tag:blogger.com,1999:blog-75523970499149031292024-03-13T04:51:52.379-07:00Discovering the PianoAnonymoushttp://www.blogger.com/profile/16144103105898670499noreply@blogger.comBlogger21125tag:blogger.com,1999:blog-7552397049914903129.post-15073371477304469452017-09-03T12:05:00.001-07:002017-09-03T12:05:26.809-07:00What's in Your Eighteenth-Century Ornamental Toolbox? (Discovering Three Often-Used Ornaments)<div dir="ltr" style="text-align: left;" trbidi="on">
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This blog was first published by Oxford University Press:</div>
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<span style="background-color: white; font-size: 13.2px;"><span style="color: #222222; font-family: arial, tahoma, helvetica, freesans, sans-serif;">https://blog.oup.com/2017/06/classical-music-ornament/</span></span></div>
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To many musicians, the word “ornament” brings a sense of
foreboding dread. The mere thought of deciphering and interpreting the funny
little signs and symbols into a line becomes paralyzing. But step back and look
at the word: ornament. What does it
really mean? Isn’t it simply a
decoration? An addition to make something more…beautiful, lovely, exciting,
adventuresome? C. P. E. Bach tells us that ornaments are equally important to
correct fingering and proper performance (execution). Yet, ornamentation does
not have to be complicated, and in all actuality, simpler is often better; a
single, exquisitely placed gem sparkles the brightest.</div>
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<o:p></o:p></div>
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Originally, ornaments served to merely extend the line on
instruments that had a rapid tonal decay, such as the harpsichord and
fortepiano. But they also provide spontaneity, creativity, variety, and
expressivity. In the Classical Era style, the performer’s goal is to move the
listener, to have <i>something to say</i>,
and in that, ornaments play an important part. Deciding on which ornament to
use and how often to use ornamentation calls for good taste which can be
cultivated through listening to many performances of esteemed fortepianists
such as Malcolm Bilson and Tom Beghin. <o:p></o:p></div>
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Ornamentation notation was not standardized in the
eighteenth century. Some ornaments were absorbed into the texture of the music
while many were indicated as symbols or small notes in varying rhythms such as
an eighth, sixteenth, or thirty-second note(s), with or without a slash. The
differences in size of notes or numbers of flags have no bearing on the length
of the notes but are determined by the proportioned relationship to the
principal note and the <i>affekt</i> (mood
or emotion) of the piece.<o:p></o:p></div>
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<i>On or before the beat?
On or above the main note?</i> Oftentimes one hears that Classical Era
ornaments are <b>all </b>to begin on the
beat and above the main note. Historical perspective is not conclusive in this
matter. Period literature points to harmony and voice leading as the main
determining factor and suggests we <i>go to
the dissonance</i> to highlight the <i>affekt</i>.
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Period practices recommend that ornaments are to be played
in the context of the immediate key of the section, sometimes notated by the
composer. <i>Generally</i> speaking,
ornaments are to begin on the beat with the upper auxiliary. C. P. E. Bach
suggests that each excerpt be played initially without ornamentation to clarify
melodic direction and appropriate voice leading, making appropriate choices
more obvious. If one cannot execute an ornament, it is better to reduce the
number of rotations or leave it out completely than to stumble along and
destroy the integrity of the excerpt.<o:p></o:p></div>
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Executing ornaments can go from foreboding dread to joyful
anticipation. The three simplest and most commonly used ornaments are the <i>appoggiatura,</i> the <i>turn</i>, and the <i>trill</i>. The <i>appoggiatura</i> is one of the “must haves”
in the Classical Era. In his <i>Klavierschule</i>,
Türk devotes an
entire chapter to this ornament. He explains that it comes from <i>appoggiato</i>, which means “actually:
leaning, supported, and in music; sustained.”<a href="file:///C:/Users/Donna/Documents/blogs/2017.7.1%20Blog%20(OUP)_%20Ornaments/Gunn_OUPBlog_Ornaments/2017.7.1%20Ornaments.docx#_edn1" name="_ednref1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></a>
It serves as the basis for the <i>turn</i>
and the <i>trill</i>, both of which grow out
of or are an extension of the <i>appoggiatura</i>.
It enhances the melody and harmony and provides an accented dissonance. The <i>appoggiatura </i>is never approached in a
legato fashion. There is always space in time directly before the <i>appoggiatura</i>, called an articulated
silence. It is louder than, and must be slurred to the following note, whether
notated as such or not. They are oftentimes notated as little notes to
differentiate between a regular sixteenth-note run and should be leaned into,
usually with an <i>agogic</i> accent. The
length of the <i>appoggiatura</i> is
determined by <i>affekt</i>, tempo, and
where it appears in the line.<o:p></o:p></div>
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<a href="http://1.bp.blogspot.com/-5GAZ53SyUAg/WaxPIVbZhlI/AAAAAAAAHxg/2ul_AZamrNcyySYMvRNjH3giNB3agJ3SQCK4BGAYYCw/s1600/Example%2B1_10.6.Gunn.png" imageanchor="1"><img border="0" height="160" src="https://1.bp.blogspot.com/-5GAZ53SyUAg/WaxPIVbZhlI/AAAAAAAAHxg/2ul_AZamrNcyySYMvRNjH3giNB3agJ3SQCK4BGAYYCw/s640/Example%2B1_10.6.Gunn.png" width="640" /></a></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Mozart, Piano Sonata, KV 311/I, mm. 1-4 (Henle)</span></div>
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<a href="http://global.oup.com/us/companion.websites/9780199396641/ch10/audio/ex_10.6b/">Audio file for Mozart, Piano Sonata. KV 311</a><o:p></o:p></div>
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The <i>turn </i>is
nothing more than a short trill with only one rotation. It is a utilitarian
ornament: it may occur on any beat, on ascending and descending notes, in skips
or stepwise progressions, on repeated notes, on unprepared notes, and on or
after an <i>appoggiatura</i>. The interval
between the outer notes usually encompasses a minor third. Execution and timing
depend largely on <i>affekt</i>, rhythmic
arrangement on context. If there is enough time, the turn should be on the beat
and allow a pause on the main note.<o:p></o:p></div>
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<a href="http://4.bp.blogspot.com/-gzOJYlJeBcw/WaxQqtCTwnI/AAAAAAAAHxw/jJxLYX0DkMQ5mz_696Zk2VRbSXp9uEqswCK4BGAYYCw/s1600/Example%2B2_10.9.Gunn.png" imageanchor="1"><img border="0" height="110" src="https://4.bp.blogspot.com/-gzOJYlJeBcw/WaxQqtCTwnI/AAAAAAAAHxw/jJxLYX0DkMQ5mz_696Zk2VRbSXp9uEqswCK4BGAYYCw/s640/Example%2B2_10.9.Gunn.png" width="640" /></a></div>
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<o:p></o:p>Beethoven, Bagatelle, Op. 119, No. 1, mm. 9-12 (Henle)</div>
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<o:p></o:p></div>
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<o:p> </o:p><a href="http://global.oup.com/us/companion.websites/9780199396641/ch10/audio/ex_10.9b/" style="text-align: left;">Audio file for Beethoven, Bagatelle, Op. 119, No. 1</a></div>
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C. P. E. Bach believes the <i>trill</i> is the most important ornament. Execution of the <i>trill</i> varies according to its function
within context. The speed of the oscillations adjusts to the tempo and
expression of the passage. It typically lasts for the full value of the main
note. To execute a long trill, the performer may start somewhat slowly and
accelerate. The predominant view is that the starting note of the <i>trill</i> is the upper auxiliary. The suffix
is frequently written out in the form of a <i>turn</i>
ending. If a termination is not indicated, the performer is expected to add one
where it would fit to effect a smooth transition from the <i>trill</i> to the melodic line.<o:p></o:p></div>
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<a href="http://2.bp.blogspot.com/-RMHCUuluvnI/WaxRhGtrVwI/AAAAAAAAHyE/ZFhQI7iXAhAA2_I-o0ufGI2mxmMfdaiBQCK4BGAYYCw/s1600/Example%2B3_10.5.Gunn.png" imageanchor="1"><img border="0" height="122" src="https://2.bp.blogspot.com/-RMHCUuluvnI/WaxRhGtrVwI/AAAAAAAAHyE/ZFhQI7iXAhAA2_I-o0ufGI2mxmMfdaiBQCK4BGAYYCw/s640/Example%2B3_10.5.Gunn.png" width="640" /></a></div>
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<o:p> </o:p><span style="font-family: "Times New Roman", serif; font-size: 12pt;">Beethoven, Bagatelle, Op. 119, No. 3, mm. 17-24
(Henle)</span></div>
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<span style="font-family: Times New Roman, serif;"><a href="http://global.oup.com/us/companion.websites/9780199396641/ch10/audio/ex_10.5b/">Audio file for Beethoven, Bagatelle, Op. 119, No. 3</a></span></div>
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It’s time to open those scores, discover the ornaments, and
see how your playing may be transformed by application of these basic tenets. Visit
resource books and add more tools to your ornamental toolbox. The possibilities
are endless!<o:p></o:p></div>
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<a href="file:///C:/Users/Donna/Documents/blogs/2017.7.1%20Blog%20(OUP)_%20Ornaments/Gunn_OUPBlog_Ornaments/2017.7.1%20Ornaments.docx#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></a>
Daniel Gottlob Türk,
<i>Klavierschule</i> (1789, Leipzig and
Halle), as translated by Raymond H. Haggh (University of Nebraska Press, 1982),
111.<o:p></o:p></div>
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Anonymoushttp://www.blogger.com/profile/16144103105898670499noreply@blogger.com0tag:blogger.com,1999:blog-7552397049914903129.post-87141336615126001832017-08-01T12:52:00.000-07:002017-08-01T12:52:36.662-07:00Perseverance from the Pioneers<div dir="ltr" style="text-align: left;" trbidi="on">
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As we say our farewells to summer and look ahead to a new academic
year and fall season filled with possibilities and promise, there always seems
to be a bitter-sweet mix of sadness and joyful anticipation. Sadness for putting
lazy, carefree days behind us and joyful anticipation of new opportunities for
learning and growth. And with the joyful anticipation comes lots of newfound
energy that takes us through the first stages of hard work<i>.</i> But once the novelty of starting a new project wears off, the
day-in-day-out drudgery can be a bit overwhelming and we must rely on sheer
determination and <i>perseverance</i>.
During those moments, it is good to learn from those who have gone before us
for words of wisdom and hope; it is during those lulls that we can turn to The
Oregon Trail pioneers and lean on their courage and experience. Here are just
three examples of the fortitude, strength, and perseverance exhibited over 150
years ago.<o:p></o:p></div>
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<b>From Lucinda
Spencer’s remembrances of her 1847 journey across The Oregon Trail:<o:p></o:p></b></div>
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Up to this time…all was going well. The distance [remaining]
was only 60 miles, but there was more suffering and hardships to be endured…than
in the entire journey. The first day the weather was pleasant but cloudy; at
night, the rain began to descend in torrents and the next morning it was
succeeded by a cold, driving sleet and snow.
The road became a quagmire through which the teams and teamsters
floundered until Summit Prairie was reached. The storm increased in fury and in
the morning, it was found that ¾ of the stock had perished, leaving only enough
to haul 3 or 4 wagons; into these the provisions, bedding and children were
placed while the men and women heroically waded along in the mud. <o:p></o:p></div>
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On the 16<sup>th</sup> day of October 1847, the teams were
unhitched for the last time at Salem, Oregon and the long journey was finished,
being eight months and sixteen days from the time we left Wilmington, Illinois.<a href="file:///C:/Users/Donna/Documents/blogs/2017.8.1%20Blog.Perseverence%20from%20the%20Pioneers.docx#_edn1" name="_ednref1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></a><o:p></o:p></div>
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<b>Ezra Meeker retells the
final steps of his 1852 journey (the first of several trips across The Oregon
Trail): <o:p></o:p></b></div>
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And yet, the dress and appearance of this assemblage were as
varied as the human countenance and as unique as the great mountain scenery
before them. Some were clad in scanty
attire…Here a matronly dame with clean apparel would be without shoes, or
there, perhaps, the husband without the hat; the youngsters of all ages, making
no pretensions to genteel clothing other than to cover their nakedness. We were
like an army that had burned the bridges behind them. Here we were, more than
2,000 miles from home. Go ahead we must. Many were on the verge of collapse.
