Tidbits From Recent Lessons: Shostakovich, Chopin, Mozart, Bach
R.M: Shostakovich: Prelude # 10
Its syntax is filled with sonic miscues, altered expectations. Like a peptide chains that have been snipped apart into separate amino acids in order to form unexpectedly new peptide chains.
Each time something unexpected happens can you find your new harmonic footing before the minimum possible number of notes has passed.
A.J. Chopin Waltz in C# Minor
Joe: Sometimes you are not sounding all the written notes. How do you know if every note sounds, for instance, in an interval or chord?
Ideally your ear knows or can quickly take stock of every note. Otherwise you can try this: Play the chord and release all but one note. Is that note sounding? Is it sounding in a way that you think will balance well with the rest of the sounds in the chord.
Repeat process for each other note in the same chord.
More mechanical based approaches:
-tap each note separately once or twice before sounding the chord.
-have the illusion that you are not playing the chord notes simultaneously but that you are articulating them one at a time.
J.M. Mozart: C Minor Fantasie
No matter what you do in the opening two measures, when you get to the B-flats at the beginning of measure 3, forget any connection with the immediate past, the only note that it should connect from is the C-naturals at the beginning of measure 1. Similarly with the next forthcoming groups of measures until you reach A-flat.
When the right hand settles down into repeating ds4-fs4 as sixteenths, don’t let any of those thirds escape your attention regardless of what the left hand is doing or is in the midst of doing.
The ending of one phrase and beginning the next. How you start the next phrase, musically and physically, can be strongly influenced and controlled by the way you release the last note in the first phrase. How you end something is a big detriment of how you begin what’s next.
The B-flat major section.
How to create a coherent and flowing melodic line in spite of the variations in the rhythm.
Before playing the melody as a dotted eighth followed by two sixteenths and a quarter note, play those four notes as a triplet followed by a quarter note. In that form, the descending steps of the B-flat major scale (d5 c5 bf4 a4), assert their simple melodic flow and harmonic coherence. Then, right away, “capture” what you just heard – but add in the extra parameter of the rhythm. If done with a calm mind, the melodic flow of the triplets will not be lost in the written rhythm. It happens ‘automagically’.
A.B. First prelude from book One of the Well Tempered.
Liberating the expressivity in the bundled chords.
Choose one note from the measure you are about to play. Sing and hold that note from the beginning of the measure to the end of the measure while playing at the keyboard the measure as written. In the next, and next…, measures do the same, either 1) choosing as the note to hold the note that is in a similar place in the measure as the one you held in the previous measure, or 2) purposefully switching at random to some other note in the next measure (singing and holding that note from the beginning to the end of the measure).
My best advice is, given your propensity for on the spot evaluation and analysis of what you just heard yourself play a moment ago, don’t react to anything; don’t think, don’t be upset, with anything that has happened, just notice it in passing. When you do analyze it provokes an attempt on your part to physically alter what you will try to do to sound the next note. You quickly trap yourself into an endless series of corrections, in anticipation of what may go wrong with each next note, because it went wrong with the current note. The result is that no note is played in a fresh and unencumbered way.
Stay in the present. If you don’t, one of the things that will worry you is how you will be able to sustain any evenness you have already achieved for so many more measures to come.
The piece plays itself – without much help from you.
A.B. First fugue from book one of the Well Tempered
There are some crazy sections in this fugue, harmonically. Let things wax expressive when Bach has demanded this by the way out notes and modulations he has written. If it helps, think that Bach and not you is demanding this heightened expressivity. It’s his fault (sic).
You say that when you listen to a recording of the fugue things often go by too fast for your ear to pick out each and every theme entrance regardless of in what voice or voices it occurs. Especially in the stretto sections.
I suggested this procedure:
Listen to your favorite recording. Mark in the score the first four notes (only)* of each and every theme entrance. Play along with the recording but only at the moments in the score that you marked; just four notes. For the rest of time just listen to the sound of the music flow by.
* Playing more than four notes can lead to technical difficulties if the tempo of the recording is faster than you are playing the work. It will also confuse things in the strettos.