Tag: concert pianist
A Few Thoughts About Satie’s “Gnossiennes”
S.B. is in love with the Satie Gnossiennes. He is learning the first four.
When he had a long string of the triplet notes, I tried to push him ahead as if I wanted him to go faster. Notwithstanding, he successfully resisted the impulses I conveyed. But, the combination of my push and his resistance (with the flow of the tempo) resulted in a perfect union of not speeding up on the clock but still having a feeling to the listener of moving ahead.
And the same thing for any other musical ‘feeling’ that you have about the piece. Inject that feeling like you are injecting into the inside of a turkey with a “solution” prior to cooking. The flavor remains on the inside, but the cooking ‘metronome’ continues to tick evenly.
The little differences. Satie is creating a severely controlled universe, a minimalistic universe. Satie wants to draw the listener in until they are sensitive to every slight difference amid the hypnotic flow of the notes. For instance at one point, instead of a twelve note series of triplets, it is fifteen notes.* Or, this time it was an A-natural and not an A-flat. And things like this.
The melody is filled with repeating notes. First play it without repeating any of the notes, then switch to repeating them, but be very “annoyed” that something, some outside force, is making you, as it were redundantly, to have to play each note twice. Once established at the beginning, never loose that initial feeling of annoyance as you go through a string of these note repetitions. If it helps, say out loud or to yourself in a nagging tone of voice: “do it twice … do it twice … , or “do I have to do this note twice also … do I have to do this note twice as well … and this note … “.
Because it happens so often, your inner musician will constantly want to assert itself to make it sound ‘better’, more ‘natural’. You will start giving a phrase or shape to the notes in order to avoid the starkness of the repetition of each note. It is hard for you to play through the whole piece as we have described because you are so sensitive and may think that what you are hearing is in some way ugly. At such times just consciously make it ‘uglier’. Make each note ‘stutter’.
Turning off a natural ability.
No note in the left hand ‘bears the memory’ of what preceded it, though it is natural to hear a group of notes as outlining a particular tonal chord. If there is a D minor chord in the left hand at the beginning it’s “news to me”. Perhaps I’ll come to realize it after it’s almost done.
This is very difficult to do: suppressing a natural conscious reaction. It would be like advancing a film one frame at a time, looking at it for a while, and then a long pause between the end of the first frame and the beginning of the next to allow some of the short term memory to forget what the preceding frame looked like.
* Try to frustrate the listener because there is a group of notes, and then something else, and then another group of notes. Make the listener upset as to why there were only n number of notes and then it stopped, and then, why did we have to wait before that flow notes resumed, and not being sure how for how long, for how many notes, that flow of notes will continue this time.
How to Tackle Difficult Pieces, Practiced Simply
A.B.’s lesson on 4/3/19 on the first prelude from Book One of the Well Tempered Klavier
Balancing memory with freshness:
Be surprised and delighted with each new chord (which is to say each new measure). This is to balance out the impregnation of the piece by memory, from having heard and/or played the piece many times. Instead create a “beginner’s mind” for whom the new chord is fresh, unexpected, and bathed in morning light. You just don’t know what’s coming. Memory doesn’t go away but a proportional balance is attained between memory and the unforeseeableness of the future.
The persistence of a single chord through an entire measure:
In this piece it helps that you were formerly an organist, for as long as you hold the keys down on the organ manual the sounds continue unabated, persistently, and without the piano’s ‘decay’. Hear in your “inner” ear of imagination the five different notes of each measure as a simultaneous ensemble, which continues unbated as a totality from the beginning of the measure to the end of the measure.
A.B. is not satisfied with his control over the evenness of the sounds in a measure:
Take a single measure out of the flow of the piece. Reiterate the first note of the measure over and over until it “sounds like you want”. Do this without thinking of the other notes and whether they will match the first note in sonically – in other words this is not yet about evenness between notes). Then switch to the second note. Play it ever and over, until, as before, it sounds how you want. Repeat this procedure for each further note in the measure. When you play the measure as written you will notice in retrospect that all the notes were even, although you were in no way trying to match them, but instead having each note have its ‘ideal’ sound. A musician with a good ear will always be able to tell when a sound has reached a certain ideal perfection, but not through analysis, through an intuitive sense of the sound.
