to the memory of the previous note. Let each note blend into the next, yielding its essence as an inheritance to the next note.
Melodies should seem to leave thick ‘trails’ behind their advancing wave front in time. The combined presence of their notes persists in time. Even without the pedal, the melody should sound in the imagination as if it were sounding in a perfect echo chamber; each part of the melody is inseparably bound to the overall shape of that melody.
Even in the early stages of reading a new piece, the pianist sometimes should try to play a passage in the intended final tempo. Otherwise the pianist who is interested primarily in right notes will automatically exclude from his consciousness the unique musical qualities of the piece that will animate and give life to the performance that will only become manifest in the piece’s proper tempo. Make the piece yield up its secrets before all the notes are learned.
Quality is so fundamentally different than quantity that the notes, if they are merely correct, eclipse the ability to modulate and shape sound, create tonal imagery, and release – as a flower giving off an aroma – all that is non-quantitative and miraculous about the piece and its sound.
Tempo can be used generally as a tool with which to experiment for evoking the qualities inherent in a piece. Playing a passage in its final tempo* sooner rather than later in the learning process, including wrong notes, will bring us to a realization of the indefinable aesthetic essence of the passage, rather than repeating the passage over and over in a gradually increasing tempo. The downside of approaching the final tempo gradually and incrementally is that the desired tempo may never actually be reached. Why? Because the successful execution, in the final tempo, depends as much on a clear musical vision of the aesthetic qualities of the piece as it does on physical technique. We need the qualities of the piece to guide and lead the notes into yielding their musical essence that transcends the actual identity of the pitches.
* whether this final tempo is slower or faster than the initial practice tempo