Some were sick from lack of food and hard work. Such were the feelings as the
motley crowd of 60 persons slowly neared that wonderful crevice through which
the great river flows from the Cascade mountain range.<a href="file:///C:/Users/Donna/Documents/blogs/2017.8.1%20Blog.Perseverence%20from%20the%20Pioneers.docx#_edn2" name="_ednref2" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[2]</span></span><!--[endif]--></span></a><o:p></o:p></div>
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<b>And George Frederic
Young describes the ability to laugh in the face of danger: <o:p></o:p></b></div>
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What wretched conditions we endured: Whortleberry swamps that we had to wade
through; horses mired with the least load put upon them. We could only make 3-5
miles a day. A snowstorm covered the
ground with a foot of snow, leaving nothing for the horses to eat but “laurel”
bushes. One horse died; they cut out the hams and saved them for an
emergency. <o:p></o:p></div>
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Laughter appeared in the midst of our fear of “double-dying”
– from starvation <i>and</i> cold! But we were in the
midst of plenty: plenty of snow, plenty
of wood to melt it, plenty of horse meat, plenty of dog meat.<o:p></o:p></div>
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One family had rolled up a feather bed & packed it on
one of the oxen. The animal objected to the unusual load & bolted through
the woods. The feather bed was snagged
on some low-lying limbs, scattering feathers in all directions, like a
miniature snow storm!<a href="file:///C:/Users/Donna/Documents/blogs/2017.8.1%20Blog.Perseverence%20from%20the%20Pioneers.docx#_edn3" name="_ednref3" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[3]</span></span><!--[endif]--></span></a><o:p></o:p></div>
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These stories put my struggles in perspective! As we move through the new season and the
newness of the year wears off let’s persevere with the joy, fortitude,
ingenuity, and determination that those who have gone before us exhibited. <o:p></o:p></div>
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Happy new school year and fall to one and all!<o:p></o:p></div>
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<a href="file:///C:/Users/Donna/Documents/blogs/2017.8.1%20Blog.Perseverence%20from%20the%20Pioneers.docx#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></a> <b><span style="font-size: 10.0pt;">Spencer,
Lucinda. <i>Transactions of the Oregon
Pioneer Association, Fifteenth Annual Reunion</i>. Press of Geo. H. Himes,
Portland, Oregon, 1887.<o:p></o:p></span></b></div>
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<a href="file:///C:/Users/Donna/Documents/blogs/2017.8.1%20Blog.Perseverence%20from%20the%20Pioneers.docx#_ednref2" name="_edn2" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[2]</span></span><!--[endif]--></span></a> <b>Meeker, Ezra. 1906. <i>Ox Team Days</i>. Applewood Books.</b><o:p></o:p></div>
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<a href="file:///C:/Users/Donna/Documents/blogs/2017.8.1%20Blog.Perseverence%20from%20the%20Pioneers.docx#_ednref3" name="_edn3" title=""><span class="MsoEndnoteReference"><span style="font-size: 10.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[3]</span></span><!--[endif]--></span></span></a><span style="font-size: 10.0pt;"> <b>Young,
Frederic George, ed. <i>The Quarterly of the
Oregon Historical Society</i>, Vol III, March 1902-December 1902. (W. H. Leeds,
State Printer, Salem Oregon).<o:p></o:p></b></span></div>
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Anonymoushttp://www.blogger.com/profile/16144103105898670499noreply@blogger.com0tag:blogger.com,1999:blog-7552397049914903129.post-21091520666663358432017-06-30T15:24:00.002-07:002017-06-30T15:24:50.910-07:00Another Summer Day...<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://1.bp.blogspot.com/-QVfLRSNGvJ8/WVbPfW-jWSI/AAAAAAAAGu4/oB9vxFYI0Dg7CUH0CRs7TLdvvC7th-_twCK4BGAYYCw/s1600/97.JPG" imageanchor="1"><img border="0" height="240" src="https://1.bp.blogspot.com/-QVfLRSNGvJ8/WVbPfW-jWSI/AAAAAAAAGu4/oB9vxFYI0Dg7CUH0CRs7TLdvvC7th-_twCK4BGAYYCw/s320/97.JPG" width="320" /></a></div>
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Here we
are, fully into summer. In the Midwest, days are filled with
swimming, biking, and trips to the zoo while nights are for star-gazing and
fireflies. Have you ventured out into the community to take in all the free
community concerts you can find in your area? Or taken a trip to the library to
find related literature about the works performed, composers represented, or
geographic/historical references found in the music as a preparation for or
follow-up to the event?<o:p></o:p></div>
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Oppressive
heat brings everyone inside for movie watching and book reading. Yet, if you
awake to “another summer day” in the “in-door stage” of summer, consider adding
something musically new to your traditions. Make a game of it. See who can
listen or watch the most for a trip to the local ice cream store for the
winner!<o:p></o:p></div>
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<ul type="disc">
<li class="MsoNormal">Netflix: Try a new musical you’ve never seen before like <i>Across
the Universe</i> that uses music of the Beatles or revisit some
oldies like <i>Fantasia </i>or <i>White Christmas</i> for
vicariously cooling off! You will also find interesting music
documentaries on everything from Nina Simone to Tony Bennet, Pentatonix to
Back Street Boys.<o:p></o:p></li>
</ul>
<ul type="disc">
<li class="MsoNormal">YouTube: Pick anything at all and you’ll find a hit on
YouTube! If that is too much from which to choose, visit the
Focus On Piano YouTube Channel: <a href="https://www.youtube.com/channel/UC6dbwY0Oyn_53XiUCoyrubg">https://www.youtube.com/channel/UC6dbwY0Oyn_53XiUCoyrubg</a>. Here, you will find a variety of
performances to widen your musical horizons: Music on the Trail, works
written by Scarlatti, Beethoven, Mozart and Gershwin. Special related
playlists have been created to make the search easier and to get you
started: Eastman School of Music graduate and former Piano Place student
Rosa Egge, fortepianists Malcolm Bilson and Tom Beghin.<o:p></o:p></li>
</ul>
<ul type="disc">
<li class="MsoNormal">Pandora: Pandora, Spotify, GooglePlay, and other similar
sites offer the entire spectrum of music from which to listen and
grow. <o:p></o:p></li>
</ul>
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If you
are lucky enough to live in a neighborhood with several young musicians,
consider creating a Young People’s Neighborhood Orchestra or Band in someone’s
backyard or basement. Participants meet each week for a 30-minute jam session!<o:p></o:p></div>
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<br /></div>
<div style="text-align: center;">
</div>
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Another
Summer Day…another chance to make music in a new way. What new summer tradition
will you create this year?<o:p></o:p></div>
</div>
Anonymoushttp://www.blogger.com/profile/16144103105898670499noreply@blogger.com0tag:blogger.com,1999:blog-7552397049914903129.post-13496173742280688232017-05-31T14:29:00.002-07:002017-05-31T14:29:25.365-07:00Louder isn’t better, it’s just louder: what eighteenth-century performance practice teaches about dynamics.<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: white; color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13.2px;">This Blog was first published by Oxford University Press: </span><span style="color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif;"><span style="font-size: 13.2px;">https://blog.oup.com/2017/04/eighteenth-century-performance-practices/</span></span></div>
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To the modern player, when dynamic indications are found in
the score, the typical reaction is to think in terms of changes in volume. Not entirely true for the eighteenth-century
musician – dynamic indications mean <i>much</i>
more than loud or soft. Volume shift was only part of the story and was a
rather new and novel concept that took hold with the advent of the fortepiano
and its ability to quickly alternate from loud to soft. According to the <i>Harvard Dictionary of Music</i>, the use of
abbreviations to indicate dynamics appeared as late as 1638.<a href="file:///C:/Users/Donna/Documents/blogs/2017.4.1%20Blog%20(OUP)_Dynamics_Gunn/2017.4.1%20Blog%20(OUP)_Dynamics.docx#_edn1" name="_ednref1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">[i]</span></span><!--[endif]--></span></a> Notated dynamic markings came into their own
during the rise of the fortepiano and its expanded capabilities.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
From early Haydn to late Beethoven we see the frequency of
use increase and more varieties of indications come into play. <i>Crescendo</i> and <i>diminuendo</i> were developed and exploited at the renowned Mannheim
School and modern use notation appeared later, in 1739.<a href="file:///C:/Users/Donna/Documents/blogs/2017.4.1%20Blog%20(OUP)_Dynamics_Gunn/2017.4.1%20Blog%20(OUP)_Dynamics.docx#_edn2" name="_ednref2" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">[ii]</span></span><!--[endif]--></span></a>
<o:p></o:p></div>
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Interestingly, C. P. E. Bach and D. G. Türk speak very little
about dynamics in their tutors. Bach
writes about only three terms: <i>p, mf,</i>
and <i>f. </i>Türk defines <i>ff,
f, mf, p, </i>and<i> pp</i>. What they do
speak to at great length is <i>affekt</i>, the foundational pillar for
eighteenth-century style. <i>Affekt</i> is
the ability of music to stir emotions. It was achieved through attention to
detail and proper execution, including execution of dynamics. <o:p></o:p></div>
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<br /></div>
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The
novelty of the fortepiano wasn’t the extreme range of volume as we know today,
but its ability to quickly alternate and facilitate finesse. <i>Forte </i>and <i>piano</i> are associated with a deeper meaning behind the marking. Consider
<i>forte</i> to possibly portray heavy,
wide, broad, angry, anxious, big, or strong; <i>piano</i> to portray light, sweet, pleading, sorrowful, or melancholy. The
make-up of the fortepiano allows these characters to be expressed beautifully. When
this understanding is applied to the repertoire, the results become quite
exciting:<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-EdBEf4I4HVE/WS8t3ZLLTyI/AAAAAAAAGeA/1mc94BAJcmsji7QGkKKg_UnuAD3klxAeACK4B/s1600/Score%2BExample%2B1%2B%25286.12%2529.png" imageanchor="1"><img border="0" height="360" src="https://2.bp.blogspot.com/-EdBEf4I4HVE/WS8t3ZLLTyI/AAAAAAAAGeA/1mc94BAJcmsji7QGkKKg_UnuAD3klxAeACK4B/s400/Score%2BExample%2B1%2B%25286.12%2529.png" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "Times New Roman", serif; font-size: 12pt;">Mozart, Piano Sonata, K.
332/I, mm. 55-65 (Henle)</span></div>
</div>
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<br /></div>
<div class="MsoNormal">
The natural tendencies on the fortepiano bring the energy to the forefront: <a href="http://global.oup.com/us/companion.websites/9780199396641/ch6/audio/ex_6.12b/" target="_blank">Mozart Audio Example 1</a></div>
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<br />
It can be
achieved effectively on the modern piano when appropriate adjustments are made: <a href="http://global.oup.com/us/companion.websites/9780199396641/ch6/audio/ex_6.12c/" target="_blank">Mozart Audio Example 2</a></div>
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<i>Forte</i> and <i>piano </i>are the backbone, indicating more and less rather than an
absolute extreme loud or soft. It provides the means to shading and nuance. And
it should be done in good taste, which requires further understanding of proper
practices of the time.<o:p></o:p></div>
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<i>Forte</i> followed by <i>piano</i> is not necessarily an absolute direction for the notes
specifically under the marking until the next change, but serves as a guide for
dynamic direction from one marking to the next based on melodic, harmonic, and
contextual clues. In the example below,
direction is from <i>forte </i>to<i> piano</i> rather than an absolute <i>forte</i> on beat 1 that continues until <i>piano</i> on beat 2. The performer should start <i>forte</i> and arrive at <i>piano</i> by beat 2.<o:p></o:p><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-72AVjECEIGI/WS81M2hte6I/AAAAAAAAGfA/nup2gxZ_Ew8OIX-rwszVvj6xngzuYVqmACK4B/s1600/Score%2BExample%2B2%25286.2%2529.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-72AVjECEIGI/WS81M2hte6I/AAAAAAAAGfA/nup2gxZ_Ew8OIX-rwszVvj6xngzuYVqmACK4B/s1600/Score%2BExample%2B2%25286.2%2529.png" /></a></div>
</div>
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<div style="text-align: center;">
<span style="font-family: "Times New Roman", serif; font-size: 12pt;"><br /></span></div>
<div style="text-align: center;">
<span style="font-family: "Times New Roman", serif; font-size: 12pt;">Mozart, Piano Sonata, K. 309/II, mm. 17-19
(Henle)</span></div>
</div>
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<br /></div>
<div class="MsoNormal">
The subtle rise of the line is expressed well on the fortepiano: <a href="http://global.oup.com/us/companion.websites/9780199396641/ch6/audio/ex_6.2b/" target="_blank">Mozart Audio Example 3</a></div>
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<i>Forte</i> directly followed by <i>piano </i>is often declarative in nature.
The breadth is determined by <i>affekt</i>.
We turn again to Mozart for clarification. The marking may be expressive:<o:p></o:p></div>
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<a href="http://3.bp.blogspot.com/-fHS21ipBuQg/WS8ww5Xqb2I/AAAAAAAAGec/OjeF__nCSWwxZU_XlerJmCptsKctUOJFwCK4B/s1600/Score%2BExample%2B3%2B%25286.4%2529.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="151" src="https://3.bp.blogspot.com/-fHS21ipBuQg/WS8ww5Xqb2I/AAAAAAAAGec/OjeF__nCSWwxZU_XlerJmCptsKctUOJFwCK4B/s400/Score%2BExample%2B3%2B%25286.4%2529.png" width="400" /></a></div>
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<div style="text-align: center;">
<span style="font-family: "Times New Roman", serif; font-size: 12pt;">Mozart, Piano Sonata, K. 280/III, mm. 55-59
(Henle)</span></div>
</div>
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<br />
These types of subtleties are expressed well on the fortepiano: <a href="http://global.oup.com/us/companion.websites/9780199396641/ch6/audio/ex_6.4b/" target="_blank">Mozart Audio Example 4</a></div>
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<br /></div>
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Or it may
give direction for a terraced <i>crescendo </i>or<i> diminuendo</i>. Here, the line builds bit by bit, leading up
to the <i>forte</i> at the peak of the line.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-CGuATc_4oS8/WS8xkcBEKtI/AAAAAAAAGeo/TAZ8jRogJu8f5G74aF0tp5TtPkbTWQgXACK4B/s1600/Score%2BExample%2B4%2B%25286.5%2529.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="156" src="https://3.bp.blogspot.com/-CGuATc_4oS8/WS8xkcBEKtI/AAAAAAAAGeo/TAZ8jRogJu8f5G74aF0tp5TtPkbTWQgXACK4B/s400/Score%2BExample%2B4%2B%25286.5%2529.png" width="400" /></a></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Mozart, Piano Sonata, K. 309/I, mm. 48-51(Henle)</span></div>
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<br /></div>
<div class="MsoNormal">
The fortepiano provides excellent opportunity to terrace the <i>crescendo</i>: <a href="http://global.oup.com/us/companion.websites/9780199396641/ch6/audio/ex_6.5b/" target="_blank">Mozart Audio Example 5</a><o:p></o:p></div>
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As
understood practices are incorporated it is important to remember that the overriding
goal is to express <i>affekt</i> and dynamic
markings are one of many notational clues provided by the composer to guide the
performer in achieving the desired <i>affekt</i>.
Once the clues are uncovered and adjustments are made in translating the <i>affekt</i> from fortepiano to modern piano,
the musical message can be carried quite effectively. From the context of the
piece, determine how and to what extent the dynamic marking(s) will best
describe the <i>affekt</i> the composer is
portraying. <o:p></o:p></div>
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Listen
carefully to make artistic adjustments. Guard
against playing loudly simply because there is an <i>f </i>in the score. When considering extreme <i>f</i> or <i>p</i>, remember the
volume capabilities available on the fortepiano. As Malcolm Bilson suggests, playing
“as if” the modern piano is a fortepiano will go a long way in achieving the
goal. Making appropriate adjustments on the modern piano will bring
authenticity to the performance. The modern piano requires time for the tone to
develop. Listen with a discerning ear to avoid cutting the sound off too
quickly and creating a choppy, undesirable effect. <o:p></o:p></div>
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<br /></div>
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Continually
consider the intended<i> affekt</i>, how the
piece was probably performed on the period instrument, and how that intention
can be best realized on this instrument. In doing so, playing will no longer
simply be loud or soft, but an organic, living expression of the soul.<o:p></o:p></div>
<br />
<div>
<!--[if !supportEndnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="edn1">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Donna/Documents/blogs/2017.4.1%20Blog%20(OUP)_Dynamics_Gunn/2017.4.1%20Blog%20(OUP)_Dynamics.docx#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , serif; font-size: 10.0pt;">[i]</span></span><!--[endif]--></span></a>
Apel, Willi, ed. 1969. <i>Harvard Dictionary
of Music.</i> 2<sup>nd</sup> rev. and enlarged ed. Belknap Press of Harvard
University Press, 303.<o:p></o:p></div>
</div>
<div id="edn2">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Donna/Documents/blogs/2017.4.1%20Blog%20(OUP)_Dynamics_Gunn/2017.4.1%20Blog%20(OUP)_Dynamics.docx#_ednref2" name="_edn2" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , serif; font-size: 10.0pt;">[ii]</span></span><!--[endif]--></span></a>
Ibid.<o:p></o:p></div>
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</div>
</div>
Anonymoushttp://www.blogger.com/profile/16144103105898670499noreply@blogger.com0tag:blogger.com,1999:blog-7552397049914903129.post-27787555136079841942017-05-02T09:49:00.000-07:002017-05-02T09:49:10.947-07:00The More Things Change, The More They Stay the Same<div dir="ltr" style="text-align: left;" trbidi="on">
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b> Connections Between MTNA 2017 National Conference &
Eighteenth-Century Pedagogues</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
While at the Music Teachers National Association 2017
National Conference in Baltimore, Maryland in March I attended a variety of excellent
sessions on everything from musicianship, business trends, and pedagogical
strategies to recitals highlighting competition winners. It was impressive to
see so many well-prepared and well-thought out presentations. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Less than four hours into the conference, I started to have Deja-vu
moments. Here I sat at a 2017 conference, listening to relevant insights being shared
right and left while vividly remembering reading many of these same wise words
of advice from great eighteenth-century pedagogues such as C. P. E. Bach,
Leopold Mozart, and Daniel G. Türk.
The topics broached were based on current scientific data and years of esteemed
pedagogical experience, yet I found it ironic how the period musicians knew
intuitively that which we continue to study and dissect in our desire to better
understand. I’m not trying to disparage the conference presentations, I simply
found it intriguing. Let’s turn to salient points from the workshops, followed
by advice from the eighteenth century to see the continuity through the years.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>***Let the mood and
structure drive your learning and playing (<i>Affekt</i>)***</b></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li>During an intermediate level master class led by Diane Hidy
and Elissa Milne, students were instructed to learn the mood and structure by
first playing the “skeleton” of the piece, playing the rhythmic concept (with
less regard to exact notes), and feel the overall direction of the piece before
attending to any details.</li>
</ul>
<br />
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li>Instruction from Leon Fleisher during the advanced master
class included:</li>
</ul>
<br />
<div class="MsoNormal" style="margin-left: .5in;">
</div>
<ol style="text-align: left;">
<li>The notation tells the story,
implying the importance of knowing the story [<i>affekt</i>] behind the composition.</li>
<li>Concentrate on the left hand
rhythmic scaffolding.</li>
<li>Find the choices the composer has
made to determine your choices regarding what you are going to bring out. Here, in the Waldstein Sonata, long long
short is the unusual structure to highlight.</li>
</ol>
<br />
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li>Loise Svard led an insightful session, <i>The Art & Science of Memorizing Music</i>. Her presentation was
based on the latest neuroscience as it relates to memorization. She revealed that neuro paths for memorization
begin developing during the initial learning stages. Emphasis was on the need
to lay a solid foundation before rehearsing: analysis, structure, <i>affekt</i>, and the correct encoding of
score. She emphasized the need to use all learning styles for stronger neuro
connections: cells that fire together get wired together which develops
reliable outcomes. In her concluding remarks, she summarized that the harder we
work (understanding the structure), the more reliable the memory.</li>
</ul>
<br />
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><u>Eighteenth-century
thoughts on structure and <i>affekt</i>:</u></b></div>
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li>Haydn speaking to L. Mozart, observing the young
Mozart: Your son has “taste and a
profound understanding.” ---etching on a wall at Mozarthaus, Vienna,
Austria</li>
</ul>
<br />
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li>Türk devotes Part Three of <i>Klavierschule</i> and Bach devotes the entire “Performance” section in <i>Versuch</i> to executing the <b>underlying concept</b>.</li>
</ul>
<br />
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li>“If everything that has been taught in the last two parts
[on execution] is followed in the most meticulous way, it is still not possible
to have good execution because the most essential part is missing, namely the
expression of the prevailing character without which no listener can be moved
to any degree.”<span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><a href="file:///C:/Users/Donna/Documents/blogs/2017.6.1.Blog_The%20More%20Things%20Change....docx#_edn1" name="_ednref1" title="">[1]</a></span></span></span></li>
</ul>
<br />
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li>“A knowledge of thoroughbass is indispensable to good
execution because without this knowledge, the various rules concerning
appoggiaturas and ornaments, the required strength or weakness of consonant and
dissonant harmonies, and the like cannot be followed.”<a href="file:///C:/Users/Donna/Documents/blogs/2017.6.1.Blog_The%20More%20Things%20Change....docx#_edn2" name="_ednref2" title=""><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[2]</span></span></span></a> </li>
</ul>
<br />
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li>“This difference of meters is very well suited to express
particular nuances of the passions. Above all, the composer must have a
definite impression of the particular passion that he has to portray and then
choose a more ponderous or lighter meter depending upon whether the affect in
its particular nuance requires one or the other.”<span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><a href="file:///C:/Users/Donna/Documents/blogs/2017.6.1.Blog_The%20More%20Things%20Change....docx#_edn3" name="_ednref3" title="">[3]</a></span></span></span></li>
</ul>
<br />
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li>To highlight <i>affekt</i>,
it is best to go to the unusual or the dissonant, which implies knowing the usual
form and expected outcome: “So-called deceptive progressions are also brought
out markedly to complement their function.”<a href="file:///C:/Users/Donna/Documents/blogs/2017.6.1.Blog_The%20More%20Things%20Change....docx#_edn4" name="_ednref4" title=""><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[4]</span></span></span></a>
The typical Classical formula is 2 + 2 + 4, so in looking to the different
structure in the Waldstein Sonata, the performer has a clear message from the
composer regarding how to proceed.</li>
</ul>
<br />
<div class="MsoNormal">
<b>***Slurs***</b></div>
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li>During the Hidy/Milne master class a student was encouraged
to follow the slur groupings.</li>
</ul>
<ul style="text-align: left;">
<li>Likewise, Fleisher instructed a student to do the same when
determining musical direction in a work by Chopin.</li>
</ul>
<br />
<div class="MsoNormal">
<b><u>Eighteenth-century
thoughts on slurs:</u></b></div>
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li>The slur was the pinnacle of expression in the Classical
Style. At one point Beethoven admonished his publisher to copy his markings
exactly. Much direction was provided in
notational slurs and their impact on performance. </li>
</ul>
<br />
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li>In L. Mozart’s <i>Violinschule</i>,
he provides an example of three measures in triple time with thirty-three
different possibilities for accentuation and then proclaims, “Now this changes
indisputably the whole style of performance.”<span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><a href="file:///C:/Users/Donna/Documents/blogs/2017.6.1.Blog_The%20More%20Things%20Change....docx#_edn5" name="_ednref5" title="">[5]</a></span></span></span></li>
</ul>
<br />
<div class="MsoNormal">
<b>***Rhythmic energy***</b></div>
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li>From Leon Fleisher: </li>
</ul>
<br />
<div class="MsoNormal" style="margin-left: .5in;">
</div>
<ol style="text-align: left;">
<li>Rhythmic LH figures in the Beethoven’s
Waldstein Sonata are covert energy</li>
<li>Follow the LH’s lead</li>
<li>Follow clues the composer gave us
to help in determining pulses [referring to beaming in a Chopin sonata]</li>
<li>Make timing choices to highlight
color changes</li>
</ol>
<br />
<div class="MsoNormal">
<b><u>Eighteenth-century
thoughts on rhythm:</u></b></div>
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li>25% of Bach’s <i>Versuch</i>
is devoted to thoroughbass. For
pianists, that means the left hand and the driving rhythmic energy inherent in
the style.</li>
</ul>
<br />
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li>On page 220 of L. Mozart’s <i>A Treatise on the Fundamental Principles of Violin Playing,</i> the
concept of rhythmic energy and drive is methodically worked out. WA Mozart’s
Piano Fantasy K 397 demonstrates this concept well.</li>
</ul>
<br />
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li>On page 334 of Türk’s<i>
Klavierschule</i>, he points out that beaming oftentimes denotes phrasing
gestures. See Bagatelle in G Minor, Op. 119, No. 1, mm 59-65 by Beethoven for a
clear example.</li>
</ul>
<br />
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li>Rhythm is musical, not metrical. Time was expected to be
used to highlight changes in color and <i>affekt</i>.