For evenness when one note, occurring between two other notes, is not balanced sound-wise with the others:
In the measure that begins : f2 f3 a3 c4 e4, the c4 was not balanced with the a3 and e4. I suggested that he hold down the a3 and e4, and while they are being held, repeat c4 over and over.
Another path to evenness: the written notes are part of a larger whole:
In measure one, for example, turn the measure’s notes into a rapid arpeggio that starts, with the highest pitch, e5, descends through the notes of the chord until reaching the bottom note (c4) and without pause re-ascends to the top note. This creates a more cohesive and integrated motion in your hand. Once you have this gestalt, you can remain silent during the first part of this arpeggio and start playing in the middle of it, at the note that is supposed sound first in the measure. Eventually there is no need to pause or mark time for the first half of the arpeggio, it can occur in the inner feelings of the body in just a split second.
Yet another path to evenness:
When a baton twirler causes the baton to make a circle, it is the result of a sequence of different motions all blended together in a one overall fluid motion. I’m ignorant of the breakdown of those motions, but you can still imagine, yourself as twirling a baton, one cycle every half measure (as the note pattern repeats).
I would sing a sustained line for A.B.:
Sometimes I would sing a sustained melody, one note per measure, starting at the beginning of each measure, made up of the top note of each measure. Maybe I thought of doing this because I Gounod’s Ave Maria flitted through my mind. That Gounod may have felt that the Bach begged for a continuous line (adumbrated by Bach made tangible by Gounod). The effect that my singing had unconsciously on A.B. was each note of the measure was instinctively made to balance, or fuse sonically, with the sustained note I was singing.
How to bring out the dramatological curve of a piece, even though it was originally played on an instrument of a constant degree of loudness:
There are not many overtly dramatic moments in the piece that stand out from the monotonous (sic) patterns that repeat every half measure.
And even if we become aware at a certain time of these moments, they will afterwards fade into the background due to the abrasion or erosion of constant playing of the piece. So make the most of these moments.
Here is one example. Chords outlining diminished chords, for instance, happen only a few times in the piece, but each time it does, try to react to the sound of the chord as being jarring, intense, dissonant. This effect can be gained even without making any change in the loudness of those measures versus the surrounding measures. One can intimate a dramatic curve merely with intent and adumbration in the flow of the notes.
One of my other students, while playing through the Adagio from Beethoven’s Op 13, came across of a few measures of diminished chords in the passage leading back to the second A section of its ABA form. She said “diminished chords are ugly”. I said: that’s great, can you make them sound as ugly as possible!
Another example. When an interval of a minor second in the left hand, treat it as an astonishing, unexpected dissonance.
One more example, this time a longer passage:
In the second half of the page there is a long dominant pedal point in the left hand playing g2 (lowest line of bass clef). As he went from one measure to the next I repeated: “long … long endeavor … never stops … we’re not ‘there’ yet”.
Matching two sounds that are separated in time:
When you play the first half of a measure and get to the highest note, consciously hold its sound in your ear’s memory, so that when you play the same note in the second half of the measure you can match it with the first.
Sometimes a “group” of notes is just one note:
In the last few measures of the prelude, I find that it is not useful to think of groups of four notes, or even two notes, the measures are too ambiguous compared to what has preceded it throughout the piece. My way around this is to play these last measures in “groups of ONE” note. To promote this I say out loud as i am playing: “One”, “one”, “one” …. “. Every note bears little allegiance to every other note except when though of in retrospect.
Remember that your pinkie is part of your hand, not a separate appendage:
Often your pinkie seems to be out in right field, detached from the rest of your hand as if it were a separate appendage. Hold the pinkie in the unity of your whole hand.
