Making Music Musical: Finding The Point

February 17, 2012 Jennifer Boster

Happy Thursday! Here comes another installment of how to teach our students to go above and beyond just playing the notes and to truly polish a piece and create beautiful music – Making Music Musical!

Once one has mastered playing beautiful phrases and has worked on finding the balance in the music, what else can be done to really polish up a piece and make it MUSICAL?

After working out individual phrases and achieving good balance, it is wise to take a step back and see the big picture of the piece. How do the phrases relate to one another? What is the function of each phrase in the context of the entire piece? How does each section of the piece relate to the others? What is the overall direction of the dynamics of the piece – does it start soft and climax near the end at forte, or does it have a forte section followed by a piano middle section and then a recap of the forte section? What are you trying to say with the piece? What is the whole point?

Rachmaninoff – image source

Each piece that Rachmaninoff played was meticulously shaped around a culminating POINT – a climax of sorts. Sometimes it was in the middle of the piece, sometimes near the end, but the whole aim of the piece was to build up to this one important point.

What is the whole point of your piece? Where is the climax?

In Sergei Rachmaninoff: A Lifetime in Music by Sergei Bertensson, the story is told of a concert given by Rachmaninoff where he felt that he completely missed the point of the piece. During intermission he was in a horrible mood.

A woman describes,

“we finally reached the artists’ room, where we saw at once from the expression on Rachmaninoff’s face that he was in an awful state: he was biting his lip furiously, his complexion was yellow. As we opened our mouths to congratulate him he exploded in complaint…’Didn’t you notice that I missed the point? Don’t you understand – I let the point slip!'”

I love Rachmaninoff’s description of what “the point” of a piece is:

“…[Rachmaninoff] explained that each piece he plays is shaped around its culminating point: the whole mass of sounds must be so measured, the depth and power of each sound must be given with such purity and gradation that this peak point is achieved with an appearance of the greatest naturalness, though actually its accomplishment is the highest art. This moment must arrive with the sound and sparkle of a ribbon snapped at the end of a race – it must seem a liberation from the last material obstacle, the last barrier between truth and its expression. The composition itself determines this culmination; the point may come at its end or in the middle, it may be loud or soft, yet the musician must always be able to approach it with sure calculation, absolute exactitude, for it if slips by the whole structure crumbles, the work goes soft and fuzzy, and cannot convey to the listener what must be conveyed.” (Bertensson, p. 195)

Can you believe the amount of polishing and effort that can go into making a piece really musical? If we can even pass some of this knowledge of expression and music-making onto our students, then what a wonderful thing! What a joy to be able to pass on not just the knowledge of how to basically play a piece and understand the theory behind it, but to really make music and achieve beauty. Isn’t that really the whole point?

To illustrate this concept of THE POINT, here are a couple of pieces I have played, and where I think THE POINT is. Of course it might differ depending on the pianist and their individual interpretation. That is the beauty of it – deciding for yourself what you want to say with a piece, discovering where the important climax may be, and then shaping the entire piece around that.

Example #1 – Ravel’s Jeux d’eau

Oh how I love this piece! I played this for my sophomore recital in college. At this point I hadn’t heard of Rachmaninoff’s “POINT” concept, but I remember whenever I played this piece I looked forward to this one part, and tried to build and build to this awesome point that climaxed at a fortississimo and culminated with a descending black-key glissando. Ahhh, I love it!

Here is Martha Argerich playing Jeux d’Eau – to watch my “POINT” start at about 2:10.

Example #2 – Schumann’s Traumerei

The “point” that I circled in this piece is found at the very end, the third to last measure, and it is the big chord with the fermata.

Start at about 1:55 to hear Horowitz execute this “point” beautifully!

Can you help your students find the culminating point or climax in their pieces? Help them understand how to really bring out this part, how to build up to it or whatever the piece may call for, in order for it be beautiful and make the whole piece make sense. Happy music-making!

Making Music Musical: Playing Beautiful Phrases

January 21, 2012 Jennifer Boster

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Thanks for the wonderful comments about Finding the Balance! Let’s discuss another technique for making music musical…

One of the most important elements of beautiful, musical piano playing is something that is usually introduced very early on, but is a concept that I feel many piano students never fully understand or are taught well. Enter the SLUR…

Slurs, of course, are those fun curvy lines we often see in our music connecting two or more notes together and forming a phrase, or in other words a musical sentence.These slurs are often ignored while the focus is placed on more “important” matters, such as correct notes, rhythm, fingering, etc. (Which, don’t get me wrong, are super important as well!) It is relatively easy to achieve correct notes and rhythm, but isn’t our goal to actually make some beautiful music?