Beethoven endorsed the metronome to set the tempo. He never intended it to be
used for metronomic playing.</li>
</ul>
<br />
<div class="MsoNormal">
How fascinating! Many of the very concepts we continue to
delve into and push forward with scientific research to better understand were
already explained centuries ago through intuitive, musical understanding. To uncover
more eighteenth-century gems, refer to <i>Discoveries
from the Fortepiano</i>: A Manual for Beginning and Seasoned Performers (OUP,
2015). </div>
<div>
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<div id="edn1">
<div class="MsoEndnoteText">
<span style="font-size: x-small;"><a href="file:///C:/Users/Donna/Documents/blogs/2017.6.1.Blog_The%20More%20Things%20Change....docx#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman", serif;">[1]</span></span><!--[endif]--></span></a>
Daniel Gottlob Türk, <i>Klavierschule</i>
(1789, Leipzig and Halle), as translated by Raymond H. Haggh (University
of Nebraska Press, 1982),
337. Permission by the author’s daughter, Barbara Haggh-Huglo.<o:p></o:p></span></div>
</div>
<div id="edn2">
<div class="MsoEndnoteText">
<span style="font-size: x-small;"><a href="file:///C:/Users/Donna/Documents/blogs/2017.6.1.Blog_The%20More%20Things%20Change....docx#_ednref2" name="_edn2" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman", serif;">[2]</span></span><!--[endif]--></span></a>
Ibid., 323.<o:p></o:p></span></div>
</div>
<div id="edn3">
<div class="MsoNormal">
<span style="font-size: x-small;"><a href="file:///C:/Users/Donna/Documents/blogs/2017.6.1.Blog_The%20More%20Things%20Change....docx#_ednref3" name="_edn3" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman", serif;">[3]</span></span><!--[endif]--></span></a> Johan Philipp Kirnberger, 1982. <i>The Art of Strict Musical Composition</i>, (Berlin: 1771.) Translated
by David Beach and Jurgen Thym. New Haven, CT and London: Yale University
Press, 400.<o:p></o:p></span></div>
</div>
<div id="edn4">
<div class="MsoEndnoteText">
<span style="font-size: x-small;"><a href="file:///C:/Users/Donna/Documents/blogs/2017.6.1.Blog_The%20More%20Things%20Change....docx#_ednref4" name="_edn4" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman", serif;">[4]</span></span><!--[endif]--></span></a>
C. P. E. Bach, <i>Essay on the True Art of
Playing Keyboard Instruments </i>(1753.) Translated and edited by William J. Mitchell. New York: W. W. Norton, 163.<o:p></o:p></span></div>
</div>
<div id="edn5">
<div class="MsoEndnoteText">
<span style="font-size: x-small;"><a href="file:///C:/Users/Donna/Documents/blogs/2017.6.1.Blog_The%20More%20Things%20Change....docx#_ednref5" name="_edn5" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman", serif;">[5]</span></span><!--[endif]--></span></a>
Leopold Mozart, 1948. <i>A Treatise on the
Fundamental Principles of Violin Playing,</i> (Augsburg, 1756, 1787.) Translated by Editha Knocker. London: Oxford University Press, 123-124.</span><o:p></o:p></div>
</div>
</div>
</div>
Anonymoushttp://www.blogger.com/profile/16144103105898670499noreply@blogger.com0tag:blogger.com,1999:blog-7552397049914903129.post-73247401246887679162017-03-01T18:03:00.001-08:002017-03-01T18:03:51.939-08:00Help Available for Plate-Spinners!<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-LWb-PTNVklg/WLd8npU-zeI/AAAAAAAAFSI/JbPdb54lNmogcH_O0UnMfzfHX9DcqiB1QCLcB/s1600/plate%2Bspinning.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="108" src="https://4.bp.blogspot.com/-LWb-PTNVklg/WLd8npU-zeI/AAAAAAAAFSI/JbPdb54lNmogcH_O0UnMfzfHX9DcqiB1QCLcB/s320/plate%2Bspinning.jpg" width="320" /></a></div>
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It has been my experience in working with students of all
ages, that we have become a culture of plate-spinners. Whether it is participating in several
after-school activities or getting members of one’s family from said
place-to-place, there seems to be too many activities and not enough time. Students get overwhelmed, skim over their
assignments (without looking at the assignment sheet), and come with very
little accomplished from the previous lesson.
Never fear – help is here for the “music plate!” Once you have the music
plate spinning smoothly and efficiently, you may find that you can apply the
same principle to the other plates in your life.</div>
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li>Look at your assignment sheet. Make sure the goals for the week are
prioritized. If you and your teacher did
not do this at lesson, do it now. What
is <i>item one </i>– <i> </i>that one thing you want to make sure you
accomplish this week?</li>
</ul>
<br />
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li>Go the <i>item one</i>.
Take the tool from your practice tool box that will help you most. Maybe it is
focused hands-alone playing of a small section 7-10 times accurately. Perhaps
it is time to put the section hands-together, which requires super-slow
practice in tiny tidbits. Look at previous blog posts for more ideas if the
practice strategy isn’t listed on your assignment sheet. </li>
</ul>
<br />
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li>With focused attention, work on <i>item</i> <i>one </i>for a large
chunk of your practice time on Days 1-3. If you are honest with yourself, you
will know when you are devoting the appropriate amount of time!</li>
</ul>
<br />
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li>By Day 4, <i>item one</i>
should be more readily under control, taking up less of your focus and
requiring much less of your practice time.</li>
</ul>
<br />
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li>Take the extra time now available from having accomplished <i>item one</i>, and apply it to the next item
on your assignment sheet (priority list).</li>
</ul>
<o:p></o:p><br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
See? It is really
that systematically simple: Do one
thing, do it well, and move on to the next thing. The research is in…multi-tasking is not a
thing; it doesn’t work. It simply fragments
the mind, sends anxiety through the roof, and results in ever-diminishing
mastery of whatever tasks are at hand.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
With diligent application of these steps, your plate
spinning will become smooth and efficient.
You will find yourself enjoying the array of creative orbs filling your
life in a harmonious flow.<o:p></o:p></div>
<br />
<div class="MsoNormal">
<br /></div>
</div>
Anonymoushttp://www.blogger.com/profile/16144103105898670499noreply@blogger.com0tag:blogger.com,1999:blog-7552397049914903129.post-67601563987617947222017-02-11T14:38:00.002-08:002017-02-11T14:38:46.171-08:00Fingering Choices for Musical Gain in Eighteenth-Century Piano Performance<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: left;">
<span style="font-family: inherit;">This Blog was first published by Oxford University Press: https://blog.oup.com/2017/02/fingering-choices-piano-performance/</span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><br /></span></div>
<div class="Default" style="text-align: left;">
<span style="font-family: inherit;">The proper
use of fingering to perform accurately is of concern to all
instrumentalists. However, there is a dangerous
pitfall awaiting keyboard players that does not exist for other
instrumentalists. Simply put, for
non-keyboardists, wrong fingering usually equals wrong note. But for the
pianist, we can stumble along, playing the right pitches, while all the while
making a complete mess of the musical message because of inept fingering. As C. P. E. Bach cautions: “Today, much more
than in the past, no one can hope to play well who does not use his fingers
correctly.”<a href="file:///C:/Users/Donna/Documents/blogs/2017.2.1%20Blog%20(OUP)_Fingering_Gunn/2017.2.1%20Blog%20(OUP)_Fingering%20Choices%20for%20Musical%20Gain%20in%20Eighteenth.docx#_edn1" name="_ednref1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="color: black; line-height: 107%;">[1]</span></span><!--[endif]--></span></a> Therefore, it is not surprising that C. P. E.
Bach devotes 37 pages to proper scale fingerings of all stripes and colors for
good execution in chapter 1 of <i>Versuch</i>,
and Türk devotes 60 pages to the same in <i>Klavierstücke</i>.<o:p></o:p></span></div>
<div class="Default" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span style="line-height: 107%;"><span style="font-family: inherit;">What is distinctive to eighteenth-century performance
practice is the acknowledgment of the important role fingering plays in
musicality; how it is <i>completely</i>
interconnected. It is <i>inseparable</i> from interpretation. It serves a vital musical function so much so
that Bach believed the musical function of fingering was more important than
its technical role.<o:p></o:p></span></span></div>
<div class="Default" style="text-align: left;">
<span style="font-family: inherit;">Clementi
puts it succinctly: “To produce the <i>best
effect</i>, by the easiest <i>means</i>, is
the great basis of the art of fingering.”<a href="file:///C:/Users/Donna/Documents/blogs/2017.2.1%20Blog%20(OUP)_Fingering_Gunn/2017.2.1%20Blog%20(OUP)_Fingering%20Choices%20for%20Musical%20Gain%20in%20Eighteenth.docx#_edn2" name="_ednref2" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="color: black; line-height: 107%;">[2]</span></span><!--[endif]--></span></a> The best fingering is achieved by the <i>easiest</i> means, which is not always a <i>1-2-3-4-5</i> legato approach. Instead, this
suggests choosing fingering that supports a hand shape and execution which will
facilitate a reliable technical and musical outcome. Türk demonstrates the
concept well in <i>Klavierstücke</i>. As suggested in <i>Discoveries from the Fortepiano</i> (2015, OUP), try the excerpt below
using consecutive fingering (<i>1-2, 2-3,
3-4</i>…) while at the same time following the slur indications. Now, play it with Türk’s suggestions which
require one gesture, one muscle movement, gliding up and down the keyboard –
the best effect by the easiest means.<o:p></o:p></span></div>
<div class="Default" style="text-align: left;">
<br /></div>
<div class="Default">
<span style="font-family: "Times New Roman",serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-8LODC_pGOB8/WJ-QBie3CJI/AAAAAAAAFMc/heKhLqjA11wgz-qBMY6YlVvwaeCJoX5eACLcB/s1600/Gunn.OUPBlog.Turk%2BExample.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="67" src="https://2.bp.blogspot.com/-8LODC_pGOB8/WJ-QBie3CJI/AAAAAAAAFMc/heKhLqjA11wgz-qBMY6YlVvwaeCJoX5eACLcB/s320/Gunn.OUPBlog.Turk%2BExample.png" width="320" /></a></div>
<o:p></o:p><br />
<div class="Default" style="text-align: center;">
<span style="font-family: "Times New Roman",serif;"> </span><span style="font-family: "Times New Roman", serif;">Türk, </span><i style="font-family: "Times New Roman", serif;">Klavierstücke. </i><span style="font-family: "Times New Roman", serif;">158.</span><a href="file:///C:/Users/Donna/Documents/blogs/2017.2.1%20Blog%20(OUP)_Fingering_Gunn/2017.2.1%20Blog%20(OUP)_Fingering%20Choices%20for%20Musical%20Gain%20in%20Eighteenth.docx#_edn3" name="_ednref3" style="font-family: "Times New Roman", serif;" title=""><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="color: black; font-size: 12pt; line-height: 107%;">[3]</span></span></span></a></div>
<div class="Default" style="text-align: left;">
<br /></div>
<div class="Default" style="text-align: left;">
<span style="font-family: inherit;">Oftentimes
today, scores are interpreted with a fully-connected, legato execution. The Mozart
example below is a case in point. The fingering choice suggested by the editor in
the right hand on beat one of measure 33 is <i>2-1-2-4-5</i>.
This proposed fingering implies connecting the line through the slur which
contradicts the articulation subtleties Mozart notated.<b> </b>If we are to play the score as directed by Mozart, this “easiest”
fingering approach, in reality, becomes <i>more</i>
<i>difficult</i> to execute musically and
the following interpretation usually results. <o:p></o:p></span></div>
<div class="Default" style="text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-NqWzCwmv5JQ/WJ-QLRnlLeI/AAAAAAAAFMg/Q9j1qeN1Fm8orpiPA8po4Id8qhDrLr4wACLcB/s1600/Gunn.OUPBlog.Mozart%2BMusic%2BExample.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="100" src="https://4.bp.blogspot.com/-NqWzCwmv5JQ/WJ-QLRnlLeI/AAAAAAAAFMg/Q9j1qeN1Fm8orpiPA8po4Id8qhDrLr4wACLcB/s320/Gunn.OUPBlog.Mozart%2BMusic%2BExample.png" width="320" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; text-align: center;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"> Mozart, Piano Sonata, K. 309/II, mm. 33-36 (Henle)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="Default">
<span style="font-family: "Times New Roman",serif;"> </span><span style="font-family: Times New Roman, serif;"><a href="http://global.oup.com/us/companion.websites/9780199396641/ch4/audio/ex_4.2a/">http://global.oup.com/us/companion.websites/9780199396641/ch4/audio/ex_4.2a/</a></span></div>
<div class="Default">
<span style="font-family: Times New Roman, serif;"><br /></span></div>
<div class="Default" style="text-align: left;">
<span style="font-family: inherit;">Instead, using
<i>1-2-4-5-3</i> on beat one of measure 33
produces Mozart’s notated articulation by using the natural inclination of the
fingers: starting with a heavier gesture with naturally heavier fingers,
breaking the legato after finger 5, and landing with a rich, thick finger
3. A natural gesture followed by a newly
articulated stroke. The <i>best effect</i>
by the <i>easiest</i> means. Listen to the
difference that is demonstrated on the fortepiano:<o:p></o:p></span></div>
<div class="Default">
<span style="font-family: "Times New Roman",serif;"><br /></span></div>
<div class="Default">
<span style="font-family: Times New Roman, serif;"><a href="http://global.oup.com/us/companion.websites/9780199396641/ch4/audio/ex_4.2b/">http://global.oup.com/us/companion.websites/9780199396641/ch4/audio/ex_4.2b/</a></span></div>
<div class="Default">
<br /></div>
<div class="Default">
<span style="font-family: inherit;">By following
these principles on the modern piano the same nuanced interpretation is readily
achieved: </span><b style="font-family: "Times New Roman", serif;"></b><span style="font-family: Times New Roman, serif;"><o:p></o:p></span></div>
<div class="Default">
<span style="font-family: "Times New Roman",serif;"><br /></span></div>
<div class="Default">
<span style="font-family: Times New Roman, serif;"><a href="http://global.oup.com/us/companion.websites/9780199396641/ch4/audio/ex_4.2c/">http://global.oup.com/us/companion.websites/9780199396641/ch4/audio/ex_4.2c/</a></span></div>
<div class="Default">
<br /></div>
<div class="Default">
<span style="font-family: inherit;">The conscious
employment of this technical approach provides rational solutions to the
perceived “problems” of executing eighteenth-century repertoire. The added
bonus? A style that is easier to execute, that offers a variety of
articulation, that contains new palettes of color, and that provides imagined sound energy through intentionally executed technical paths.<o:p></o:p></span></div>
<div class="Default">
<br /></div>
<br />
<div>
<!--[if !supportEndnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<div id="edn1">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/Donna/Documents/blogs/2017.2.1%20Blog%20(OUP)_Fingering_Gunn/2017.2.1%20Blog%20(OUP)_Fingering%20Choices%20for%20Musical%20Gain%20in%20Eighteenth.docx#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></a> <span style="font-family: Times, Times New Roman, serif; font-size: x-small;">C.