Isolating Variables: the sequence of fingers as against the sequence of pitches:
This is in line with what we just said about the pinkie being “held” in the hand. In measure three A.B. is using fingers 1, 3 then 5 to play g4 d5 and f5.
I asked him to cover the notes g4-a4-b4-c5-d5 with the five fingers of his right hand. Play it as a cluster and hold it. And while holding all five notes try to lift the thumb and replay the G, then again while still holding all the notes, raise the third finger and replay the d5, and similarly with the pinkie for f5. Just focus on an awareness of the identity of which finger you are playing, as if to say “these are the fingers I’m going to use: 1 3 and 5”. Then use the same fingers but for the written notes (g4 d5 f5). You hopefully will feel an interesting transference of the awareness of which fingers to use, now mapped onto a different set of fingers.
Isolating Variables: The sensation of evenness as against any physical actions taken to instill evenness, especially when there is a new set of notes:
There is an ’emotional’, a generalized physical sense in the body as a whole, of ‘balance’ among the notes of the keyboard that are played together and in close succession. As with any feeling, this emotional state can be reproduced at will under different circumstances. Rather than the details of how to play the next measure evenly, try to reproduce the experience of having this feeling.
This distinction applies to many situations in playing.
For instance: there is the sensation we get of playing an ascending set of pitches. This feeling can be conjured up even if we are playing a descending set of pitches. Sometimes doing this is very useful in a Bach fugue to help homogenize two different voices, so that what a second voice is doing does not sound too dissimilar from what a first voice is doing.
Or, a sense of enlarging and getting louder can overlay a series of notes that are getting softer.
Or, a sense of wide space between the fingers in the hand can overlay a passage that involves a series of notes only one half step apart from each other.
Or, the sense of energy that we get from one very dynamic piece or passage from such a piece, and overlaying that feeling of energy onto all passages, slow or fast, loud or soft.
Making a clear connection between two non-adjacent fingers:
There is a measure in the first part where the pianist plays this sequence of notes: b3 c4 e4 g4 c5 … .
Notice that I tapped your fourth finger when you went from your third finger on g4 to the fifth finger on c5, It was meant to show the hand the focus of the ‘connection’ between the fingers playing g4 and c5, more at being located at the connection between the 3rd and 5th fingers.
At another point in the lesson I slid a pencil between his second and fifth finger. The pencil passed over those two fingers but passed underneath the fingers in between them. This helped him sense that those two fingers don’t act separately, but more at being the two ends of the plank of a see-saw, and thus the result of one single action.
More about see-saws:
Regardless of what two fingers play one after the other, and regardless of the distance between the notes they play, always an imaginary see-saw plank between the current note’s finger and the next note’s finger. Add to this image an almost felt, pivot point, midway between the two fingers. Now pretend you are a very strong person who can make the two ends of the plank move reciprocally move up and down just by leaning first on one side and then the other side of where the pivot.
Once you are on the second note resulting from the first see-saw, move the see-saw’s location so that it connects this second note with the note that follows it.
To develop the sense of this see-saw, and the ability to relocate it quickly, it may help (using measure one as an example) to do this exercise:
Go back and forth between c4 and e4 (something which I notate as |: c4 e4 :|. Once that see saw is functioning organically do the same for |: e4 g4 :|, and so on.
Addendum to the previous section:
It is your tendency, when you encounter a problem in a measure, to just play ahead for quite a long time, and then tend to the problem later. It is good to balance that tendency out with the ability to not move ahead, maybe only as far as the end of the current measure, and then focus in on tiny details. Focusing entails a greater degree of awareness of what is happening physical and sound-wise, plus reiterating that tiny detail until it sounds how you want it to sound.
