Tag: speed and tempo

A Chopin Nocturne; the Boundary Between Heard and Imagined Sound

S.B.’s lesson on 7/11/19: Chopin: Nocturne in C Minor, Op. 48 / 1.

#1. Beginning

The piece begins with two solitary c-s (c2-c3). A beat later C is joined by other notes belonging to a C Minor chord. At what point do we begin to hear or sense the full C Minor chord? We may think that one beat is not a long time. That very soon after we play c2, any ambiguity as to identity of the harmony during the first half of the measure will disappear, as the hands complete the C Minor chord on the second beat. But subjectively that first beat can last a long time. Either the pianist, or the listener already quite familiar with the piece, must imagine the rest of the C Minor chord sounding (c2–g3-ef4-g4–g5) before the second beat arrives, while only the C naturals on the first beat are still in the outer ear.

The same applies for all the other half measures in the opening. The pianist should have a pre-vision (sic) – a “pre-audition” – of the full chord in their imagination, as if it is already fully sounding into their outer ear. One of the most subtle and masterly things a pianist works with when constructing with sound is the middle ground between heard and imagined sound. Memory and anticipation are always weaving together in the consciousness of duration in time. The boundary between the two should not be fixed and definite, but blurred. What the pianist imagines has a tangible effect on what the listener thinks they are hearing.

#2. Things that can spoil a legato in a long phrase.

The first phrase is four measures long. There are several places within it where it requires increased additional focus to keep the sense of legato flow alive.

A. Measure one and the first half of measure two

The presence of a rest can indicate two very different things. One
is to force a break in a melody: to consider something as being two
separate things rather than one continuous thing. The other is to
increase the sense of connection in the melody by having to overcome
an obstacle or gap that has been superimposed upon the melody. It is
like the electric charge crossing the gap in a spark plug. It is like
water building up behind a dam. A pressure, or force, builds up
behind the stoppage of the first note which makes going on to the next
note even more inevitable and accomplished with greater momentum.

B. The first two notes in measure two

The g5 comes in as a quarter note but starts on the and of one. If
you think of this quarter note as two eighth notes tied together, the
easiest place to loose the legato is as the first half of the quarter
note ties over the end of beat one into the first part of beat two.
It is in effect a tie to connect two beats. The force of the flow of
that sound has to spill over the boundary between the two beats. It
is not enough to hear one note, but as if that note began a sudden
crescendo just prior to its second half. It is the rhythm and the
meter that forces this imaginary crescendo upon the otherwise formless
sound that lasts two eighth notes.

C. The tied d5 in measure two going to the ef5.

Immediately after the imaginary crescendo during the first d5 in
measure two, we encounter another situation which can attenuate a
continuous legato. It occurs when a relatively long note is followed
by a relatively short note. In this case the first d5 of the measure
is the longer note, lasting for three sixteenths, and the following
ef5 not only is one sixteenth long, but it also comes in after a tie. A
double whammy.

We normally rely on there being enough resonance left to a note to
effect a soldering of one note in a legato to the next. Otherwise the
sudden change from the end of a longer note. which has already
decayed, to the sudden attack of the next note sounds too much like an
sudden accent and defeats the attempt at the legato. To overcome this
difficulty, the pianist’s ear must track the full duration of the
longer note, instant to instant and, in their imagination, sustain
(prop up) the loudness of the note so as to counterbalance the
decrescendo of the decay. Then they must connect this heightened form
of the end of this note not to the attack of the following note but
the level of sound the next note will have a moment after the attack.
Even when it is just a short note.

D. The repeated c5-s in measure three.

When playing the same note several times in row, do we let the legato
come solely from the pedal? Or do we use the more cumbersome but
elegant way of controlling the key dip and not resorting to the pedal.
Or perhaps some of both? This is the pianist’s decision. The purer
legato is always attained by manipulating the key in question so that
at the instant that the key is released, and a minimal fraction of
inch before it reaches the top of the key dip, the arm is already
overriding the upward motion of the key with a strong downward force
to send the key down again.

E. The g4 in measure four going to the the grace note bf4.

This falls under the heading of a relatively longer note going to a relatively shorter note (see letter ‘C’ above). Pianists will often inadvertently make the legato connection occur from between the note before the grace note to the note to which the grace then goes to. The more sublime legato connection is from the note before to the grace note itself, in spite of its very short duration.

#3. Other things contributing to maintaining constancy of flow in the piece.

A.

The way the pianist releases a chord unintentionally affect the way they
attack of the next chord. Thus, when playing the chords on the offbeats in beginning of the piece, don’t “telegraph” the release of the left hand chords into the attack that started the same chord.  Regardless of the duration the pianist wishes to hold these chords (some editions show them staccato) there should be two physically dissimilar gestures, one for the attack, one for the release, with a stasis in between them.