When slurs are learned, often the student learns to play them legato, or smooth and connected, and then they stop there…when really there is so much more to a slur or a phrase that can add so much musicality to a piece. Before we begin, let me just add that mastering the technique of phrasing is hugely important in making beautiful music, and while it takes some time and a lot of practice to master, it is something that can be introduced to the young beginner.

So let’s talk slurs. We’ll use a simple Bach Minuet for our example…(thanks 8notes.com for this image!)

Great, so we’ve got a lot of slurs here. What do we need to do first? That’s right…play the slurred notes smooth and connected. We do lots of walking around the room in my studio to discover that you can’t lift one foot up until your other one is touching the floor (unless of course you hop, but that would be staccato now, wouldn’t it?) So first we…

1.) Play smooth & connected

But is that all there is to playing slurs? No-sir. We’ve got to somehow differentiate between each slur, or else it is going to sound like one big musical run-on sentence. (If you have a student who loves to read, they will definitely get this analogy.) There needs to be some kind of period or exclamation mark or question mark in between each “sentence” for it to make sense, right? So in music, we’ve got to have some kind of a break between each slur. I use lots of arrows in my students’ pieces to remind them to gracefully lift their wrist up and bring their hand off of the keys to create a nice little break or “breath” between each phrase.

2) Lift your wrist up and take your hand off the keys to create a break between slurs

What, there’s more? Yes! How about what to do within each slur to make each phrase as beautiful and musical as possible? Remember that a general rule in music is that when the melody line goes UP, the notes should get LOUDER. When it goes DOWN, they should get SOFTER. Help students find the peak or the high point of each phrase, and learn to crescendo up to it and diminuendo down from it. It’s subtle but it’s effective!

3) Use graded dynamics to follow the melodic line within each phrase

Another concept that is related to number three but is important enough to restate, is that a lot of the time phrases should taper off and get a little bit softer on the last note. The main reason for this is that you usually do not want the last note of a phrase accented, that would just sound and feel not musical. (Of course there are definitely situations where you should crescendo until the end of the phrase – like for example maybe the first phrase of this song!)

I had a piano teacher who taught me this principle by explaining that you wouldn’t say my name “Jen-NY” with the second syllable accented. Try it – it just sounds weird, and not natural. Phrases in music should sound natural as well! When you taper off and say the second syllable softer, it sounds much nicer, and even more “musical” if you will – “JEN-ny.” (Be careful before using this analogy, your student’s name may have an accented last syllable and it’ll kill your analogy! That happened with me and my student Nichole. Oops!)

4) Taper off (get softer) on the last note of a phrase (unless otherwise indicated)

And finally, you need to decide how each phrase should function (dynamically and otherwise) in relation to the phrases around it. We’ll go more into this concept later, but it is important to notice if a phrase should be generally louder or softer than the previous phrase and the following phrase. In the Minuet, for example, the dynamic level is marked as piano, but you can tell that the second phrase should be a little louder (the notes go higher, and a crescendo is marked), and then the three phrases on the second line sort of gradually get softer, to create an overall crescendo/diminuendo effect that peaks at the end of the first line.

5) Decide how each phrase should function, dynamically and otherwise, within the context of other phrases

Well, that’s all I’ve got for now…what are some ways you have come up with to teach your own students beautiful phrasing? Do you make sure they learn correct techniques for playing slurs right from the beginning, or is it something you find you need to focus on with your intermediate or advanced students?

Have a nice weekend!

Making Music Musical: Techniques of Musicality

January 17, 2012 Jennifer Boster

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Good morning readers! I hope you have all had a wonderful weekend.

Something that I love about my piano studio right now is the variety of students I am able to teach. I have a great mix of ages and levels in my studio, from preschoolers to adults and beginners to more advanced students. It keeps me on my toes and helps keep things interesting.