Don’t rob the last note of each measure of its full duration:
A.B. usually tries to rush into the new hand position at the beginning of the next measure. He feels that he may not have enough time to do it in, and compensates by holding the last note of the current measure a little shorter than the other notes of the measure. I said “it is always good to try to hold longer whatever note sounds just before a leap, a skip, or a change of hand position. One can deal with this near the end of the note by continuing to hold it when your hand tells you it is time to let go of it. There is another way that is just as effective, that is more at being located time-wise at the beginning of the note rather than near the end. Start the note with the “intention” of holding it longer.
We reached the goal of evenness:
Joe: in general today we have accomplished one of your goals: the sound is now even throughout. During the attempt to make each note sound clear and close to its ideal sound, you were finding it easier to do this when playing all the notes a little louder than usual. Often two variables get tied together, “entangled” as it were. On the hand playing more evenly, on the other playing more loudly. The latter helps achieve the former, only at some point, you want to separate the former from depending on the latter. Once you have effected this separation, the evenness and clear-speaking-ness of each sound, no longer depends on loudness and can occur at any dynamic you choose.
General comment #1:
Notice that while you tend to try to solve things with specific actions of specific fingers, I almost never suggest a solution that involves the fingers, but relies instead on a more integrated motion of all the parts of the arm from shoulders to hands.
General comment #2:
I think you are evolving from one species of musician into another species: from an organist to a pianist.
Leverage and Sound
Chopin, Etude in C# Minor from Opus 25:
Irving’s brother came today. We wanted to get a rich cello-like / vocal-like tone out of the piano for the notes of the opening “baritone” melody for the left hand. It is in single notes without accompaniment, so it is very exposed. We need our entire sound/mechanical tool-kit to keep it resonant and sustained so there isn’t a moment’s break in the flow of the line. Their softness shouldn’t belie their resonance.
Our first exploration was with leverage, the principle being that the greater the leverage you have over the production of each sound, the more that sound approaches the ideal piano-resonance.
The effectiveness of a lever is a function of how long the lever is and where you place the fulcrum on which to rest it*. Leverage increases with the length of the lever and how remote the fulcrum is from the end of the lever that, from which in this case, the pianist initiates the motion of the lever. If, for example, the lever is solely the length of a finger, and the third knuckle is where the fulcrum is, there is little mechanical advantage to depressing the key through the motion of that lever. If the lever extends back into the wrist, and includes the finger, there is greater leverage on behalf of the movement of finger tip. So the question is, how we can create the greatest leverage with the human body.
We ended up using a curious combination of several different levers, that ended up being connected one to the other.
The length of the arm, from shoulder to finger tips, while perhaps not the longest lever we can make of the body, is a conveniently long one that is still easily manipulated.
We started by his holding out both his forearms; straight out in front of him so that they parallel with each other and were horizontal to the ground. We Left a comfortable distance between the two hands, about the same as the distance between the two shoulders.
We then had him move his arms up and down using just the shoulders as pivots. At their highest points the arms were aiming well above the horizontal, at an angle of about forty five degrees. At their lowest points the arms were just slightly below the horizontal.
Very soon, we changed it to an oscillating motion between the arms. One arm was at its lowest when the other was at its highest. And they exchanged these positions. We did this until he felt a sort of physical exhilaration from all that motion.
The next thing we did was to create a second, more imaginary, lever. At the same time the arms were moving, we pretended there was the plank of a see-saw that connects the two hands (traversing the empty space between the hands), which, as a result of the arm motions, was itself going up and down as if two people were seated at each end of the see-saw. The pivot of this imaginary see-saw was exactly half way between the hands, so that neither hand or arm had a mechanical advantage over the other – the advantages were equal.
I also had him imagine a secondary but similar see-saw between his two shoulders, as if an, albeit, small person was seated on each shoulder. We continued exercising the combination of these levers until he felt a definite exhilaration from making these motions.
We then ‘elected’ his two index fingers as the sole ‘beneficiaries’ of all the motions he was making, so that the each index finger was backed up by the entire arm and contributing see-saws.