P. E. Bach, <i>Essay on the True Arts of
Playing Keyboard Instruments,</i> (Leipzig: Schwickert, 1753, 1762), translated
by William J. Mitchell, (W. W. Norton and Company, Inc., 1949, renewed ©
1976 by Alice L. Mitchell), 41.<o:p></o:p></span></div>
</div>
<div id="edn2">
<div class="MsoEndnoteText">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><a href="file:///C:/Users/Donna/Documents/blogs/2017.2.1%20Blog%20(OUP)_Fingering_Gunn/2017.2.1%20Blog%20(OUP)_Fingering%20Choices%20for%20Musical%20Gain%20in%20Eighteenth.docx#_ednref2" name="_edn2" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 107%;">[2]</span></span><!--[endif]--></span></a> Muzio Clementi, <i>Introduction to the Art of Playing on the
Piano Forte</i> (London: Clementi, Banger, Hyde, Collard & David, 1801),
reprinted (Da Capo Press, 1974), 14. <o:p></o:p></span></div>
</div>
<div id="edn3">
<div class="MsoEndnoteText">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;"><a href="file:///C:/Users/Donna/Documents/blogs/2017.2.1%20Blog%20(OUP)_Fingering_Gunn/2017.2.1%20Blog%20(OUP)_Fingering%20Choices%20for%20Musical%20Gain%20in%20Eighteenth.docx#_ednref3" name="_edn3" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="line-height: 107%;">[3]</span></span><!--[endif]--></span></a>
Daniel Gottlob Türk, <i>Klavierschule</i>
(1789, Leipzig and Halle), as translated by Raymond H. Haggh (University of
Nebraska Press, 1982), 158, with permission from the author’s daughter, Barbara
Haggh-Huglo.</span><o:p></o:p></div>
</div>
</div>
</div>
Anonymoushttp://www.blogger.com/profile/16144103105898670499noreply@blogger.com0tag:blogger.com,1999:blog-7552397049914903129.post-20711888408873819502017-01-01T06:55:00.000-08:002017-01-01T06:55:06.355-08:00New Year Wishes<div dir="ltr" style="text-align: left;" trbidi="on">
<div align="center" class="MsoNormal" style="text-align: center;">
<b>As we look toward the new year, I wish for one and all, a year full of:</b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<o:p></o:p></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Good health<o:p></o:p></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Nurtured
relationships of old and new ones on the horizon<o:p></o:p></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Growth – in mind,
body, and spirit<o:p></o:p></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
New possibilities,
exciting opportunities, and the faith to go for at least one of them<o:p></o:p></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Enlightened
perspective on current musical repertoire and new pieces to keep the spark
ignited<o:p></o:p></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Fortitude to work
through the hard stuff and relaxation to make sure it’s not all hard stuff</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<o:p></o:p></div>
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<br /></div>
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<br /></div>
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<b><o:p> </o:p>Happy 2017! </b></div>
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<br /></div>
<br />
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Anonymoushttp://www.blogger.com/profile/16144103105898670499noreply@blogger.com0tag:blogger.com,1999:blog-7552397049914903129.post-24151346270041779652016-12-08T13:10:00.000-08:002016-12-08T13:10:05.018-08:00Get to the Point…with “The Viennese Sigh”<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Times, Times New Roman, serif;">This blog was first published by Oxford University Press: http://blog.oup.com/2016/12/the-viennese-sigh-classical-music/</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<div class="Default">
<span style="font-family: Times, Times New Roman, serif;">Whether speaking in simple conversation, acting dramatically
on stage, singing in the shower, or performing on a musical instrument in a
recital hall, the common goal is to “get to the point” in some way or another. In Classical Era music, a tool that
facilitates getting to the point is the use of small gestures that are
designated with a slur. <o:p></o:p></span></div>
<div class="Default">
<br /></div>
<div class="Default">
<span style="font-family: Times, Times New Roman, serif;">The small
slur — a stepwise appoggiatura figure — is the cornerstone to expressing the
musical point. This type of slur is a sign of clarity, not a phrase mark. A two-
to four-note group under a slur simply indicates “we belong together.” The slur
gives intentional direction — gestures; much like a painter’s small brush
strokes. It provides guidance for
rhythmic groupings and dynamic direction. It allows the performer to articulate
or set aside important or new ideas. The slur indication enlivens and gives
energy to the music by lightly ending one gesture and clearly articulating the
next. The point is to make the music more interesting! In combination, small
slurred gestures create phrases that are built, one upon another, to clearly
define the larger structure. This type
of expression originated in Vienna in the eighteenth century and became so
popular that it was trademarked “The Viennese Sigh.”<o:p></o:p></span></div>
<div class="Default">
<br /></div>
<div class="Default">
<span style="font-family: Times, Times New Roman, serif;">With this
expressive tool at our disposal the possibilities are boundless. It is discussed
specifically and extensively by Leopold Mozart in his pedagogical writings. In
his <i>Violinschule</i>, he provides an example of three measures in triple
time with thirty-three different possibilities for accentuation. He then
proclaims: “Now this changes indisputably the whole style of performance.”<a href="file:///C:/Users/Donna/Documents/blogs/12.01.2016%20Blog_Get%20to%20the%20Point...with%20The%20Viennese%20Slur_Gunn/BLOG_Get%20to%20the%20Point_The%20Viennese%20Sigh.docx#_edn1" name="_ednref1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="color: black;">[i]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
<div class="Default">
<br /></div>
<div class="Pa26">
<span style="font-family: Times, Times New Roman, serif;">This
fundamental eighteenth-century indicator is a quite simple and natural concept
based on Classical Era stringed instruments that used a convex bow which
naturally creates a <i>diminuendo</i>. The first note under a slur is
accentuated more strongly because of the natural tendency of the bow with a
slackening of volume on the remaining notes. This practice is also a natural
vocal tendency. Take a moment to verbalize any number of two-syllable words
that contain a first-syllable accent to easily understand the concept.
Likewise, due to the rapid decay on the fortepiano (the eighteenth-century
piano), the <b>first note under a slur is
accentuated while the remaining notes under the slur create a <i>diminuendo</i>.</b><span class="A16"><b> </b></span><b><o:p></o:p></b></span></div>
<div class="Default">
<br /></div>
<div class="Default">
<span style="font-family: Times, Times New Roman, serif;">Properly
executing these markings is what makes the message comprehensible. Notes under
the slur should be played on the piano in a single impulse without making any
movement of the hand. Beethoven teaches, “This will be achieved if it [the
hand] is always placed firmly on the first of the two slurred notes and is
lifted almost vertically as the second note is touched.”<a href="file:///C:/Users/Donna/Documents/blogs/12.01.2016%20Blog_Get%20to%20the%20Point...with%20The%20Viennese%20Slur_Gunn/BLOG_Get%20to%20the%20Point_The%20Viennese%20Sigh.docx#_edn2" name="_ednref2" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="color: black;">[ii]</span></span><!--[endif]--></span></a><span class="A16"> </span>Notice
that it is the hand, <i>led by the wrist, </i>that initiates the release.
Following this advice will prevent hopping off the key to avoid a choking,
unmusical staccato, or pushing off the key to avoid that terrible clunker — the
undesired accent.<o:p></o:p></span></div>
<div class="Default">
<br /></div>
<div class="Default">
<span style="font-family: Times, Times New Roman, serif;">The slur
indicates attack and release. The first note of a slur and the first note after
a slur (which may well be a new slur grouping) is articulated or set-off
through a clean attack (with varying degrees of emphasis), a clean release
(with varying degrees of lightness), and a separation of sound (with varying
degrees of time) between the two gestures. The extent of articulation depends
on influencing traits derived from <i>affekt</i> (expression). <o:p></o:p></span></div>
<div class="Default">
<br /></div>
<div class="Default">
<span style="font-family: Times, Times New Roman, serif;">Eighteenth-century
style is closed related to expository speaking. (The Classical sonata with its
exposition, development, and recapitulation blossomed during this time).
Articulate, “clean-speaking” execution is of utmost importance and is done so
with clean articulation of the downbeat. Therefore, eighteenth-century slurs
almost <i>never </i>continue over the bar line. <o:p></o:p></span></div>
<div class="Default">
<br /></div>
<div class="Default">
<span style="font-family: Times, Times New Roman, serif;"><span style="color: windowtext;">Not
only does following slur markings create an articulate sound it also creates an
extremely intimate, complex, and beautiful <i>affekt</i>
that can be realized beautifully on the fortepiano. Follow the link to hear an example from </span>Beethoven, Six Minuets, WoO 10, No. 2,
Trio on fortepiano. Copyrigh<span lang="IT">t 1990
by G. Henle Verlag, Munich.</span></span></div>
<div class="Default">
<span lang="IT"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<div class="Default">
<span lang="IT"><a href="http://global.oup.com/us/companion.websites/9780199396641/ch8/audio/ex_8.3b/"><span style="font-family: Times, Times New Roman, serif;">http://global.oup.com/us/companion.websites/9780199396641/ch8/audio/ex_8.3b/</span></a></span></div>
<div class="Default">
<br /></div>
<div class="Default">
<span style="color: windowtext;"><span style="font-family: Times, Times New Roman, serif;">And
with careful attention to subtleties in the wrist it can be pleasingly achieved
on the modern piano:<o:p></o:p></span></span></div>
<div class="Default">
<br /></div>
<div class="Default">
<a href="http://global.oup.com/us/companion.websites/9780199396641/ch8/audio/ex_8.3c/"><span style="font-family: Times, Times New Roman, serif;">http://global.oup.com/us/companion.websites/9780199396641/ch8/audio/ex_8.3c/</span></a></div>
<div class="Default">
<br /></div>
<div class="Default">
<span style="font-family: Times, Times New Roman, serif;">There are
some understood rules regarding eighteenth-century notational practices of the
slur. It is customary to indicate only the first few sets of accentuation in
prolonged successions of detached or legato notes. Succeeding tones follow suit
until another kind of mark intervenes. <o:p></o:p></span></div>
<div class="Default">
<br /></div>
<div class="Default">
<span style="font-family: Times, Times New Roman, serif;">In the Beethoven
example, articulation begins with two-note slurs in ms. 47. It is understood that this grouping will
continue through mm. 48–49 until the articulation is changed in ms. 50. Incidentally, it is common practice for the
accompanying part to follow suit with the designated articulation. Therefore, in this example, the left hand may
play two-note slurs along with the right hand.<b> <o:p></o:p></b></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-yDw3n4tXp-4/WEnKdY4JcJI/AAAAAAAAEmE/9vrZyb7klDYVKdVfczTqykMabtOm1-asQCLcB/s1600/Picture1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Times, Times New Roman, serif;"><img border="0" height="151" src="https://2.bp.blogspot.com/-yDw3n4tXp-4/WEnKdY4JcJI/AAAAAAAAEmE/9vrZyb7klDYVKdVfczTqykMabtOm1-asQCLcB/s320/Picture1.png" width="320" /></span></a></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div class="Default">
<span style="font-family: Times, Times New Roman, serif;">Beethoven,
Bagatelle in G Minor, Op. 119, No. 1, mm. 47-52. Copyright (1978) G. Henle
Verlag, Munich.</span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><o:p></o:p></span></div>
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<br /></div>
<div class="Default">
<span style="font-family: Times, Times New Roman, serif;">This
practice is clearly and cleanly heard on fortepiano:</span></div>
<div class="Default">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div class="Default">
<a href="http://global.oup.com/us/companion.websites/9780199396641/ch8/audio/ex_8.5b/"><span style="font-family: Times, Times New Roman, serif;">http://global.oup.com/us/companion.websites/9780199396641/ch8/audio/ex_8.5b/</span></a></div>
<div class="Default">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div class="Default">
<span style="font-family: Times, Times New Roman, serif;"> and, again, can be achieved
with aesthetically pleasing results on the modern piano:<o:p></o:p></span></div>
<div class="Default">
<a href="https://www.blogger.com/goog_1955572590"><span style="font-family: Times, Times New Roman, serif;"><br /></span></a></div>
<div class="Default">
<a href="http://global.oup.com/us/companion.websites/9780199396641/ch8/audio/ex_8.5c/"><span style="font-family: Times, Times New Roman, serif;">http://global.oup.com/us/companion.websites/9780199396641/ch8/audio/ex_8.5c/</span></a></div>
<div class="Default">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<span style="font-family: Times, Times New Roman, serif;">For all pianists,
regardless of the instrument, to “get to the point” utilize a simple practice: Each slur is a gesture
from more to less with the wrist initiating the lift.</span><br />
<div>
<!--[if !supportEndnotes]--><span style="font-family: Times, Times New Roman, serif;"><br clear="all" />
</span><hr align="left" size="1" width="33%" />
<!--[endif]-->
<div id="edn1">
<div class="MsoEndnoteText">
<span style="font-family: Times, Times New Roman, serif;"><a href="file:///C:/Users/Donna/Documents/blogs/12.01.2016%20Blog_Get%20to%20the%20Point...with%20The%20Viennese%20Slur_Gunn/BLOG_Get%20to%20the%20Point_The%20Viennese%20Sigh.docx#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[i]</span><!--[endif]--></span></a> L.
Mozart, <i>A Treatise on the Fundamental
Principles of Violin Playing,</i> 123-24.<o:p></o:p></span></div>
</div>
<div id="edn2">
<div class="MsoEndnoteText">
<span style="font-family: Times, Times New Roman, serif;"><a href="file:///C:/Users/Donna/Documents/blogs/12.01.2016%20Blog_Get%20to%20the%20Point...with%20The%20Viennese%20Slur_Gunn/BLOG_Get%20to%20the%20Point_The%20Viennese%20Sigh.docx#_ednref2" name="_edn2" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[ii]</span><!--[endif]--></span></a>
Johann Baptist Cramer, <i>21 Etüden für
Klavier: Nach dem Handexemplar Beethovens aud dem Besitz,</i> as translated by
Rosenblum, <i>Performance Practices in
Classic Piano Music, </i>200.</span></div>
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<br /></div>
<div class="MsoEndnoteText">
<o:p></o:p><br /></div>
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</div>
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Anonymoushttp://www.blogger.com/profile/16144103105898670499noreply@blogger.com0tag:blogger.com,1999:blog-7552397049914903129.post-50014776676629863942016-10-31T12:20:00.000-07:002016-10-31T12:20:42.546-07:00Let the Magic Happen<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-PEAJ1SoIJls/WBeZHeiAqvI/AAAAAAAAEDc/hYIs6jVUGF8KjyV-Chwr_UzcVH8ygeCaACLcB/s1600/14572884_1182144765207699_4084026796765350598_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://4.bp.blogspot.com/-PEAJ1SoIJls/WBeZHeiAqvI/AAAAAAAAEDc/hYIs6jVUGF8KjyV-Chwr_UzcVH8ygeCaACLcB/s320/14572884_1182144765207699_4084026796765350598_n.jpg" width="320" /></a></div>
<br />
<br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
The Fall
Season is a magical time of year in the Midwest. Trees and bushes that were flush with deep
green leaves begin to change color ever so slightly as the nights
lengthen. And then suddenly, after one
deep frost, the magic <i>bursts</i> on the
scene – golden yellows, blood reds, dark magentas, vibrant oranges. With a light jacket, one can traverse the neighborhood
to breathe in the crisp fall air, lean toward the autumn sun, and delight in
the visual magic.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
This magic
is a gift from the universe. It is
nothing that can be managed, controlled, or manipulated. Yes, one can plant wisely (and even take a
chance on that favorite plant that might not be perfect for our climate), prune
carefully, and fertilize and water faithfully. But the magic is largely out of
our control. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Likewise,
for musicians, we give the gift of magic for the universe in our performances. We plant wisely in choosing our repertoire:
Do I best highlight my gifts? What is the best opener? Where do I sneak in that
piece I want to share despite the challenges? Is the show-stopper timed to grab
the listener? We prune carefully: Is the program an appropriate length for my
ability; for my audience’s attention span? <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
We fertilize
and water faithfully in our practice habits.