This week I’d like to focus on some techniques for the intermediate to more advanced students (although these techniques could be applied on a simpler, smaller scale to students of any level, and a teacher would be wise to begin teaching these techniques right from the beginning!). I’d like to talk about ways to make music musical, and how to teach our students to play with artistry and beauty.

It is relatively easy to teach our students how to play the correct notes, rhythms, fingerings, and even basic dynamics. But what about making real music out of that combination of notes and rhythms? Let’s talk about some specific techniques that can be applied to really make some music! Ready, go –

1) Finding the Balance

One of the most important techniques that a pianist can learn and master is the ability to achieve a good balance between hands, fingers, and musical lines. For example, let’s take Romance, Op. 24 No. 9 by Sibelius – a great piano piece for working on musicality.

image source

Notice the repeated staccato D-flat major chords in the right hand (marked at piano) and the legato melody in the left hand (marked at mezzo-piano). In order to bring out the melody, the right hand chords must be played as quietly as possible to allow the listener to hear the left hand notes.

This technique of independence of hands (playing different dynamics or articulations with each hand at the same time) is easier said than done. I often have my students play small sections like this very slowly, with a lot of exaggeration to emphasize the difference between the two hands (playing the right hand super, super soft and as close to the keys as possible, while playing the left hand very loud and even staccato to really hone in on those contrasting dynamics. (Of course, in this example, you will eventually want to make the left hand smooth and legato and put a little bounce into the right hand – but at least that technique will help master the dynamics!) A good way to improve this technique is to take a scale or other simple exercise (Hanon works great) and practice playing one hand soft and the other hand loud, or one hand staccato and the other hand legato. It is good to switch off so each hand gets a chance to practice each technique.

Sometimes independence of fingers within the same hand is needed in order to bring out the top note of a chord, or the top line of the music (when the melody is played in the top notes of the right hand, for example). In the Sibelius example above, perhaps you’d like the top note of each chord in measure 6 to be a bit louder than the other notes. I find it helpful to visualize the top part of my hand (finger number five) as being heavier, or to lean into that side of the hand and use more weight on those top notes.

What are some ways that you teach independence of hands to your students? I’d love to hear your ideas! Stay tuned for more tips on making music musical!

Weekend Repertoire: Teaching Fugues

April 30, 2011 Jennifer Boster

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For this week’s Weekend Repertoire feature I’d like to discuss teaching (and learning!) fugues! Fugues can be some of the most beautiful and rewarding pieces to learn as a pianist, but are also some of the most challenging to learn and to perform well. A pianist who is able to learn a fugue well is a pianist who is a careful and efficient practicer and a musician who has trained their ears well to listen to the sounds and dynamics coming out of the piano. One must possess good independence of hands and fingers to play a fugue well. All of these more advanced skills are difficult to learn, but are so important to the development of a fine pianist. I’d like to share a few tips on how to teach (and to learn!) fugues; hopefully some of them will come in handy, and hopefully others will have tips of their own to share!

First of all, what are some good, easier fugues to start out with? Although not necessarily fugues, the Bach Two-Part Inventions and Three-Part Inventions are excellent to start with! Because many fugues have four or five parts, it is great to begin with only two parts to keep track of. I started learning inventions in junior high – I’d say they are probably late-intermediate (depending on the invention!). Some collections of Bach’s Inventions:

Listen: Bach’s Two-Part Invention No. 1, performed by Glenn Gould

Bach’s Well-Tempered Clavier is an excellent collection of preludes and fugues that every pianist should be familiar with. I would say that a good one to begin with would be either Fugue No. 2 in C minor (Book 1) or Fugue No. 21 in B-flat Major (Book 1). Of course there are many other fugues out there by Bach and other composers.

Tips for Learning a Fugue

Analyze – find the theme and mark it whenever it appears in any voice with a colored pencil or highlighter. You may also want to mark any thematic material that is similar to the theme, but not the theme exactly. Since there are so many different voices going on at once, it is imperative that you know which voice to bring out at any time. You want to be able to hear the theme whenever it appears, not just the top voice in the right hand.
Listen to recordings – I always find this helpful when just starting out learning a fugue. I like to listen to a good recording while following along in the music and marking different voices and statements of the theme.
Write in the fingerings! – I like to go through the piece and decide from the very beginning which fingerings to use. There will be so much going on during the piece that you want to have solid fingerings right from the beginning. This will help you to learn the fugue so much faster and more efficiently. Always use the same fingerings, each time you practice!
Start learning the fugue! – Oh yes, did I mention that it is good to have all of these things done and written in before you actually start to practice the piece? With a fugue especially, it’s good to have a solid plan before getting started.
Learn in very small sections – this will help you to learn correct notes, fingerings, rhythms, and phrasing as you go. A fugue can be a little daunting to learn, but if you take it in very small bites it is very doable!