While continuing the oscillation of the arms he used alternating index fingers to play first the opening note of the second note. The solo was no longer distributed solely to the left hand but alternately, from note to note, between one arm lever and the other. If he played the first note with his left index finger, then he played second note with his right index finger. Then back to the left index finger to sound the third note, the right again for the fourth note, and so on through the line.
During this procedure the fingers were to never loose their connection to the hand, and on to the wrist, the forearms, the elbows, all the way to the shoulders.
Sometimes the arms had to cross one another, but the more important thing was the swinging motion from one arm to the other regardless of which one was to the right or left of the other.
When he did this with physical abandon fervor, without thinking so much of the ‘proper’ or ‘usual’ way of pushing the notes down, the result, to our joint delight, was an unusually rich sound, one that he was unaccustomed to getting on single notes.
Even when consecutive notes were ‘next door’ to each, only a half step or whole step away, we did not diminish the feeling of the widest possible see-saw between the arms. In other words, while the objective distance between the consecutive notes might lessen, the subjective sense of how long that distance was always remained large.
The last step was to preserve the widest and most dynamic sense of an oscillating motion when going not just from one hand to the other, but from one finger of one hand to another finger of the same hand.
* The saying, concerning how levers work, as attributed to Archimedes, is: Give me the place to stand, and I shall move the earth.
The Connection and Disconnection of Notes
I’ve had an idea lately that it would be nice to do a lesson and then post a blog post about it right afterwards. I think this will gain in spontaneity and insight, despite what it might loose from lack of editing and proofreading.
A.B. Was playing WTC I C f (which is my short hand for Well Tempered Klavier, Book One, C Major (C is uppercase), the fugue and not the prelude (f).
This is a new piece. The first thing he said, was how hard it was to read a fugue. It poked at his sore spots as a reader and a player. I said, forget all of that. Play the chord on the first beat of this measure, and ask yourself what it is the most natural and comfortable of playing it. By starting there, it is as if you were starting the piece, just from a different measure than measure one. So your hand had no allegiance to what it may have done a moment earlier if it had played the last part of the previous measure.
Now, before you go on any further, DON’T TRY connect the present arrangement of the fingers in the hand with the next one. Playing Bach clearly is not a matter of figuring out a fingering, or getting used to making certain connections in the hands and fingers. One never goes from “here” to “there”. All there is are “here-s”. Each one is undiscovered until right now. It is always as if you are playing the piece for the first time.
With each new note, or if not that frequently then at least with every new eighth note’s worth of the piece, pause and ask yourself “what is the most natural and comfortable of playing these notes”, especially if the hand need no longer “remember” where it was a moment earlier.
Playing through the piece is discovering, as if for the first time, a new position for every moment’s new notes. In doing it this way you enter into the joy and spontaneity of the fugue; the experience is wonderful, and in no way a chore.
A.B.: So what do I do the next time I play this spot, wouldn’t it help if I gradually got to know, through repetition, where my hands go next? Me (waxing poetic and philosophical): No, the only thing you have to remember is to forget. A.B.: But doesn’t that sometimes mean I get further and further into trouble with my fingers and dig myself into a hole from which I cannot get out. J.B.: There is a simple solution to this. When you are least sure where to go next with your hands and fingers, when you feel you’ve gotten stuck in the mud and don’t where to go, that is the time to take your hands off the keyboard. Remove the hands from the piano, even if briefly. Start with a new slate, for by removing you hands from the keys, you have let go of the immediate past, you can discover, as if for the first time, the most natural and comfortable position for the two hands together on the next notes. So, if you never know where you are going to get into fingering problems, remove your hands from the piano.
He tried it. It was a fine sounding connection. He said: but if I remove my hands from the piano there will be a break in the sound continuity, things will not sound connected. I said: then how comes what you just did, which involved letting go of the keyboard and removing the hands from the keys, ended up sounding more flowing and more connected than I have heard it before? By removing the hand, you have no choice but to find a new position, a new and most comfortable position, for the next notes.