Have I decided the mood and emotion behind the piece before I take it to
the piano? Do I know the structure?
Where are the high points? Where
is the surprise? Where will I need extra stamina? When I take practice to the
piano do I employ careful note-reading <i>from
the outset</i> at a slow enough tempo and in small enough segments to develop
accurate and reliable muscle memory? Do
I play, rich with expression - dynamics, articulation, and phrasing – <i>all</i> the colors?<o:p></o:p></div>
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<br /></div>
<br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Once all is
said and done, the bigger, more over-riding question must be asked: Am I allowing the magic to unfold? I think for musicians that means, “am I releasing
control over every note, dynamic marking, and articulation direction to simply
let my heart and soul make connection with another?” This is the scariest leap of faith we can
make. And the most rewarding. When it
happens, the colors take on a rich hue, the sun shines deeply in our hearts,
and we experience a magical link between ourselves, the audience, the composer,
and the universe.<o:p></o:p></div>
</div>
Anonymoushttp://www.blogger.com/profile/16144103105898670499noreply@blogger.com0tag:blogger.com,1999:blog-7552397049914903129.post-23589527421258204282016-10-05T13:46:00.000-07:002016-10-05T13:46:31.106-07:00The Eighteenth-Century Rhythm Riddle: What is the Quarter Note Quandary?<div dir="ltr" style="text-align: left;" trbidi="on">
This blog was first published by Oxford University Press: <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://blog.oup.com/2016/10/quarter-note-eighteenth-century-rhythm/&source=gmail&ust=1475785811551000&usg=AFQjCNEp-WLCk5xcS49qhe2N6Ujj_rTRhg" href="http://blog.oup.com/2016/10/quarter-note-eighteenth-century-rhythm/" style="background-color: white; color: #1155cc; font-family: Garamond, serif; font-size: 14.6667px;" target="_blank">http://blog.oup.com/2016/10/<wbr></wbr>quarter-note-eighteenth-<wbr></wbr>century-rhythm/</a><br />
<br />
<div class="MsoNormal">
If you were to ask a modern musician what the quarter note
means in Common Time the answer would be simple: “It lasts for one full beat,
to be released at the beginning of the succeeding beat.” Ah, but eighteenth-century
rhythm reading is <i>not</i> a simple
“one-size-fits-all” affair. Just as spoken language has evolved over time, so has
music notational language. The notation
has remained much the same; it is how the notation is read that has
changed. So, how is the quarter note
quandary solved? Gazing at the issue through
an eighteenth-century lens will answer the riddle.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<br />
<div class="MsoNormal">
Eighteenth-century style is one of clarity – expressive
rhythmic clarity – that projects character or <i>affekt</i> through the notation at hand. And the crisp, articulate fortepiano is the perfectly
suited instrument for executing the style. All rhythmic elements are chosen to
reflect <i>affekt</i>; so much so that when
certain elements are present a particular <i>affekt</i>
is understood. The Rhythm Schemata diagram provides insight to the interacting
elements:<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-DY4ib8BWnsc/V_VkU42E0kI/AAAAAAAAD3Q/sO4300uQmusFnJdSnxEsopm3HyHTnAgyACLcB/s1600/Diagram%2B5.1%2BRhythm%2BSchemata%252C%2Bblack%2Band%2Bwhite.tif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://2.bp.blogspot.com/-DY4ib8BWnsc/V_VkU42E0kI/AAAAAAAAD3Q/sO4300uQmusFnJdSnxEsopm3HyHTnAgyACLcB/s320/Diagram%2B5.1%2BRhythm%2BSchemata%252C%2Bblack%2Band%2Bwhite.tif" width="320" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<i>Rhythm Schemata</i></div>
<div class="MsoNormal" style="text-align: center;">
<i><br /></i></div>
<div class="MsoNormal">
Notice that <i>affekt </i>is
at the center of the wheel. All
notational decisions – appropriate tempo and meter, carefully crafted formal
and phrase structure to allow for execution of rhetoric, and specific rhythm
choices – are made to express the desired <i>affekt.</i>
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
</div>
<div class="MsoNormal">
Execution of the quarter note varies greatly depending on tempo
and meter choices, which are directly related to period dances. For example, a <i>march</i> in duple meter commands a
different <i>affekt</i> than a <i>minuet</i> in triple meter. Just like there
are heavy and light meters, note values act in much the same way. A time signature with a 2 in the bottom denotes
heavy <i>affekt</i>, one with a 4 lighter,
and one with an 8 in the bottom lighter yet.
Note value choices within the meter provide execution clues. For instance, a piece made up primarily of half
and quarter notes would be heavier than one of eighth and sixteenth notes. A comparison of Beethoven’s Piano Sonata, op.
10, no. 3 to his Piano Sonata op. 14, no. 2 demonstrates how note values take
on differing character based on these period practices. So, the quarter note may
take on a variety of characters, and consequently lengths, based on <i>affekt</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Today, legato is the ordinary way of playing. If a line is presented with no markings (<i>staccato</i> or <i>legato</i>), the performer assumes to play <i>legato</i>, holding every rhythm for the full value. Not so in
eighteenth-century style. This is where
the answer to the riddle lies: <b>The
quarter note is held for its full value only when it occurs under a slur or a
tenuto marking</b><i>.</i> How long should
it be held? Just when is it appropriate
to release the quarter note? This is
where <i>affekt</i> is essential (and why it
is at the center of the wheel). Depending on <i>affekt</i>, a quarter note may be cut quite short (like a crisp timpani
attack) or held for most of the beat (as in a forlorn oboe solo). One must turn
to the nuances of notation – formal
structure, meter, expression marks, dynamics, and beaming – for clues. <o:p></o:p></div>
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Taking specific steps will facilitate creating a
rhythmically authentic and personal eighteenth-century style on the modern
piano. <o:p></o:p></div>
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<br /></div>
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</div>
<ul style="text-align: left;">
<li>Begin with <i>Urtext</i>
editions. It is essential to work from an authentic score to determine how best
to follow the clues left by the composer rather than an interpretation offered
by an editor.</li>
</ul>
<ul style="text-align: left;">
<li>During initial experiences work with a piece that contains simple
textures and is quite bare (few slurs or dynamic markings). Simple dances from
Mozart’s <i>Klavierstücke</i>, Beethoven’s <i>German Dances</i>, or Piano Sonata in C
Major, K. 545 by Mozart are good starting places.</li>
</ul>
<ul style="text-align: left;">
<li>Do some digging: What dance is being described? Is the meter
heavy or light? In context, are the note
values heavy or light? Unearthing answers will impact the length of the quarter
notes.</li>
</ul>
<ul style="text-align: left;">
<li>Hold the quarter notes for full value <i>only</i> when under a slur or tenuto.</li>
</ul>
<ul style="text-align: left;">
<li>Strive for a strong metrical pulse. The down-beat is
extremely important in this style.</li>
</ul>
<ul style="text-align: left;">
<li>Allow the energy and expression (determined by the <i>affekt</i>) to influence carefully placed
timing and <i>rubato</i> within metrical
boundaries.</li>
</ul>
<ul style="text-align: left;">
<li>Sing each line; this will go a long way in deciding tasteful
rhythmic length and timing. </li>
</ul>
<ul style="text-align: left;">
<li>The fortepiano’s strength is crispness and clarity of tone,
the modern piano’s is to produce a long, legato line. Listen carefully and
continually. Adjust to the feedback from
the instrument to prevent a choppy tone and choked endings of phrases. </li>
</ul>
<div>
</div>
<o:p></o:p><br />
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Hear the improvement in the sound aesthetic as you move
through the following audio examples: 1) a frequently-heard modern rendition, 2)
an interpretation on a Belt-Walter replica ca. 1780’s five-octave fortepiano,
and 3) a reconciled and historically informed rendition on a modern piano. The
energy and vibrancy provided by using period rhythm-reading strategies is
markedly noticeable.</div>
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<br /></div>
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<a href="http://global.oup.com/us/companion.websites/9780199396641/ch5/audio/ex_5.1a/" target="_blank">Clementi, Piano Sonatina in C Major, op. 36, no. 1/I, mm. 1-6 [modern interpretation]</a> <o:p></o:p></div>
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<a href="http://global.oup.com/us/companion.websites/9780199396641/ch5/audio/ex_5.1b/" target="_blank">Clementi, Piano Sonatina in C Major, op. 36, no. 1/I, mm. 1-6 [fortepiano interpretation]</a></div>
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<a href="http://global.oup.com/us/companion.websites/9780199396641/ch5/audio/ex_5.1c/" target="_blank">Clementi, Piano Sonatina in C Major, op. 36, no. 1/I, mm. 1-6 [reconciled modern interpretation]</a></div>
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<br /></div>
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Taking the time to view the score through an eighteenth-century
lens and apply the period performance practices judiciously to modern playing provides
the opportunity to discover an old language that may be recreated in a new
way. <o:p></o:p></div>
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<o:p></o:p></div>
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<o:p></o:p></div>
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<o:p></o:p></div>
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Anonymoushttp://www.blogger.com/profile/16144103105898670499noreply@blogger.com0tag:blogger.com,1999:blog-7552397049914903129.post-44523950691147613302016-09-01T09:31:00.000-07:002016-09-01T09:31:35.283-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: large;"><b><i><span style="color: blue;">Music on the Trail</span></i></b>: New
Beginnings!</span><o:p></o:p></div>
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<span style="font-size: large;"><br /></span></div>
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<a href="https://3.bp.blogspot.com/-wU1qG18bv3M/V8hV_7GzHoI/AAAAAAAADmM/Spkh9YX9YkMjCuKbnviatWfHbfaWlpXhgCLcB/s1600/28%2BChimney%2BRock.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="150" src="https://3.bp.blogspot.com/-wU1qG18bv3M/V8hV_7GzHoI/AAAAAAAADmM/Spkh9YX9YkMjCuKbnviatWfHbfaWlpXhgCLcB/s200/28%2BChimney%2BRock.JPG" width="200" /></a></div>
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It is that time of year!
Whether it is your first day of school or you are remembering your first
day many years ago, there is something about the excitement and promise of new
beginnings! New school supplies, new
books, a new backpack, new shoes, new clothes…new, new, new! And, the butterflies! Who will be my new teacher? What will he or she be like? Who will be in my classes? During my college days, I remember looking at
my new textbooks before the first day of classes and wondering how in the world
I was ever going to learn all of that stuff – and in 15 short weeks!<o:p></o:p></div>
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Having had the opportunity to bring <b><i><span style="color: blue;">Music on the Trail</span></i></b> to a
wide variety of audiences over the years, I am reminded of the hundreds of
thousands (estimates range anywhere from 400,000 to 650,000) of overlanders
(they did not call themselves pioneers) who felt an excitement all their own as
they prepared for a new beginning: an excursion across the Oregon Trail to a
new life in the West. From the US Army
Expedition with 4,000 soldiers that covered the route in 1842, to the last
Prairie Schooner that landed in Oregon as late as 1912, it was an exciting time. Appropriate preparation was the difference
between making it to Oregon or turning back; sometimes between life or death.<o:p></o:p></div>
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After a few wagon trains had successfully made the trek,
booklets were available for 35¢ to aide preparations and guide one on the trail.
One such book guided journeys that used Omaha for the jumping-off point. It covered
everything about the route down to the minutest detail, including the accurate
location of all landmarks, river crossings, desirable camping places, and
posts. The farther out they got, the more the overlanders found it to their
advantage to follow the little booklet’s directions quite literally. <o:p></o:p></div>
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Equally important to the trail directions were complete directions for provisions necessary
for a months-long, 2,000-mile journey and supplies for a new growing season
after arriving in Oregon. What were some of the provisions necessary for the
trip? Here is a sampling:<o:p></o:p></div>
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<u>Food for a Family of Four</u></div>
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<ul style="text-align: left;">
<li>600 lbs. of flour</li>
<li>100 lbs. of sugar</li>
<li>200 lbs. of lard</li>
<li>Eggs packed in corn meal to prevent breakage</li>
<li>120 lbs. of biscuits</li>
<li>400 lbs. of bacon, often hauled in large barrels packed in
bran to avoid melting the fat</li>
<li>60 lbs. of coffee</li>
<li>4 lbs. of tea</li>
<li>Baking soda</li>
<li>Corn meal</li>
<li>Hardtack</li>
<li>Dried beef</li>
<li>Molasses</li>
<li>Vinegar</li>
<li>Salt and pepper</li>
<li>Sacks of rice and beans</li>
<li>Dried fruit and pumpkin </li>
</ul>
</div>
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Everything needed had to be anticipated and packed:</div>
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</div>
<ul style="text-align: left;">
<li>1 -2 sturdy farm wagons</li>
<li>6 - 10 head of oxen</li>
<li>1 - 2 milk cows</li>
<li>Food</li>
<li>Clothing</li>
<li>Wool sack and rubber coats</li>
<li>Cotton dresses, shirts, socks</li>
<li>Flannel shirts</li>
<li>Wool pantaloons</li>
<li>Buckskin pants, duck trousers</li>
<li>Boots and brogans</li>
<li>Felt hat, palm-leaf sun hat, green goggles, sunbonnet</li>
<li>Bedding - blankets, ground cloths, pillows, tent, poles,
stakes, ropes</li>
<li>Utensils needed for survival: dutch oven, kettle, skillet, reflector oven, coffee grinder, teapot, butcher knife, ladle, tin tableware and cups, water keg, matches</li>
<li>Weaponry</li>
<li>Tools: augers, gimlet, ax, hammer, shovel, spade, whetstone,
oxbows, axles, kingbolts, ox shoes, spokes, wagon tongue, heavy ropes, chains,
good hunting knife</li>
<li>Farm implements for use upon arrival in Oregon: shovel,
scythe, rake, hoe, saw, broad axe, mallet, plane, seeds for crops</li>
<li>Handy extras: surgical instruments, liniments, bandages,
campstool, chamber pot, washbowl, lanterns, candle molds, tallow, spyglasses,
scissors, needles, pins, thread, brandy for "medicinal purposes"</li>
</ul>
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And what did they take to pass the time, to make the journey
go by more pleasantly? A special small
toy, a favorite book, paper and pencil to write back home, and a prized item to
lift the spirits – music! Although there
are stories of attempts to take a piano, most likely portable instruments such
as these would fit the bill: fiddle, violin, tambourine, flute, jaw harp, accordion,
guitar, dulcimer. Folk song favorites
included<i> Skip to My Lou, Cindy, Froggie Went a-Courtin’, Shenandoah, My Country
‘tis of Thee, Sweet Betsy from Pike, America,</i> the list goes on and on!<o:p></o:p></div>
</div>
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As you feel the rush of excitement for this new season,
whether it be for a new school year, the opportunity to start lessons on a musical
instrument, the turning from Summer to Fall, or the beginning of football
season, take a moment to revel in joyful anticipation and maybe send up a
little “thank you” to those daring overlanders who showed us that anything is
possible – with preparation and perseverance, determination and perspiration,
and a “can-do” attitude!<o:p></o:p></div>
</div>
Anonymoushttp://www.blogger.com/profile/16144103105898670499noreply@blogger.com1tag:blogger.com,1999:blog-7552397049914903129.post-39851594582805549342016-07-01T10:00:00.000-07:002016-07-01T10:00:23.452-07:00Summertime...while the living is easy...<div dir="ltr" style="text-align: left;" trbidi="on">
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In May I issued a challenge to take time this summer to
simply “be,” whether at an outdoor concert, on a bike, in a hammock, or with a
book. Just be. I took myself up on the challenge (as hard as that is for me!)
and gave myself the gift of time and space. As I emptied myself of busy-ness I
found space for a deepening of my soul to emerge and be heard. As I reflect on
these experiences I hope you will find moments to pause and consider for
yourself as well.</div>
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<o:p></o:p></div>
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As is true with many things in life, the musical journey is
full of paradoxes. How do I reconcile the spiritual self with the physical
self? What is the <i>affekt</i> I wish to
convey in my playing yet how does my technique allow/hamper me to do so? How is
what I feel expressed through the mechanics of the instrument and form of the
composition at hand? How do I incorporate quietude and space into a hunger for
new repertoire and musical experiences? <o:p></o:p></div>
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For me, the right side of each question is the easy, or at
least tangible part of the paradox. I can experiment with how to make the
desired sound on the piano and study the score to understand the form. I can do exercises to improve or address
technical issues. I can dig into new repertoire and engage in new performances
(as performer or listener). I can physically be at the piano. <o:p></o:p></div>
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As I recently found myself drowning in the obsessive sea of <i>doing</i>, a gentle nudge from a dear mentor
suggested that perhaps it was time to revisit the bliss of <i>being</i>; to reacquaint myself with my soul, my passion, my purpose. So,
I turned off the outside and gently, slowly, prayerfully, revisited the opening
chapters of Jill Timmons’ book, <i>The
Musician’s Journey</i> (Oxford University Press, 2013). On pages 49 and 52 Timmons
gently challenges me to consider “how would I live out my vision if I didn’t
have to make a living?” And, I was given permission to ask hard questions such
as “what am I afraid of?” or “am I willing to be vulnerable to achieve my
goals?”<o:p></o:p></div>
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From within <i>The
Musician’s Journey</i>, I was called to read <i>The Musician’s Soul</i> by James Jordon (GIA Publications, Inc., 1999).