Analyzing a Fugue

So, for the purpose of this post, I made a copy of Bach’s Fugue No. 2 in C minor from the Well-Tempered Clavier (Book 1) and pretended like I was about to learn it (I actually learned it years ago…). Here is what I might do if I were to start learning this today. Here are the first two pages for your enjoyment 🙂 Oh and my analysis is, of course, very technical (not!) – but I basically just wanted to give you some ideas.

First, I have highlighted the theme, every time it occurs in its full form, in yellow. I want to bring that out so you can hear it in each voice.

Next, I bracketed or highlighted other thematic material in blue. Sorry it’s a little hard to see – there is some on the last line of page 1, some on line 2 of page 2, and other random bits of it scattered throughout. These are sections that are very close to the theme, but that vary a bit.

Then I discovered this little secondary theme made up of eighth notes in a pattern of three notes slurred and one note staccato (know that this articulation will vary a LOT depending on your edition or on the pianist who made the recording you listen to!), and marked it with a purple star whenever that occurred. Although secondary to the main theme, this stuff is also important and should come out a bit, especially if there is no theme going on as well.

And lastly, there is a bunch of other stuff going on, such as long sections of sixteenth note material, which I marked with a brown bracket. At a lot of these sections, I would probably bring these sixteenth note phrases out with some graded dynamics and nice phrasing of some sort.

Anyway, you get the general idea! I would listen to several recordings of this to hear different interpretations, because they will vary so much depending on the pianist.

What fugue-learning-tips-o-awesomeness do you have to add to the list? 🙂

FERN is your friend. Or, teaching new pieces to intermediate & advanced students.

July 19, 2010 Jennifer Boster

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The ways you can teach new repertoire to students are as varied as the vast amount of piano repertoire available. But, I would like to share some general ideas and suggestions, as well as some ways of teaching FERN, using four different pieces to illustrate. Ready go…

Pick pieces that your students love. If they don’t like their pieces, they won’t practice. Period.
Divide the piece into smaller sections (have your student help you – a great way to teach form!).
Teach good practice habits – practicing a short section many times is so much better than playing through the entire piece once. You may want to have them practice until they get certain assignments done, instead of for a set amount of time – they may learn repertoire faster (and better) that way.
Hands alone practice! Helpful in learning notes, rhythm, and fingering really well – one hand at a time.
Slow practice = your friend. I like to pick a good metronome speed for my students – just make sure it is not too fast, that it is a speed at which they can play the section comfortably. You can always speed it up later.
Help your student find patterns in the piece. Help them analyze what is going on. They will learn it so much better and more easily when they recognize melodic patterns, chords, etc.
FERN – make sure they learn the four important elements of the piece. Give them specific practicing instructions to help them learn these elements. For example:

F (Fingering)

In Chopin’s Nocturne Op. 72 No. 1, help your student find a good fingering for the left hand right from the beginning. Have them write it in and use the same fingering each and every time. Encourage lots of hands alone practice in small sections (for example, one line at a time) in order to learn the notes and make the correct fingering a habit.

E (Expression)

In the Minuet from Bach’s Anna Magdalena Notebook, teach your student to produce a lovely, graceful sound as they are learning the notes of this piece. Help them decide where the phrases should be (if not already written in the score) and make sure they learn to play them legato with a relaxed lift of the wrist at the end of each phrase. If you wait to add in these important details after the notes, rhythm and fingering are learned, the student will have already formed habits of playing it with the wrong expression.

R (Rhythm)

In Chopin’s Fantasie Impromptu, the four-against-three rhythm usually poses a problem. Once the student has the right hand and left hand learned separately and is ready to put them together, spend some time on the tricky rhythm. I find it helpful to have them beat out a four-against-three rhythm on their lap, with their left hand beating three and their right beating four. It should go like this (try it!): together, right, left, right, left, right, together, right, left, right, left, right, together, etc.