B.

The middle section of the Nocturne, where a series of wide chords is
arpeggiated from one hand into the other. The broken chord is
difficult, regardless of the distances between the notes and fingers,
if the chord is first rendered as a melody of single notes, starting
with the bottom note written in the left hand for that chord, and
ascending leisurely a pitch at a time until finishing the melody with
the highest note of the chord that is written in the right hand. The
pedal can be kept down. The finger that has just played one of the
notes can come off that note the moment the next finger has started
its note. This discourages over-stretching the hand when the melody
is turned back into a chord.

C. The section with double octaves.

S.B. has a small hand and was reluctant to learn the piece.

She pointed out that her fingers are hyper-flexible. Watching her
carefully as she played the octaves, I found myself wanting to say, for
the first time to a student, “You may want to not use all  that flexibility.”

I called her attention to the shape of her hand and wrist when playing
an octave, in particular along the length of the fingers and a projection of that axis through the hand and wrist. Her wrist was elevated. The third knuckles of her fingers were at a lower altitude in comparison to the wrist, but because the third knuckles hyperextended to a strong degree her second knuckles were at a much higher altitude than the third knuckles.

I suggested that this contour had innate disadvantages when seeking the greatest extension between the fingers without inducing tension. That without coercing anything, she could encourage a shape from wrist to fingers that was more in the spirit of being like, or in the direction of a
straight angle. To coax her hand into that shape, she could rest the
three middle fingers on the surfaces of random keys lying in between
the pinky note and the thumb.

This improved the sound of her octaves, as well as their quality of
resonance, evenness, and her alacrity in changing from one octave to
the next.*

* Often when I said I noticed a difference she did not. Sometimes it
wasn’t so much that she didn’t notice the improvement, but that the
improvement was short of her ultimate goal and desire. This time
however, she smiled and said, “Oh, that was much better, and much
easier too”.

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Shifting Perspective to Play Easier

Albeniz: Orientale (At A.B.’s lesson of 6/20/19)

#1.

A.B. begins his process of learning a new piece by getting ‘hooked’ on
a detail: what did Albeniz mean here, near the beginning, by joining
two sets of notes with a slur mark but, under the first of the two puts a staccato – it is illogical. He’s seen the staccato on the second of two notes under a slur but never the first.

I get instantly trapped into his way of framing the issue. So I come up with a spread of possible explanations ranging from general comments about the inexactitude of that part of music notation that doesn’t deal with pitches and rhythms, to a mistake by the printer.   The latter A.B. corrects: but, he says, it is a Henle edition and the edition is based directly on Albeniz’s manuscript. Being thus cut off at the pass, I attempt to turn his entire process upside down. Why don’t you, I said to him, start with the effect of the piece as a whole. Once that effect is clear to you, extrapolate from this
overall effect to any specific detail you happen to pick up. Make a judgement about that detail that keeps it in line with the overall mood and effect of the piece.

#2

He becomes fixated on the different possible ways of playing the repeating D minor chord at the opening. It is too big for his hand. Should he roll the chord? Play the top note with the right hand? Meanwhile, over inside my head, the only thing I am noticing, as he tries one technique after the other, is that at no time does he effect a balance and unity between the notes of the chord and the notes of the upper melody. Eventually I say this: listen instead to the effect of the d4 (at the beginning of the melody) with the d2, a2 and f3, in the chord that sounds with it. Do all four notes unite into a
balanced, D minor chord? And the same question about the second melody note, the e4, and the chord that is still sustaining. Would anything be gained by keeping your ear on the formation of these overbraced chords between all the notes in both hands, both when the melody in the right hand has a chord tone in its melody and when it has a tone of embellishment. Hear the latter, as being the latter: a purposeful dissonance adding to the richness of the complexion of the chord.

A way of snaking up on this effect is to separately practice the connection between just the d2 and the e4 in the melody.  Additionally, if you care to, practice the connection between the a2 (extracted from the chord) to the e4 in the melody (or the same for the f3 and the e4). When A.B. tried this, suddenly all the other problems which he had both went defined and then worried about, went away.

As in number 1, above, often the solution to a perceived problem lies in a shift of perspective, an approach coming from an entirely different point of view than first used. We get stuck with our way of perceiving a problem in our playing the piece, and magnify rather than eliminate the problem by focusing in greater and greater detail on problem as seen from this perspective.  Yet often has to wave an arm and dispel the view one has of the passage. To form a new perspective on so that it appears in a totally new light.

#3

There are in this piece frequent passages in which a note is held in the bass while the remaining fingers of the left hand in conjunction with different combinations of fingers in the right hand play a series of parallel triads (often in inversion).