Even deeper into my soul I ventured. I was reminded that before I can <i>do</i> anything, I must be in touch with who
I <i>am</i>. Through Jordon’s generous
narrative I was reminded of the gift of self-awareness and the basal
vulnerability that must be present in order to truly share one’s music with
another; that creativity and my soul lies deep within me and will give me no
peace until I get out of its way and let it be expressed. Through this
stillness within, the answers and peace emerge.<o:p></o:p></div>
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Rather than bearing down, <i>doing</i> in order to <i>have</i>
(what? more? more gigs? more money? more accolades?), I am reminded that I am
free to <i>be</i> and use the <i>doing</i> to be more in touch with who I am.
And that the <i>having</i> flows naturally
in a way I could never contrive or force on my own. This is scary territory
indeed—this being, listening, trusting. While at the neighborhood swimming pool
during one of my “summertime” sessions, I watched as one child completely trusted
the water to hold her while another wasn’t yet ready, holding on tightly to his
parent; another belly-flopping rather than trusting and tucking her chin for a
dive while another took a deep bounce and floated into the deep end. I laid
back and floated, watched the clouds swim by, and reflected on how I have been all
of those children many times over throughout my life.<o:p></o:p></div>
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I am grateful to have taken this time to visit within once
again. As we head into July, I feel a renewed peace and centeredness that
brings deep joy and trust in a universe that will provide what I need if I am
open, vulnerable, and willing. Yet, I know my personal <i>Musician’s Journey</i> and my continuing acquaintance and friendship
with my <i>Musician’s Soul</i> is not a one stop
shop. This peace and centeredness will ebb and flow as life moves forward. I
will continue to develop those concrete tools so that I am further equipped to
hear that perfect sound inside, know my center, and trust my internal compass
to recreate its joy for others to experience. Isn’t that the purpose? I know it is mine.<o:p></o:p></div>
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Anonymoushttp://www.blogger.com/profile/16144103105898670499noreply@blogger.com0tag:blogger.com,1999:blog-7552397049914903129.post-19848320676480398852016-06-01T09:29:00.001-07:002016-06-01T09:29:22.878-07:00Conjuring 18th-Century Affekt with Alberti Bass on the Modern Piano<div dir="ltr" style="text-align: left;" trbidi="on">
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This post was first published by Oxford University Press: http://blog.oup.com/2016/05/affekt-modern-piano-alberti-bass/<br />
<i><br /></i>
<i>Affekt </i>(the ability of music to stir emotions) is the
foundational pillar for eighteenth century style. It was achieved through
attention to detail and proper execution. And done in good taste, which implies
a deep understanding of proper practices of the time. Nearly every notational
and performance decision was based on <i>affekt</i>—everything from formal structure
to note values, dynamics to articulation, and accompaniment patterns such as Alberti
bass.</div>
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<o:p></o:p></div>
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Expressing <i>affekt </i>begins with clearly understanding and
conveying the structural or formal foundation and harmonic function. It is upon
this that all other elements are laid. Just like the beauty of the Washington
National Cathedral is built on solid footings, pilings, and framework,
eighteenth-century music finds itself grounded on thoroughbass. C. P. E. Bach
devotes a full twenty-five percent of his <i>Versuch </i>to this fundamental
component. But, it’s not just the harmony, it’s how the harmonic structure
drives expression. And with this knowledge interpretive and expressive answers
are laid at our feet. Consequently, how to execute expressive embellishing
components such as Alberti bass are then more easily determined to bring
richness and clarity to our playing.<o:p></o:p></div>
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The<i> Harvard Dictionary of Music</i> points out that broken-chord
patterns date back to the seventeenth century,<a href="https://www.blogger.com/blogger.g?blogID=7552397049914903129#_edn1" name="_ednref1" title=""><!--[if !supportFootnotes]--><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">[1]</span><!--[endif]--></a> of which Alberti
bass is the most commonly known. It is “an accompaniment figure, found
frequently in the left hand of the 18th-century keyboard (sic), in which the
pitches of three-pitch chords are playing successively in the order lowest,
highest, middle, highest, as in … Mozart (Sonata in C major K. 545).”<a href="https://www.blogger.com/blogger.g?blogID=7552397049914903129#_edn2" name="_ednref2" title=""><!--[if !supportFootnotes]--><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">[2]</span><!--[endif]--></a> The figure is
named after Italian singer, harpsichordist, and composer Domenico Alberti
(1710-1740?), who used this figuration extensively.<a href="https://www.blogger.com/blogger.g?blogID=7552397049914903129#_edn3" name="_ednref3" title=""><!--[if !supportFootnotes]--><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">[3]</span><!--[endif]--></a> Today, Alberti bass has taken a more
generic definition, referring to various configurations of arpeggiated broken
harmonies. <o:p></o:p></div>
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Once it appeared on the scene, the Alberti bass took hold. It
was very popular around 1800 and went out of fashion quickly as new pianos
appeared that contained a more resonant soundboard that resulted in a naturally
louder, longer-lasting tone. The perfect genre for Alberti bass configurations
was the sonata; the perfect instrument to execute them on was the fortepiano. It
is extremely conducive to the mechanics of the fortepiano (with a bright, clear
attack), lending energy to the declamatory nature of the instrument and
rhetorical style of the time. What is often described as simply an
accompaniment pattern today is much more important in creating <i>affekt </i>in
eighteenth-century style. The Alberti bass motives create rhythmic and
harmonic energy, drive, and momentum—pulse and forward propulsion—whether
dramatic or lyrical. When it appears momentum intensifies. A clever quip Malcolm
Bilson provided says it all: “When it shows, it goes!”<a href="https://www.blogger.com/blogger.g?blogID=7552397049914903129#_edn4" name="_ednref4" title=""><!--[if !supportFootnotes]--><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">[4]</span><!--[endif]--></a><o:p></o:p></div>
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The Alberti bass shapes vary according to need and levels of
intensity. As the intensity of the <i>affekt</i> relaxes, so does the activity of the
figuration.<o:p></o:p></div>
<ul style="text-align: left;">
<li>The most intense figuration that provides optimal rhythmic
energy, drive, and opportunity for polyphonic implications outlines a
5-1-3-1-5-1-3-1 pattern, seen in Mozart, Piano Sonata, K. 309/I, mm 73-74.
(Copyright G. Henle Verlag, Munich, 2005)</li>
</ul>
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<a href="https://2.bp.blogspot.com/-iW7wnybVySI/V08Kpi__d6I/AAAAAAAAC6o/YTG7QZ4lPPgIFVEVzy1kXdznmp2Xk1gJACLcB/s1600/3.2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="116" src="https://2.bp.blogspot.com/-iW7wnybVySI/V08Kpi__d6I/AAAAAAAAC6o/YTG7QZ4lPPgIFVEVzy1kXdznmp2Xk1gJACLcB/s320/3.2.png" width="320" /></a></div>
<o:p></o:p><br />
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<ul style="text-align: left;">
<li>In mm. 15–16 of the Presto from London Notebook, Anh. 109b
no. 3 (15p), mm. 15-25 (Copyright G. Henle Verlag, 2005), by Mozart, the <i>affekt
</i>is less intense than that of K. 309. The texture is thinner and the implied
polyphony has been reduced to two voices. Yet the intervals and 1-5-1-5-1-5
figuration keeps things quite “live.”</li>
</ul>
</div>
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<ul style="text-align: left;">
<li>Drive is lessened further at mm. 22–24, when the figure
shifts to a rolling and relaxed 1-3-5-3-1-3-5-3 in the right hand. Here, the suspense
comes from the melodic motive in the left hand.</li>
</ul>
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<ul style="text-align: left;">
<li>The <i>affekt </i>is the least dramatic and almost lyrical in mm.
18–21, where the left-hand pattern outlines a simple progression with
arpeggiated four-note chords.</li>
</ul>
<o:p></o:p></div>
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<a href="https://2.bp.blogspot.com/-FC67_igMxOI/V08MUeBlovI/AAAAAAAAC64/5gbBvwG36ssHgugxNJxIWwiOCNC3Jh_KgCLcB/s1600/3.3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-FC67_igMxOI/V08MUeBlovI/AAAAAAAAC64/5gbBvwG36ssHgugxNJxIWwiOCNC3Jh_KgCLcB/s320/3.3.jpg" width="218" /></a></div>
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The change in sound aesthetic from one figuration to another
is quite dramatic.<o:p></o:p></div>
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<a href="http://global.oup.com/us/companion.websites/9780199396641/ch3/audio/ex_3.2b/">http://global.oup.com/us/companion.websites/9780199396641/ch3/audio/ex_3.2b/<o:p></o:p></a></div>
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<a href="http://global.oup.com/us/companion.websites/9780199396641/ch3/audio/ex_3.3b/">http://global.oup.com/us/companion.websites/9780199396641/ch3/audio/ex_3.3b/</a><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There are some concepts that apply regardless of the instrument
on which Alberti bass is executed: Heed notational clues to understand formal
structure from the very beginning rings true for any repertoire at any level
from any era; and let the figuration drive expression and momentum. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The trick lies in conjuring up this sound aesthetic on an
instrument for which the figuration was not intended, the modern piano. So what
does one do “when it shows?” Many modern players attempt to repress, subdue, or
minimize Alberti bass. To do so is much like trying to ignore that pesky gnat
at a picnic. It is simply annoying. More importantly, it fails to serve the
purpose for which it was intended.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It is most effective to highlight the <i>affekt</i>, found in its rhythmic
drive, secondary melodies, or dramatic or beautiful qualities. This effort
will bring energy and focus to the motive, as was historically intended and can
be reconciled on the modern piano to an effective end:<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://global.oup.com/us/companion.websites/9780199396641/ch3/audio/ex_3.2c/">http://global.oup.com/us/companion.websites/9780199396641/ch3/audio/ex_3.2c/</a><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://global.oup.com/us/companion.websites/9780199396641/ch3/audio/ex_3.3c/">http://global.oup.com/us/companion.websites/9780199396641/ch3/audio/ex_3.3c/</a><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There are simple technical principles that can be applied to
facilitate execution:<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br />
<ul style="text-align: left;">
<li>When constructing Alberti bass figurations, begin by
creating a pulse. Practice in pulses of one pulse per measure, two pulses per
measure, and eventually, one pulse with each beat. The <i>affekt </i>of the section
will determine the appropriate number of pulses.<a href="https://www.blogger.com/blogger.g?blogID=7552397049914903129#_edn5" name="_ednref5" title=""><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">[5]</span></a> As intensity
increases, tempo stretches. Pulsing the Alberti bass provides many benefits.
The rhythmic pulse will be defined and enlivened. The intermediary notes will
naturally be softer. Rushing, that ever-present nemesis, will be kept at bay!</li>
</ul>
</div>
<div class="MsoNormal">
<br />
<ul style="text-align: left;">
<li>When shaping the Alberti bass, begin with the bass notes (in
pulses) alone in conjunction with the melody. This clarifies voice leading. Next,
“divide” the hand in half. The bass note is a downward rotation, and the
remaining notes are the upward rotation, creating a stroke for each unit.</li>
</ul>
</div>
<div class="MsoNormal">
<br />
<ul style="text-align: left;">
<li>Envision “orchestrating” Alberti bass figurations and
harmonic contours to add depth and substance to the voices. This practice also
brings the figure into focus and provides clarity.</li>
</ul>
</div>
<div class="MsoNormal">
<br />
<ul style="text-align: left;">
<li>Identify and bring out polyphonic contours to add interest
and relevance to the figure.</li>
</ul>
</div>
<div class="MsoNormal">
Formal structure and harmonic function provide the solid
groundwork and long-lasting beauty on which eighteenth-century <i>affekt </i>is built.
Alberti bass is one of the tools available to enhance and ornament the foundation.
Taking great care in shaping and highlighting the various figurations provides
the necessary means to conjure up eighteenth-century <i>affekt</i>—even on the modern
piano!<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<br />
<div>
<!--[if !supportEndnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="edn1">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7552397049914903129#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , serif; font-size: 10.0pt;">[1]</span></span><!--[endif]--></span></a> Willi
Apel, ed., <i>The Harvard Dictionary of
Music, </i>2<sup>nd</sup> rev. and enlarged ed. (Harvard University Press,
1969), 26.<o:p></o:p></div>
</div>
<div id="edn2">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7552397049914903129#_ednref2" name="_edn2" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , serif; font-size: 10.0pt;">[2]</span></span><!--[endif]--></span></a> Don
Michael Randel, ed. <i>The Harvard
Dictionary of Music</i>, 4<sup>th</sup> ed. (Harvard University Press, 2003),
31.<o:p></o:p></div>
</div>
<div id="edn3">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7552397049914903129#_ednref3" name="_edn3" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , serif; font-size: 10.0pt;">[3]</span></span><!--[endif]--></span></a> Willi
Apel, ed., <i>The Harvard Dictionary of
Music, </i>2<sup>nd</sup> rev. and enlarged ed. (Harvard University Press,
1969), 26.<o:p></o:p></div>
</div>
<div id="edn4">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7552397049914903129#_ednref4" name="_edn4" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , serif; font-size: 10.0pt;">[4]</span></span><!--[endif]--></span></a> Malcolm
Bilson, Early Music Days, lectures and master classes, Fertöd, Hungary, June
22-29, 2013.<o:p></o:p></div>
</div>
<div id="edn5">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=7552397049914903129#_ednref5" name="_edn5" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "times new roman" , serif; font-size: 10.0pt;">[5]</span></span><!--[endif]--></span></a> Bart
van Oort, Fortepiano at Villa Bossi (lectures and master classes, Associazione
Musicale, Villa Bossi, Italy, June 23-27, 2010).<o:p></o:p></div>
</div>
</div>
</div>
Anonymoushttp://www.blogger.com/profile/16144103105898670499noreply@blogger.com0tag:blogger.com,1999:blog-7552397049914903129.post-77341085760664203182016-05-03T09:21:00.000-07:002016-05-03T09:21:14.322-07:00"Summertime...<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal">
...and the livin’ is easy." No one says it better than George
Gershwin. It is my sincere hope for you that your summer brings an abundance of "easy livin’" that allows for fishing, swimming, <o:p></o:p>hiding and seeking, firefly chasing, star gazing, hammock swinging,
great book reading, and easy music making that includes some outdoor listening.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Simple living and simple music has influenced the classical
genre throughout the ages. The many dances that made their way into the formal
ballrooms and concert halls are grounded in period folk music. One can almost hear the boots thumping
in a gigue and the flowing skirts swishing in a minuet. Beethoven delighted in
his walks in the Vienna Woods: listen for the birds chirping, the thunderstorm
booming, and the river flowing in his Sixth Symphony, dubbed the “Pastoral
Symphony.” Brahms was greatly influenced by the folk music introduced to him by
his Hungarian violinist friend, Joseph Joachim, and today we enjoy the resulting gift of Brahms' Hungarian
Dances! Chopin’s Mazurkas bring the Polish melodies of his childhood to our living
rooms. <i>Saturday Night Waltz</i> from
Copland’s ballet score to <i>Rodeo</i> uses American folk song <i>I Ride an Old Paint</i> as its inspiration. A
fun summer project may be to explore the biography of your favorite composers
to learn of simple factors that influenced their style.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Most communities have embraced summer music events
wholeheartedly. In my community there is
a free event almost every evening somewhere throughout the city from Memorial
Day to Labor Day and beyond. There are
also many family-friendly events with very affordable ticket prices. If you are
a parent looking for ways to enrich your child’s music foundation, there is no
better way than to expose him or her to a variety of musical styles. Imagine attending a Monday Mall outdoor cover
band concert, Tuesday Jazz in June, Wild Wednesday at the Zoo with folk
singers, Thursdays at the park featuring various local artists, Friday
Shakespeare in the Park, the local community band on Independence Day…you get
the idea. <o:p></o:p></div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Attending outdoor concerts in a relaxed setting allows
children the freedom to take in the sounds through osmosis, allowing the sound
and style to filter in through play, the way children learn best. An added bonus is that most of these events are free. When little ones
reach the saturation point, pick up the blanket and head home for baths and
bedtime!<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When the season grows to the oppressive heat of summer,
turn off the electronics and sing “The Ants Go Marching One by One” or “John
Jacob Jingleheimer Schmidt” as you walk or bike to the pool for a refreshing, cool dip! Explore American folk songs and the silly
lyrics. Learn how the lyrics that seem silly today had relevant meaning at the
time. Then, encourage your young pianist to create his or her own folk songs. Rather than expect specific practice at the piano, require “butt on the
bench time.” No assignment to prepare, just simple music-making. (I have vivid
memories of returning from the pool and sitting down at the piano while wearing
my still-wet swimsuit that prompted parental checks to make sure there was a towel under
me to protect the bench!) In this easy way, the blossoming pianist is given the
gift of using the talents developed thus far to create his or her own music or enjoy
fun tunes that there are rarely time for during festival and recital season.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<br />
<div class="MsoNormal">
"Summertime…and the livin’ is easy." Livin’ and learnin’ in an
easy way. <o:p></o:p></div>
</div>
Anonymoushttp://www.blogger.com/profile/16144103105898670499noreply@blogger.com0tag:blogger.com,1999:blog-7552397049914903129.post-19963546202319644522016-04-01T08:29:00.002-07:002016-04-01T08:29:55.032-07:00"Affekt"—the Foundational Pillar in Eighteenth Century Music<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
This post was first published by Oxford University Press:</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
http://blog.oup.com/2016/03/affekt-the-foundational-pillar-in-eighteenth-century-music/</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
How <i>does</i> one capture the Classical style
sound aesthetic when approaching performance of eighteenth century repertoire
on the modern piano? Although it is
important to know of the period instruments and their associated physical sound
qualities, knowing how period musicians approached their art emotionally and
intellectually will provide even deeper insight into discovering how to
recreate the sound aesthetic. And in
doing so, we turn to <i>affekt</i>, probably
the single most influencing factor upon which the eighteenth century musical
experience is built. Every esteemed
treatise from the eighteenth century impresses upon the reader the immense
importance of understanding the influence of <i>affekt</i> on playing. Whether
it was Leopold Mozart in his <i>Violinschule</i>,
Türk in his <i>Klavierschule</i>, Kirnberger in his <i>The Art of Strict Musical Composition</i>,
or Quantz in his <i>On Playing the Flute</i>,
<i>affekt</i> is at the crux of this
music-making matter.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i>Affekt</i> is the foundational pillar for
eighteenth century style. It is the ability of music to stir emotions and was
described in a variety of ways, including character, affections, expression,
affect, and emotion. It was achieved through attention to detail and proper
execution. And done in good taste, which implies a deep understanding of proper
practices of the time.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
All manner
of composition and performing, from formal structure down to phrasing and
execution of individual notes had the understanding of <i>affekt </i>at its foundation. Nearly every notational and performance
decision was based on <i>affekt</i> –
everything from formal structure to note values, dynamics to articulation, as Türk instructs.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<i><span style="font-size: 10.0pt; line-height: 107%;">Whoever performs a composition so
that its inherent affect (character) is expressed (made perceptible) to the
utmost even in every single passage, and that the tones become, so to speak, a
language of feelings, of him one says that he has a good execution. Good
execution, therefore, is the most important, yet at the same time the most
difficult aspect of music making.</span></i></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: left;">
<i><span style="font-size: 10.0pt; line-height: 107%;"><br /></span></i></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: left;">
<span style="font-size: 10pt; line-height: 107%;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 10pt; line-height: 107%;">---</span><span style="font-size: 10pt; line-height: 107%;">Daniel Gottlob T</span><span style="font-family: 'Times New Roman', serif; font-size: 10pt; line-height: 107%;">ü</span><span style="font-size: 10pt; line-height: 107%;">rk,<i> Klavierschule </i>(1789).<i> </i>Translated by Raymond H. Haggh.