Or, you can use this amazingly helpful sentence, taught to me by one of my dear teachers, which somehow magically solves the rhythm problem and helps you to play it perfectly: “My mother had a duck.” Seriously, try it. On “My” you will be playing the right and left hand together. On “mother had a duck” you will play the right and left hands alternating, beginning with the right hand. It will seem a little rigid as you learn it, but once you get it down (with lots of slow practice, my friend!) you can easily smooth it out and even out both hands. To this day, I cannot play Fantasie Impromptu without saying (in my head….usually…) “My mother had a duck, my mother had a duck, my mother had a duck, my mother had a duck……”

And, last but not least:

N (Notes)

Hopefully your intermediate and above students will all know the notes on the staff very well, and won’t need to say them aloud (as is very helpful for beginners). However, there are still some things you can do to help your student learn the notes quickly and efficiently. One such way is to have them look for patterns – in the melody, in the chords, whatever. When there is some kind of pattern to latch onto, note-learning is much easier.

When teaching Bach’s Prelude No. 1 from the Well-Tempered Clavier, I always point out that each measure is basically made up of one chord. One chord, that’s it! And usually only a note or two changes from measure to measure. I actually like to have my students learn the notes of this piece by playing each measure as a block chord – so instead of playing the broken chord pattern all you are doing is playing a C chord, holding it for four counts. I have my students look ahead to the next measure to see which notes change, and then play the next chord. I find that this can be so helpful in learning the notes and getting your hand to be in the right position to play the entire measure. It eliminates any pauses and searching around for notes. And it is super easy to add in the real rhythm once all of the notes are learned.

The End. I hope some of these suggestions were helpful, or got you thinking about ways to teach other pieces!

p.s. Please share any great insights into teaching FERN – I’d love to hear your thoughts and ideas.

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Pedagogy Books: The Well-Tempered Keyboard Teacher

July 13, 2010 Jennifer Boster

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The Well-Tempered Keyboard Teacher by Marienne Uszler, Stewart Gordon and Scott McBride Smith is a great book about piano pedagogy. This was one text used in my college pedagogy class. There are so many great ideas and suggestions in this book, that I really need to read it again! 🙂

Teaching Advanced Students

One chapter that I really enjoyed is the one about Teaching Advanced Students. Teaching advanced students is really an entirely different world than teaching beginners, isn’t it? I would guess that the majority of students that many of us have are beginners or intermediate students (at least that has been my experience!). Many students drop out of lessons before reaching the advanced level. This chapter, written by Scott McBride Smith, is a great one to read if you are a teacher of advanced students.

Practicing What We Teach

Smith says, “It is not possible to teach something that you have not mastered thoroughly through your own training and investigation.”

As piano teachers, and particularly as piano teachers of advanced students learning advanced repertoire, it is imperative that we are able to play the repertoire as well. How can we teach the techniques and musical expression needed to play an advanced piece of repertoire if we have not mastered it ourselves?

This topic came up on our Facebook Page recently, and one of our readers had a great suggestion. Here is what she said:

“One thing you mentioned is to ‘learn advanced music’ to be more aware of what’s needed in students’ pieces and to teach more effectively. I agree with your statement completely but take it to the maximum and usually don’t teach a piece that I haven’t pre-tested for my student first. I actually do written analysis of complex pieces and prepare written lesson plans. This was a new habit when I began 39 years ago and it has really helped me be secure in my teaching. Going the extra mile on all pieces just exercises your brain so much that you could eventually teach a new piece in your sleep just from observation…”

Skills of Advanced Piano Study

Scott McBride Smith talks about the different skills needed for intermediate study vs. advanced study. I thought this was a great list to get us thinking about what we need to teach our advanced students.

Intermediate Skills:

accurate note learning and rhythm
wide-ranging dynamics
good tone
appropriate balance between the hands and between voices
basic projection of form and harmony

Advanced Skills: (“…a higher level of artistry is needed for these challenging works.”)

phrasing
rubato
accent
tone color
pedal
sophisticated practice techniques (lots of slow, super-accurate repetitions, work at different tempos, practice in rhythms and shifting accents, etc.)
public performances

So many great books out there, so much to learn! What are some of your favorite pedagogy or music books?