Be careful, I said, of sixteenth notes (or eighths) in one voice that are moving in steps. That can lead you down a perilous path. You will stop looking for a new hand position for each sixteenth, until the fingers get caught in the keyboard and get bogged down because you have “run out of fingers”. No, you never run out of fingers, there are always five new fingers in the hand for each new note.
When I say “find the most comfortable position” I mean one in which no finger ‘remembers’ where it was a moment earlier. Nothing about its position in the hand is biased or coerced.
To save time in writing, I am using the convention of having:
|: Ernie is the name of my cat 😐
To mean that I have gotten trapped in an endless loop and am saying the same thing over and over. And in such a way as if I never had said it before, but rather someone recorded me, quickly hit stop, rewind, and play. The idea is that it becomes a spoken “mantra” whose efficacy is in its being repeated, until the mind’s state becomes transcendental, a state in which one does not connect things physically SO THAT they can connect sound-wise (sorry I’m sounding a little to “new age” for a cynical Jew from Brooklyn).
If you are a draughtsman, and you use the same writing implement over and over again during an hour of work, do you always consciously try to pick it up in the same way as before. Do you have to think of its position before taking it into your hand. No, it only becomes natural to do if you allow the body to learn unconsciously, so that the 100th time you take the pencil in your hand, it is consciously just as unplanned and spontaneous as the first time. From the conscious point of view (and not for the unconscious, which is busy learning and practicing) you are always finding something ‘new’ (not ‘old’) and finding it for the ‘first time ever’.
All of this started falling into place when I physically caused A.B. to remove his hands from the piano after each current sound. When he resumed, the next sound and all the newness of freshness of the morn: is it ever really the same sun that rises the next day (Thoreau says something about this in “Walden”. Every hand position is “discovered” spontaneously. So I sometimes started using the repeating mantra |: every position is new and discovered spontaneously :|. or just, |: find a new position 😐
Don’t be afraid to let go, for that is the only true way for the body to find what’s next. It is the opposite strategy that common sense tells us to follow. Consciously you forget it even happened before. You think you can’t do this “A”, but you can. You just need to keep an experimental mind, and prove it to yourself over and over with the freshness of every new sound.
And, by the way, when you find the ‘new position’ it always for both hands together, never for just one hand or the other. Let the body, let the ear, always synthesize together every new sound in the piece. And the listener has no desire to complicate the wholeness of the musical experience by knowing which part of what they hear came from your left hand or your right hand.
After a while, all I was saying to him was “let go” … “let go” … “find the new position”, “find a new position”. There was one moment I could tell that he was trying to figure out the best fingering for a series of consecutive notes. I said: that was not a new position, it was a ‘trying to get there from the old position to the new’. There is never a ‘there’ to which to get, everything is a ‘here’.
A.B. said, how can I have a totally new position in my hands when I am required to hold over one of the notes (holding down a note in one voice while the notes in the other voices change). I said: I agree that you have some issues with what I might call, by analogy, if it were spatial more than of time, “negative space” (E.G. is it two profiles or is it a vase). A held note is not due to a finger that holds tightly to its position on the keyboard. It is do to a new position that that finger assumes every time another voice voices to a different note. The fact that the finger remains on the same key is secondary and incidental from a physical point of view. There is no difference between writing a half note, in a score, and writing the same note as four eighth notes, each tied to the next.
Negative space also involves things like, the action of when to release a note in a voice after the finger playing has gotten inured to holding it down when it has been held for a while. Another example are rests, in general in a particular voice, which must be incorporated into the “sound” continuity of the piece.
So, abandon any noble effort by the left or right hand to connect the notes in the fingers. Don’t do that! Let it go.
I would love feedback regarding the usefulness of this type of blog entry. It probably suffered from repetitiveness but it did not loose my original excitement about discovering these things, and in keeping pace while writing how things evolved through time during the hour of the lesson. Thanks for reading.