Lincoln, NE: University of Nebraska Press (1982), 321.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Looking to
specifics in eighteenth-century practice, meter decisions have a strong
influence on <i>affekt</i>. Baroque dances
and their varying <i>affekt</i> are expressed
through the intentional use of specific meters. The time signature alone also
describes the weight of a piece: a two
in the denominator indicates a heavier weight or execution, a four in the
denominator calls for a lighter weight and an eight in the denominator indicates
an execution that is lighter yet. A textbook example of this concept is found
in Sonatina in C Major, Op. 36, no. 1 by Muzio Clementi. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Likewise,
specific note values project <i>affekt</i>.
A passage primarily containing half notes is associated with a heavier sound
and <i>affekt, </i>a quarter note passage is
lighter, and a passage full of eighth notes is lighter yet. This is also
evidenced in the Clementi Sonatina.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
The chosen
key center of each composition is particularly married to an associated <i>affekt</i>. Furthermore, the tuning system
(mean tone tuning) of the period makes the <i>affekt
</i>of a given key even more marked. Three varying examples from
eighteenth-century repertoire bear witness to and support this idea.</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: left;">
</div>
<ul style="text-align: left;">
<li>The key of C
major is associated with simplicity, joy, and purity as is evidenced in
Sonatina in C Major, op. 36, no. 1 by Clementi </li>
</ul>
<div style="text-align: center;">
<a href="http://global.oup.com/us/companion.websites/9780199396641/ch5/audio/ex_5.20b/"></a><a href="http://global.oup.com/us/companion.websites/9780199396641/ch5/audio/ex_5.20b/">http://global.oup.com/us/companion.websites/9780199396641/ch5/audio/ex_5.20b/</a></div>
<br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: left;">
</div>
<ul style="text-align: left;">
<li>The key of F#
minor is associated with melancholy, gloom, and discontentment as can be heard
in Prussian Sonata for Piano, Wq 48, no. 6 by C. P. E. Bach. </li>
</ul>
<o:p><div style="text-align: center;">
<a href="http://global.oup.com/us/companion.websites/9780199396641/ch5/audio/ex_5.21b/">http://global.oup.com/us/companion.websites/9780199396641/ch5/audio/ex_5.21b/</a></div>
</o:p><br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
</div>
<ul style="text-align: left;">
<li>The key of A
major is associated with playfulness, jesting, and gaiety as is found in Sonata
in A Major, op. 2, no. 2 by Beethoven. </li>
</ul>
<div style="text-align: center;">
<a href="http://global.oup.com/us/companion.websites/9780199396641/ch5/audio/ex_5.18b/"></a><a href="http://global.oup.com/us/companion.websites/9780199396641/ch5/audio/ex_5.18b/">http://global.oup.com/us/companion.websites/9780199396641/ch5/audio/ex_5.18b/</a></div>
<o:p></o:p><br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Understanding
the intentionality of eighteenth-century composers’ choices allows the modern
pianist the opportunity to develop a new perspective regarding Classical Era
repertoire. Look at a new piece of music from the Classical Era (to avoid
pre-conceived notions). Using eighteenth
century conceptual understanding, experiment with various approaches to
incorporate the elements into the fabric of the piece with an end goal of
expressing <i>affekt</i>.</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
</div>
<ul style="text-align: left;">
<li>Analyze the
form of the piece. What is the musical concept?
Is this a minuet, a waltz, or a march?</li>
<li>Examine the
meter. Based on the time signature should the piece be heavy and majestic or light
and frivolous?</li>
<li>Examine the
chosen note values to determine the described <i>affekt</i>.</li>
<li>Determine
the key centers in the piece. What <i>affekt</i>
clue is the composer providing from these key centers?</li>
<li>Much of
eighteenth-century scoring leaves room for individual input that allows for
changes or variations in articulation, rhythmic and dynamic grouping, pedaling,
textural balance, and use of <i>agogics</i>
to create the desired <i>affekt</i>. Use of <i>Urtext</i> editions is crucial to achieve
this goal.</li>
</ul>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
Conceptual elements come first. It
may seem easier to focus on physical execution details such as note values,
articulation, and ornaments but the over-riding point (<i>affekt)</i> may be entirely missed. When time is taken to work through
concepts first it will pay handsomely in terms of overall practice efficiency
and historically informed outcomes. The reward will be understanding and
executing the <i>gestalt</i> of eighteenth
century performance practice: <i>affekt</i>
and good taste. <br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: 0in; margin-right: 0in; margin-top: 12.0pt;">
<o:p></o:p></div>
</div>
Anonymoushttp://www.blogger.com/profile/16144103105898670499noreply@blogger.com0tag:blogger.com,1999:blog-7552397049914903129.post-25422762721611345012016-03-01T08:32:00.000-08:002016-03-01T08:43:24.239-08:00Discipline – It’s not a Dirty Word!<div dir="ltr" style="text-align: left;" trbidi="on">
As musicians we live with, struggle with, and reap the
benefits from our discipline. During these final weeks of winter I find myself
weary of the incessantly cloudy, frigid, blustery, monotonous, weather. And I consequently
find my interest in any form of discipline waning. A closer look at discipline
has provided a lift to propel me through until Spring arrives – as I hope it
will do for you.<br />
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Oxford Advanced Learner’s Dictionary (2016, Oxford
University Press) provides four definitions of discipline. Let’s take a look at
how they relate directly to the study of music.<br />
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<div class="MsoListParagraph" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span class="def"><span style="border: none windowtext 1.0pt; mso-bidi-font-style: italic; mso-border-alt: none windowtext 0in; padding: 0in;"> 1.<span style="font-size: 7pt; font-stretch: normal;"> </span></span></span><!--[endif]--><span class="def"><span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">the practice of training people to obey rules and orders and
punishing them if they do not; </span></span></div>
<div class="MsoListParagraph" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<span class="def"><span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;"> the controlled behavior or situation that results
from this training <i><o:p></o:p></i></span></span></div>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="x">Most
often musicians begin music study with a teacher at a young age. The teacher
assigns rules or expectations for the amount of practice to be achieved each
week with parental support to back up the expectations at home. It the expectations are not met, punishment ensues: loss of privileges, fear of disappointing or a scolding from the
teacher, a poor performance at lesson or in recital. All of these external
methods do have the capability of changing behavior…for a while. Much research has been conducted to support
this premise. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="x">Although
the results of this form of discipline are not long-lasting, it may be the best
initial means to achieve the end until other forms of discipline can kick in
and take over. I encourage parents to
implement negative consequences to impart on the student the need to follow the
“rules of the roost” until they can see the inherent positive rewards for their
work. And as a trained pedagogue, I provide much guidance and many positive aides
to encourage accomplishing goals, which leads us to the next definition.</span></div>
<div class="MsoNormal">
<span class="def" style="text-indent: -0.25in;"><span style="border: none windowtext 1.0pt; mso-bidi-font-style: italic; mso-border-alt: none windowtext 0in; padding: 0in;"><br /></span></span></div>
<div class="MsoNormal">
<span class="def" style="text-indent: -0.25in;"><span style="border: none windowtext 1.0pt; mso-bidi-font-style: italic; mso-border-alt: none windowtext 0in; padding: 0in;"> 2.<span style="font-size: 7pt; font-stretch: normal;"> </span></span></span><span class="def" style="text-indent: -0.25in;"><span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">a method of training your mind or body or of controlling your
behavior; an area of activity where this is necessary</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="def">It is necessary for the student to seek a teacher to learn how to train the mind and body to be able to
attain and improve skill. Moreover, it is
imperative to seek out a master-teacher who is proficient at the instrument and
has pedagogical skill to be able to impart their knowledge to another. It is here that internal discipline begins –
a discipline that feeds on itself and creates the inner-drive to want to learn
more. Once we have accomplished something well, the desire to learn more and
work harder is self-perpetuating. This is when the external “because I said so”
is no longer necessary because a love and affinity to the art has developed at
a proficient level.</span></div>
<div class="MsoNormal">
<span class="x" style="text-indent: -0.25in;"><span style="border: none windowtext 1.0pt; mso-bidi-font-style: italic; mso-border-alt: none windowtext 0in; padding: 0in;"><br /></span></span></div>
<div class="MsoNormal">
<span class="x" style="text-indent: -0.25in;"><span style="border: none windowtext 1.0pt; mso-bidi-font-style: italic; mso-border-alt: none windowtext 0in; padding: 0in;"> 3.<span style="font-size: 7pt; font-stretch: normal;"> </span></span></span><span class="def" style="text-indent: -0.25in;">the ability to control your behavior or the way you live, work,
etc. </span><span class="x" style="text-indent: -0.25in;"><span style="border: none windowtext 1.0pt; mso-bidi-font-style: italic; mso-border-alt: none windowtext 0in; padding: 0in;">[oftentimes
referred to as self-discipline]</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="x">And
here we are in winter; aware of the negative consequences of not practicing
(being grounded, having a bad performance), aware of the positive consequences
of practicing (becoming a better musician, having a great performance), but we
just don’t wanna! This is when we avoid
“I’ll just play through things for today” because this is not practicing to
improve. This is when we are disciplined and look at small, miniscule goals and
improvements to carry us through the dark moments. When we choose one thing in
our practice today that will carry us through to tomorrow. When we know that
cleaning up that pesky four-measure spot or truly nailing down the dynamic plan
<i>today</i> will pay handsomely tomorrow, next week, or at the next
performance! When we do this, we have mastered the ability to control our
behavior in music study – we are disciplined!</span></div>
<div class="MsoNormal">
<span class="x" style="text-indent: -0.25in;"><span style="border: none windowtext 1.0pt; mso-bidi-font-style: italic; mso-border-alt: none windowtext 0in; padding: 0in;"><br /></span></span></div>
<div class="MsoNormal">
<span class="x" style="text-indent: -0.25in;"><span style="border: none windowtext 1.0pt; mso-bidi-font-style: italic; mso-border-alt: none windowtext 0in; padding: 0in;"> 4.<span style="font-size: 7pt; font-stretch: normal;"> </span></span></span><span class="wrap" style="text-indent: -0.25in;">(</span><span class="reg" style="text-indent: -0.25in;"><i>formal</i></span><span class="wrap" style="text-indent: -0.25in;">)</span><span class="apple-converted-space" style="text-indent: -0.25in;"> </span><span class="def" style="text-indent: -0.25in;">an area of knowledge; a subject that people study or are taught,
especially in a university</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When we have spent enough time dealing with and tackling definitions
one through three, we can honestly say that we embrace the discipline of music
study. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I invite you to take time during these final weeks of winter
to examine your discipline. What is
motivating you today? What are the
positive elements that you can feed to drive you in your art; that will carry
you through those “I just don’t wanna” stages? If we take the time to examine,
understand, and adjust our perspective as it relates to discipline, growth
opportunities to improve as musicians and in all areas of our life will appear.
Find something you love. Seek out a
teacher to help you improve. Feed on and let your successes propel you to the
next level. Be positively disciplined as you study your discipline.<o:p></o:p></div>
</div>
Anonymoushttp://www.blogger.com/profile/16144103105898670499noreply@blogger.com0tag:blogger.com,1999:blog-7552397049914903129.post-24526070573940457992016-01-30T10:47:00.001-08:002016-01-30T10:47:07.472-08:00The Fortepiano: Capturing the Sound Aesthetic for Modern Playing<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
This post was first published by Oxford University Press: http://blog.oup.com/2016/01/fortepiano-capturing-sound-aesthetic-modern-playing/</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Grappling
with performing the music of early Beethoven, Mozart, and Haydn on the modern
piano can be a daunting experience. The modern piano is not the instrument for
which their music was composed. Beethoven, Mozart, and Haydn all preferred
Viennese pianos (today called the fortepiano) and the traits from the inside
out are distinctly different than those of the modern piano. A comparison
between various physical traits of the modern Steinway D grand piano and the
1790 Walter five-octave fortepiano sheds light on the divergence between the
instrument of “yesteryear” and today.</div>
<div class="MsoListParagraphCxSpFirst" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto; mso-list: l1 level1 lfo1; text-indent: -.25in;">
</div>
<ul style="text-align: left;">
<li><span style="text-indent: -0.25in;">The modern grand weighs 990 pounds compared to
the fortepiano at 187 pounds. This leaves a modern instrument capable of
withstanding much more tension – 45,014 pounds of iron string tension compared
to 2,094 pounds of steel string tension on the fortepiano.</span></li>
</ul>
<ul style="text-align: left;">
<li><span style="text-indent: -0.25in;">The modern piano contains heavier keys attached
to much larger and thicker hammers that are covered by felt and wool compared
to keys half the weight with hammers that are covered by 1-3 thin layers of
buckskin or leather on the fortepiano.</span></li>
</ul>
<ul style="text-align: left;">
<li><span style="text-indent: -0.25in;">The key dip on the modern piano is three times
that of the fortepiano and requires four times the energy to set the key in
motion.</span></li>
</ul>
<ul style="text-align: left;">
<li><span style="text-indent: -0.25in;">The modern piano covers seven and one-half
octaves compared to five octaves on the fortepiano.</span></li>
</ul>
<ul style="text-align: left;">
<li><span style="font-family: Symbol; text-indent: -0.25in;"><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span><span style="text-indent: -0.25in;">The naturals are slightly wider and longer and
the sharps are slightly narrower on the modern piano.</span><span style="font-family: Symbol; text-indent: -0.25in;"><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span></li>
</ul>
<ul style="text-align: left;">
<li><span style="text-indent: -0.25in;">One travels twice the distance in height going
from the naturals to the sharps on the modern piano</span></li>
</ul>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
From these
physical comparisons one finds a distinctly different sound aesthetic is
experienced on the fortepiano. The
fortepiano is rich in overtones with a silvery tone. The physical
characteristics facilitates quick action, responsiveness, and great finesse.