As is his wont, A.B. searching for the fluidity of connection between these triads in the fingering that he is using. I suggested a shift of point of view. Think, I said, of the enunciation of each triad as being broken down into two distinct parts. One is the physical action causing the onset of the sounds of the triad, and the other, a separate, equally specific physical action causing, at a specific moment after the first, the release of those sounds. It is as important that the three sounds of the triad terminate at exactly the
same moment in time as each other, as it is for them to start at exactly the same moment. Without the terminating motion, the different fingers playing the triad all have their own habitual way of letting go of their sound.

Suddenly fingering was no longer an important issue. We had side stepped it. Releasing the notes of the triads at a specific moment unconsciously caused him to control what fingering he was using on each next triad.* The way the pianist ends a triad unconsciously controls the physical way they start the next triad.**

* In the case of number #3. we also experimented with making a single motion (a “heel-toe” motion ***) to play two consecutive triads. This
falls under the heading of the principle of the using the fewest possible motions to execute the largest series of notes.

** Two additional and semi-related points came up while working on
this passage of parallel thirds.

#1 There is a basic difference in effect between a legato achieved
through the use of the pedal and one achieved without the use of the
pedal. It is always best to practice a legato first without pedal: as
best as you can effect it, even when the composer has indicated in the
socre the use of the pedal to sustain one sound into the next. We
want to hear the legato is its purest state before dealing with all
the extra ramifications sound-wise of adding the pedal. Then, feel
free to add the pedal – as much as you want. Just be aware that the
heart of the legato resides in the use of the muscles throughout the
body as well as in the fingers in particular.

#2 on Henle page 1, line 4, measure 2, When one of the fingers playing
the current triad has to, en route to the next triad, ‘dislodge’ from
its current position one of the other fingers playing the current
triad. Feel as if the former finger is able to exert a pressure
through a vacuum to cause the other finger to move out of the way.

*** I refer you here to my forthcoming blog “two or more notes from
one continuous gesture through time”. Among the gestures described is
the one that I refer to here under the nickname of “heel-toe” (a
borrowing from organ foot technique).

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Creating Harmonic Clarity

Bach:  C Major Prelude, Book I, Well Tempered Klavier

Part of A.B.’s quest is to play the notes of this prelude “evenly”.  Achieving this has to do with the chord outlined by the notes of each measure, and the balance of the notes in the chords in creating a clear impression of that chord as a whole.   To make this chord more obvious to the ear, the player, when practicing, can “densify” each chord:  if there are openings between adjacent written notes in the chord to squeeze in additional notes from the same chord, add those notes in.   For instance in measure 2, there is room for an f4 between the d4 and a4.  If we add in that f4, we create the denser five-note chord: c4 d4 f4 a4 d5.  We can take that chord a step forward and add a c5 between the a4 and the d4, forming a six-note chord.  The chord has been a D Minor-7 chord the entire time, but the additional chord tones just make it stand out more clearly to the ear what chord it is.  Do this for every chord in the Prelude when Bach’s written notes allow for such additions.

An equally valid technique to add density to the character of a chord is add in chord tones in lower and/or higher octaves not used in the printed chord.  In this form a chord could contain 8 – 10 notes, or by adding the pedal, larger numbers of notes, spanning the low bass to high treble.  In this form, the “quality” of the chord reveals itself at its most obvious.  This technique, helps “set” the sonority of the written chord inside a larger entity to which it in turns belongs.

Whatever are the sound characteristics and the mood characteristics of the individual chord, they become in this manner magnified to the ear.  From this form of the chord we can then re-compress the chord (through the aesthetic equivalent of a ‘trash compactor’) without losing any of the sound ‘material’ present in the larger version of the chord: the larger instance of the chord being condensed into a smaller chord without losing any of the fullness or meaning of the uncompressed version of the chord.

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Where Does Sound Come From?

Stranded on a dessert island.

Imagine a person born blind, living alone, on a proverbial deserted island, out of touch with society, surviving through what she can grasp with her hands.  Sight has never had an influence on her notion of reality.

From a hidden vantage point we notice that a bird is singing near where she is standing.  We assume she hears it; but cannot see it.   For her there is only a certain quality of sound, to which only we can give the name bird.  For her, it never gets beyond being just a sound, although she can distinguish one sound from another on the basis of its quality.

Thus she is someone who 1) has never seen, 2) never seen a bird, and 3) wouldn’t be able to conceive that there is something called a bird.  There are simply no past connections between the sense of sound and the sense of sight.  There is nothing linking the sound of the bird with the sight of a bird.

If the question “why” arises in her mind, probably in the form of “why this sound and not another sound”, the question can only be posed by her within the domain of time and not space: “why do I hear that sound now and not at another time.”