Further Italian Concerto Progress!
A.B. was here for his lesson yesterday. We were working on the third movement of the Bach Italian Concerto. We brought to the next level his ability of bringing things under the control of the ears.
I was reminded of medieval philosophers when they talk about god’s abilities: that god merely needs to think something and it becomes actual in the real world. So in piano performance the true controller over how a passage sounds is not based on intentional or controlled physical motions, but simply the ‘ear of god’ (actually the ear of the pianist) noticing how things are sounding – which, miraculously, transforms what is heard from potential to actual.
The more I was able to get A.B. to focus on his ear, the more contented he was to practice just a small chunk of the music and not, as is his wont, to continue on and on regardless of what happens in the passage. We should first ‘frame’ the chunk of the music being undertaken. That you will find that the smaller the chunk size, plus, the slower the tempo, the more the ear naturally takes over for the body.
Some other things that I said during the lesson to keep A.B. focused on what he heard rather than what he felt:
1) the notes never escape the reach of your ear.
2) wherever your hand goes, the ear follows.
3) the physical action of making a note often occludes the ear’s ability to hear the same note. This is an important reason why is it not such an easy matter to “just listen”.
Some of our work had to do with specific spots in specific measures:
In measure 2: the last two quarter notes plus the first notes of the next measure (in the left hand).
The principle here is, in order to get clear and crisp parallel sixths, don’t be content thinking of the three written sixths as being the “complete story”. I extended the passage by having him play a scale an entire ascending octave of parallel sixths using the notes of the F Major scale. “This is the ‘larger’, the more complete ‘whole, of which we have but a limited section being quoted. Once you conceive the part as representing the whole, then no matter how few sixths you play they will come alive. The listener will have a sense of where the sixths came from before the first one to be played (c3-a3) and where they are going to go if allowed to continue beyond the a2-f3. It is the “gestalt”, this organized whole, one that is greater than its parts, that should be the object of our perception, and be that which our hand wants to “embrace” when playing.
In measure 3: a2-f3 then f2, in the left hand.
Even though the thumb releases the f3 before the f2 is played, let the thumb nonetheless act to balance the pinkie.
Also in measure 3: the fifth eighth note in the left hand – bf2. No matter how he tried physical to control and balance the sound of the bf2 from the surrounding notes of the F major scale, he could never get it to sound how he wanted … until, that is, he recognized that the b-flat, though far removed from the right hand, functioned as the 7th of a third inversion C dominant-7 chord (bf2–e5-g5-c6). This allowed the bf2 to find its destiny as enabling a brief assertion of a dominant chord, in an unstable inversion , in the midst of an ascending F major scale.
Relating this to today’s major theme, if not by engaging with the ear, no matter how you to try to play something, it will always sound wrong. Which leaves the pianist to try one after another physical experimentation, all the time completely missing the sound-reason for the note.
In measure 5: the notes on beat one and the following eighth note. A.B. was having difficulty separating the two voices in the right hand. I made a suggestion that, agreeably, seemed to have nothing to do with the issue at hand. Listen, I said, to the f4 in the left hand and hear it meld into the f5 an octave higher (in the right hand’s lower voice). Sometimes we have to think ‘across the grain’ and find the solution to something in a different geometrical dimension than the one in which we first located the issue that required our attention.
Measures 30 and 31: the left hand
“Throw” the left thumb rightwards as if it would separate itself from the rest of the hand. Do this with more energy and momentum than would seem to be warranted by the physical distance the thumb has to travel away from the other fingers of the hand.
The principle here, is analogous in a way to the “gestalt” thing we mentioned concerning measure 3, when we spoke of completing the implied whole, not being content with only the notes that literally sound or are literally there. In these measures the distance the thumb has to travel is expresses a larger distance (subjectively) than the pitches of the notes seem to indicate (objectively along the keyboard). We sometimes have to ‘overreach’ in order to ‘reach’.