The sound on the fortepiano is quickly and crisply articulated with clear tone
definition, and a variety of colors. An important characteristic on the
fortepiano is its ability articulate musical thoughts. One idea may be quickly
brought to the forefront and with equal ease and speed it may recede into the
background. Indeed, the fortepiano is the perfect instrument for realizing
music from the Classical Era. Follow the
links to hear the sound aesthetic realized on the instrument for which it was
composed. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1226472371"><br /></a></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="http://global.oup.com/us/companion.websites/9780199396641/ch9/audio/ex_9.3b/">http://global.oup.com/us/companion.websites/9780199396641/ch9/audio/ex_9.3b/</a></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="http://global.oup.com/us/companion.websites/9780199396641/ch6/audio/ex_6.12b/">http://global.oup.com/us/companion.websites/9780199396641/ch6/audio/ex_6.12b/</a></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1226472376"><br /></a></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="http://global.oup.com/us/companion.websites/9780199396641/ch12/audio/ex_12.5b1/">http://global.oup.com/us/companion.websites/9780199396641/ch12/audio/ex_12.5b1/</a><o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
How does one
accomplish that different sound aesthetic on such a markedly different
instrument as the modern piano? The
answer begins simply <span style="font-family: "Times New Roman",serif;">—</span> play “as if” one is playing a
fortepiano. Play as if:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-add-space: auto; mso-list: l0 level1 lfo2; text-indent: -.25in;">
</div>
<ul style="text-align: left;">
<li><span style="text-indent: -0.25in;">you are playing a fortepiano. This will require considerable time listening
to performances on fortepiano to acquaint your ear with the sound. Take time to
listen to esteemed artists such as Malcolm Bilson, Robert Levin, and Tom Beghin
as they perform on period instruments.</span><span style="font-family: Symbol; text-indent: -0.25in;"><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span></li>
</ul>
<ul style="text-align: left;">
<li><span style="text-indent: -0.25in;">your instrument is capable of clear definition
in the low register.</span></li>
</ul>
<ul style="text-align: left;">
<li><span style="text-indent: -0.25in;">your instrument is capable of quicker
responsiveness and crisply articulated attack/release.</span></li>
</ul>
<ul style="text-align: left;">
<li><span style="text-indent: -0.25in;">the changes from </span><i style="text-indent: -0.25in;">forte</i><span style="text-indent: -0.25in;"> to </span><i style="text-indent: -0.25in;">piano</i><span style="text-indent: -0.25in;"> are more
about nuance and subtlety than loud and soft.</span></li>
</ul>
<ul style="text-align: left;">
<li><span style="font-family: Symbol; text-indent: -0.25in;"><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span><span style="text-indent: -0.25in;">you have only five octaves to achieve extremes
in range.</span></li>
</ul>
<br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
As Tilman
Skowroneck advocates in <i>Beethoven the
Pianist,</i> we must learn what the score tells us about the music and what the
score tells us to strive for or expect from the instrument<span style="font-family: "Times New Roman",serif;">—</span>any instrument. We must
continually listen to the feedback from the instrument to strive for the
Classical aesthetic, making our modern piano translate the clarity, finesse,
and vibrancy of the fortepiano. Doing so will provide new discoveries for
energized and revitalized personal performing.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
</div>
Anonymoushttp://www.blogger.com/profile/16144103105898670499noreply@blogger.com0tag:blogger.com,1999:blog-7552397049914903129.post-68756396201817599332016-01-03T10:56:00.001-08:002016-01-03T10:56:19.421-08:00What’s in Your New Year Tool Box?<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal">
Here we are, inviting another New Year into our lives. What does this mean to us as musicians? What new opportunities are there to
embrace? Of course, there is new music
to learn, new programs to prepare, and new performances to work toward. But, if we work toward all of these new
things in the same old way aren’t we simply playing the same song, different
verse? As you try on other New Year resolutions try on some music resolutions
as well.<o:p></o:p></div>
<div class="MsoNormal">
</div>
<ul style="text-align: left;">
<li><span style="text-indent: -0.25in;">Go to more live performances that feature
professional artists.</span><span style="text-indent: -0.25in;"> </span><span style="text-indent: -0.25in;">We can’t get
better if we don’t know what better sounds like!</span></li>
<li><span style="font-family: Symbol; text-indent: -0.25in;"><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span><span style="text-indent: -0.25in;">Read a book about a new musical concept, a
musician you would like to know better, or an instrument.</span></li>
<li><span style="font-family: Symbol; text-indent: -0.25in;"><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span><span style="text-indent: -0.25in;">Explore the formal structure of a new piece </span><i style="text-indent: -0.25in;">before</i><span style="text-indent: -0.25in;"> playing it.</span></li>
<li><span style="text-indent: -0.25in;">Count </span><i style="text-indent: -0.25in;">everything</i><span style="text-indent: -0.25in;">
out loud. The amount of cohesion and focus will surprise you!</span></li>
<li><span style="text-indent: -0.25in;">Play the left hand alone to listen for the
“driver of the bus."</span></li>
<li><span style="text-indent: -0.25in;">Determine the high point in each section and for
the piece. Build your playing around it.</span></li>
<li><span style="font-family: Symbol; text-indent: -0.25in;"><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span><span style="text-indent: -0.25in;">Spend </span><i style="text-indent: -0.25in;">some</i><span style="text-indent: -0.25in;">
time each week improving one or more specific technical aspects.</span></li>
<li><span style="text-indent: -0.25in;">Use each dynamic change starting places in
practice. Not only will you notice them, it will provide guidance in
determining structure and high points.</span></li>
<li><span style="text-indent: -0.25in;">Make music with another musician. This is
especially important for pianists, who spend much of their time making music
alone.</span><span style="font-family: Symbol; text-indent: -0.25in;"><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span></li>
<li><span style="font-family: Symbol; text-indent: -0.25in;"><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span><span style="text-indent: -0.25in;">Sing each line of your piece.</span><span style="text-indent: -0.25in;"> </span><span style="text-indent: -0.25in;">For pianists this is extremely helpful to
naturally find high places, low places, and resting places.</span><span style="font-family: Symbol; text-indent: -0.25in;"><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span></li>
<li><span style="font-family: Symbol; text-indent: -0.25in;"><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span><span style="text-indent: -0.25in;">Orchestrate your piece. Now as you practice, see
how you can make your piece sound “as if” it is a flute, clarinet, oboe,
trombone, or saxophone!</span></li>
<li><span style="font-family: Symbol; text-indent: -0.25in;"><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span><span style="text-indent: -0.25in;">Perform more. We get better at performing by
performing. Take your music to the local senior center. Volunteer to play for
church. Offer to play at a local soup kitchen or homeless shelter. Let your music brighten the lives of others.</span></li>
</ul>
<br />
<div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<o:p></o:p></div>
<div class="MsoNormal">
Start small. Choose
one item and add it to your musical tool box.
Each month add one more. Before you know it you will find your perspective, playing, and performing, dramatically transformed!<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<br />
<div class="MsoNormal">
Happy New Year and happy playing!<o:p></o:p></div>
</div>
Anonymoushttp://www.blogger.com/profile/16144103105898670499noreply@blogger.com0tag:blogger.com,1999:blog-7552397049914903129.post-50596676329868241312015-12-05T10:48:00.001-08:002015-12-05T10:48:54.413-08:00Enjoy Christmas Preparations with an Inquisitive Mind<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 12pt; line-height: 107%; text-align: left;">As you prepare the tree, deck the hall, bake the
cookies, and wrap those special presents I invite you to fill the hall with
glorious Christmas music. With this
holiday comes traditions and history that date back before Christianity!</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: 'Bookman Old Style', serif; font-size: 12pt; line-height: 107%; text-align: left;"><br /></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Bookman Old Style",serif; font-size: 12.0pt; line-height: 107%;">For instance, ancient Druids believed that
decorating their dwellings with holly would protect them from the rigors of
winter. The early Greeks and Romans sent holly boughs and gifts to their
friends as a token of their friendship. Consequently, today we enjoy the carol <i>The
Holly and the Ivy</i> as well as the joy of giving gifts. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Bookman Old Style",serif; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Bookman Old Style",serif; font-size: 12.0pt; line-height: 107%;">Ancients held nature in great reverence. According
the Julian calendar, December 25 marked the winter solstice and was observed by
pagans as the birthday of the Unconquered Sun. The Romans spent the last two
weeks of December paying tribute to Saturn, their god of agriculture. The
Teutonic tribes of Northern Europe feasted and drank in honor of the supreme
deity, Wodin, during “Yuletide.” Early Christians dovetailed these celebrations
and marked the evergreen as a symbol of ever-lasting life in the celebration of
Christ’s birth.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 107%;"><a href="file:///C:/Users/Donna/Documents/blogs/12.5.2015%20Blog.docx#_edn1" title="">[1]</a></span></span><a href="file:///C:/Users/Donna/Documents/blogs/12.5.2015%20Blog.docx#_edn1" title=""><!--[endif]--></a></span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Bookman Old Style",serif; font-size: 12.0pt; line-height: 107%;"><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><br /></span></span></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Bookman Old Style",serif; font-size: 12.0pt; line-height: 107%;">The Christmas season brings the entire world together
with traditions coming from every corner:
Chestnuts from Great Britain, the Christmas tree from Germany, and the
crèche from Italy. And the songs have an equally varied historical basis: <i>Jingle
Bells</i> and <i>We Three Kings of Orient
Are</i> from the US, <i>O Holy</i> <i>Night</i> and <i>The First Noel</i> from France, <i>What
Child is This?</i> from England, <i>Silent
Night</i> from Austria. The list goes on and on. Take the time to explore your favorite carol.
Allow it to impact your love for the tune.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Bookman Old Style",serif; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Bookman Old Style",serif; font-size: 12.0pt; line-height: 107%;">To add to the interest of the Christmas Carol Season
take your favorite carol’s melody and design a variety of interesting
accompaniments. Most carols use very
basic harmonic structure. Play around
with simple tonic and dominant harmonies with creative accompaniment patterns.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Bookman Old Style",serif; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Bookman Old Style",serif; font-size: 12.0pt; line-height: 107%;">Enjoy a Merry Christmas with music as an integral
part of your preparations and celebration! For a little Christmas trivia fun
enjoy the following carol quiz.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Bookman Old Style",serif; font-size: 12.0pt; line-height: 107%;"><br /></span></div>
<u>Christmas Carol Trivia Quiz</u><br /><br />1. Name the Christmas Carol that begins with a descending major scale.<br /><br />2. Name the Christmas Carol that begins with an ascending major scale.<br /><br />3. Name the carol that was first sung with guitar accompaniment because the organ was broken.<br /><br />4. Name the Christmas character that was created as an advertisement for Montgomery Ward in 1939.<br /><br />5. Name the carol that dates back to Henry VIII and is originally known as Greensleeves.<br /><br />6. Name the carol that was composed for Sunday school students in Medford, Massachussetts in 1857.<br /><br />7. Name the carol made written by a Jewish composer and made famous by Bing Crosby.<div class="MsoListParagraphCxSpFirst">
<br /><!--[if !supportLists]--></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Bookman Old Style",serif; font-size: 10.0pt; line-height: 107%;">(Answers: 1. Joy to the World, 2. The First Noel, 3.
Silent Night, 4. Rudolph the Red Nosed Reindeer, 5. What Child is This?, 6.
Jingle Bells, 7. I’m Dreaming of a White Christmas)<o:p></o:p></span></div>
<br />
<div>
<div style="text-align: left;">
<br /></div>
<!--[if !supportEndnotes]-->
<hr size="1" style="text-align: left;" width="33%" />
<!--[endif]-->
<div id="edn1">
<div class="MsoEndnoteText" style="text-align: left;">
<a href="file:///C:/Users/Donna/Documents/blogs/12.5.2015%20Blog.docx#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></a>
The American Legion Magazine (December, 1983), 15.<o:p></o:p></div>
</div>
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Anonymoushttp://www.blogger.com/profile/16144103105898670499noreply@blogger.com0tag:blogger.com,1999:blog-7552397049914903129.post-30609182976594373992015-11-03T10:45:00.001-08:002015-11-03T18:16:42.982-08:00The Fortepiano: Beginning the Journey <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="line-height: 107%;">Our strong desire for knowledge and musical honesty <o:p></o:p></span></div>
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<span style="line-height: 107%;">makes us go back to the fortepiano.<o:p></o:p></span></div>
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<span style="line-height: 107%;"> </span><span style="line-height: 107%;">—</span><i><span style="line-height: 107%;">Discoveries
from the Fortepiano</span></i><span style="line-height: 107%;"> (Oxford
University Press. 2015), 1.<o:p></o:p></span></div>
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<span style="line-height: 107%;">As the sap returns to the
tree for rest and renewal, the leaves announce the Fall with glorious hues of
red, gold, and burnt orange. We know that Winter rapidly approaches as each day
steals minutes of sunlight and turns them over to the night; all part of the
necessary process for new birth in the Spring. Likewise, Winter provides musicians
the opportunity to rest, reflect, and renew.
Where would we like to be musically by Spring? What unanswered questions
can be wrestled with in the darkness of Winter? And what discoveries can be
unearthed to bring new life to our playing?<o:p></o:p></span></div>
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<span style="line-height: 107%;">The desire to know where we
are headed can only come through the path of where we have been. Wrestling with
the questions surrounding performing Beethoven, Haydn, and Mozart on the modern
piano are best answered by looking back to the fortepiano. By better understanding
the instrument and sound that inspired these masters we can come closer to a
newly inspired sound. We can honor the past and create new art in the present.<o:p></o:p></span></div>
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<span style="line-height: 107%;">Glancing back at the
Classical Era Style we find an instrument distinctly different from today’s
instrument. From the inside out everything is “different.” <o:p></o:p></span></div>
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<span style="font-size: 10pt; line-height: 107%;">When
comparing the overall characteristics of the fortepiano [eighteenth century
Viennese five-octave fortepiano] and the modern piano, we find that the
differences are considerable. The fortepiano’s prevailing quality is its
ability to be played with finesse. Everything on the fortepiano is literally
and aesthetically lighter and more responsive than the modern piano. <o:p></o:p></span></div>
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<span style="font-size: 10pt; line-height: 107%;"> </span><span style="line-height: 107%;">—</span><i><span style="font-size: 10pt; line-height: 107%;">Discoveries from the
Fortepiano</span></i><span style="font-size: 10pt; line-height: 107%;"> (Oxford University Press. 2015), 17.<o:p></o:p></span></div>
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<span style="line-height: 107%;">Everything from string size
and make-up, key dimensions, and responsiveness, to range, decay, and tone
quality are distinctively different on the fortepiano. <o:p></o:p></span></div>
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<span style="line-height: 107%;">Follow the link to view a
comparison table between modern and fortepiano characteristics:<o:p></o:p></span></div>
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<span style="color: #2f5496;"><span style="line-height: 17.12px;"><u><a href="http://global.oup.com/us/companion.websites/fdscontent/uscompanion/us/static/companion.websites/9780199396641/PDF/Gunn_Table1_2.pdf">http://global.oup.com/us/companion.websites/fdscontent/uscompanion/us/static/companion.websites/9780199396641/PDF/Gunn_Table1_2.pdf</a></u></span></span></div>
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<span style="line-height: 107%;">But the real take-away is the
different sound aesthetic that is unleashed when one encounters the sound of
the fortepiano. The same score takes on
an entirely new character when realized on the instrument for which it was
intended. Although this sound cannot be
duplicated on the modern piano, awareness of the sound can influence our approach
and aesthetic goal.<o:p></o:p></span></div>
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<span style="line-height: 107%;">Follow the links to compare audio traits of fortepiano and influenced modern piano rendition of the opening
bars of <i>Moonlight Sonata</i><o:p></o:p></span></div>
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<a href="http://global.oup.com/us/companion.websites/9780199396641/ch1/audio/ex_1.2b/"><span style="line-height: 107%; mso-bidi-font-family: "Chaparral Pro"; mso-bidi-font-size: 12.0pt;">http://global.oup.com/us/companion.websites/9780199396641/ch1/audio/ex_1.2b/</span></a><span style="line-height: 107%;"><o:p></o:p></span></div>
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<span style="color: #2f5496;"><span style="line-height: 17.12px;"><u><a href="http://global.oup.com/us/companion.websites/9780199396641/ch1/audio/ex_1.2c/">http://global.oup.com/us/companion.websites/9780199396641/ch1/audio/ex_1.2c/</a></u></span></span></div>
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<u><span style="color: #2f5496; line-height: 107%; mso-bidi-font-family: "Chaparral Pro"; mso-bidi-font-size: 12.0pt; mso-themecolor: accent5; mso-themeshade: 191;"><br /></span></u></div>
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<span style="line-height: 107%;">You are now invited into
Winter to reflect and renew. Dig into <i>Discoveries from the Fortepiano</i> to learn
how looking back and unearthing these informational gems can open a musical path
for you to welcome the new Spring of your own aesthetic.<o:p></o:p></span></div>
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Anonymoushttp://www.blogger.com/profile/16144103105898670499noreply@blogger.com0