At this moment, a miracle occurs.

Our subject can now see.  One of the first things that happens is that she sees a bird, although it is not at that moment singing.  Thus at this point  there is no reason for her to form any sort of link between the sound of the bird and the image of the bird in front of her.

Some scientists now enter the scene.

They introduce themselves, and present her with a series of pictures.  Included is a picture of the same species of bird that she has been hearing.  She is asked to choose from among the pictures the one she thinks would be most closely associated with the sound she already knows.

This request perplexes her.  She cannot even understand the general form of the question.  At this stage of the story, sight is still new to her.  She knows of no reason why a sight and a sound should be related to each other, even that they could be related to each other.   While the sound, for the scientists is the “sound of a bird“, she has no need to make, or even conceive, such a statement.

She has no grounds for choosing one picture as against another.  This makes it arbitrary which picture she chooses.  If she is “artistic” by nature, perhaps she may form an aesthetic comparison: which sight feels like it goes with this sound.

Her judgment in this matter cannot yet be based on cause and effect.  And even if she has a notion of cause and effect from her previous experiences in which there was no sight, sound as far as she can tell, needs no cause.

She expostulates.

“Excuse me”, she asks, “are you saying that a sound requires a sight to cause it?  That among all the random lines and shapes I see, which seem aimlessly distributed in space, there are certain lines and shapes that for a reason I cannot conceive ‘belong’ to each other, stand out from the other lines and shapes because of a mysterious relationship, which in turn you call the cause of the sound I have been hearing – not just now, but whenever I hear it.

When you speak of this mysterious connection between just certain lines and shapes, you use the strange word  ‘object’, as if by saying that word it should be obvious to me why just those lines and shapes clump together with each other.  And then, now that I supposedly believe in something called ‘the object’ whatever an object is, it is also the cause for the sound – something that never seemed necessary to me for the sound to occur.   Why should there be such a complicated and seemingly arbitrary way of connecting things in my mind, based on an invisible (at least to me) concept called ‘object’, without which, you say, I would not hear my sounds.  Furthermore that I have to choose among several of these objects, and pronounce the words ‘this object is the cause of what I hear?’  That sounds like an enchanter’s spell.  My universe was full and complete without sound requiring a cause.  Being sighted is sure a complex thing.”

At last she picks one of the pictures. “If I pick this picture today can I pick another picture tomorrow to be the cause of this particular sound in my head?  I ask you this because for now, none of the pictures that you show me bear any inner resemblance to the sound that I know.”  The psychologists say: “No, you must believe that a sound arises in your consciousness because of a certain event happening in space, which something has to do with a particular object that you see, and always that object and not another.”

She comes to her “senses”.

She is left alone for a few days to ponder this perplexing situation, a situation that until now, without sight, had no reason or necessity  to exist.

During one of these days she just happens to hear the sound of the bird at the same time that she is looking at a bird.  This may have happened on the preceding days, but this time she notices that the beak of the bird moves in tandem, in time, with the occurrence of the sound.  She knows this much more because of time rather than space.  The togetherness of the sight and the sound is based on a common moment in time.

This forms the basis of a series of ongoing experiences by which the sound of the bird is gradually linked in her mind to the image of the bird.

As with the pictures of shown by the psychologists to the girl, sights that are visible to a growing, young child at only at certain times, during for example a concert, are only gradually coordinated by that child with something seen in space in the concert hall.  It turns out that the people who are holding musical instruments in their hands seem to make motions that are most consistently synchronous in time with the changes of the qualities of the sounds.

Here’s the first important point.  Once such an association is made by the child, he or she forgets that there was a time when no such association had been made.

The second point is: was either the woman on the island, or the person in the concert hall, missing anything crucial when they was unable to relate the object ‘bird’ or the object ‘violin’ with a certain specific sound quality of sound?  I say no.  Nothing essential to our understanding and appreciation of sound is added to by the tacking onto the sound a relationship with sight.  And in the concert hall, it adds nothing important to essential qualities of the music as sound alone.*

For those of us who do not need such distractions as sight offers, and can remain glued to the sounds of the piece, we enter an ideal realm of pure relationships between pure sounds, closed off from everything else, and not lacking a thing.

* It is for some but not all of the concert goers, that visual impressions can serve as a distraction or refuge from just having to listen to sound from one moment to the next.  For them there are the distractions of the appearance of the concert hall.  For them, too, there is the all important information in the program notes, which they are relived to believe captures something essential that they miss in the progression of the sounds alone.  But thanks to the program notes, they are able to go up to someone at intermission and say, wisely: “wasn’t it wonderful how the composer used the brass section in the second movement of the symphony to create a delicate halo of sound around the rest of the orchestra!”.

 

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