Madonna Moffat
In 1965, I switched from my local church organist as my piano teacher to a local teacher, that my mother had heard about through her girlfriend grapevine. Madonna Moffat!. She recently died at about 94, which was a similar age to that of my favorite high school piano teacher Katherine Lemon. I am beginning to think that playing music has a link with longevity.
Madonna Moffat was incredibly interesting. She was very "artsy" and lived in a beautiful old home in the Rosedale Park section of Northwest Detroit. My lessons were on Saturday and she would often answer the door dressed in a flowing caftan. She would lead me into her living room where there was this incredible white grand piano. It was the kind of piano that Shirley Temple tapped danced on in the movie Curly Top. Of course, that was the first time in my life that I decided I would get a grand piano, somehow or someway. I didn't get one until about 2002, but at the time, I determined that having a grand piano was going to be a goal.
I wasn't sure how credentialed Mrs. Moffat was with respect to the piano. I knew she played it, but I don't think she actually had a formal music degree. It didn't matter because they way she taught brought music to life for me. She had an agenda of music that I had to learn, but she also let me bring music of my own choosing to my lesson that I wanted to work on during that school year. I think that is a hallmark of a good teacher. Though he or she may have an idea about the pieces you need to or should learn, a teacher who lets you bring music you want to learn makes all the difference.
Though I had John W. Schwaum books in the past, Mrs. Moffat was focused on a lesson plan of music through the Art Publication Society of St. Louis, Missouri. It was a series of exercises and pieces that progressed you to what would be considered an intermediate level. The actual core of lesson materials was referred to as the Progressive Series of Piano Lessons. There was also a series of theory lessons, and Mrs. Moffat would have us meet as a group about one Saturday a month to go over the theory lessons. To my great regret, I never took that piece seriously, I just wanted to play, imitate pianists I had heard. I didn't take time to understand the intricacies of the music behind the notes. Consequently, I am still struggling with music theory even to this day.
I saved the whole Art Publication Society series, and had the opportunity to look at it yesterday. There was some information that is still applicable today. One of the sheets discussed positioning at your piano to prevent injury. That is so important, and is addressed fully today, but back in 1965 it was not touched upon very much. Each of the pieces I worked on had a short biographical sketch regarding the composer and fairly detailed information about dynamics, metronome markings and rhythm. One of the pieces even discussed the concept of music education versus imitation of the teacher. Is there true understanding of the initiative that is required to have a musical education or is one just engaging in mechanical mimicry of the teacher. Sometimes, when I am playing I resort to just mimicing what the teacher or performer is doing. However, to be a good pianist, one has to get beyond just learning the notes and understand the tempo, the dynamics and the themes, to play a work with true musicality. That is a continuing peak to climb, as one practices over and over.
Mrs. Moffat was sort of flamboyant, and very outgoing. She wanted you to perform. When you arrived at your lesson, she would open the door, singing Good morning Rosemary, as if it was an operatic aria. She was a great opera lover and was involved with the Michigan Opera Theatre. So, instead of yearly piano recitals, she would hold these little receptions, where each of her students would get up and play a song for the other students. I don't remember parents being invited. So, it was in reality, a chance for you to play for your peers. The response was usually upbeat and I don't recall anyone booing. There would also be pop and cookies at the end. Coming from a family where pop was a once a week thing this was a highlight. As time wore on Mrs. Moffat would let various students host these events. I know we hosted it at least once. I had one motive in mind for that, I had a major 10 year old crush on a 8th grade student Rollie Barrett who had the piano lesson before me. He was very confident at the keyboard, and was always working on something that had more of a Dave Brubeck kind of feel. So I determined that if I hosted one of these piano soirees, I could get Rollie to my house.
I also add that I think I always had the idea, that Mr. Right, whoever he was going to be had to be musical. That wish did come true, and I will have more about that one later.
I do think that even if it is challenging for a piano teacher, performance should be part of a student's musical education. Perhaps the once a year piano recital where students are on pins and needles is not the correct approach. Perhaps the way to go, is to have a small group get together and simply play whatever they are working on that sounds the best at the time.
Madonna Moffat! She brought so much to the musical table. Even if she wasn't a conservatory trained musician, she was committed to the ideal that playing the piano should be something to keep doing, even as an adult. She saw what music could do in one's life and she shared it with her students. She made a great musical difference!!
Tuesday, December 16, 2014
Tuesday, November 18, 2014
Dr. Suzanne Newcomb
It is hard to put into words about the excellence that is Dr. Suzanne Newconb. A piano professor at Otterbein University, a collaborative pianist and an incredible piano teacher with her own studio in Upper Arlington, Ohio. One of the most amazing things about Suzanne, is that one of her professors was the great Leon Fleisher. More about him in a later post. Suzanne attended the Peabody Institute and received her doctorate of Musical Arts. You should take time to view her website www.suzannenewcomb.com I can only repeat: amazing!!
I like the fact that Suzanne describes herself as a collaborative recital artist. That is a very apt description. I have heard Suzanne play chamber music with other musicians and it is truly incredible. Watching Suzanne, it boils down to this, complete focus, while creating beautiful music. Even if Suzanne makes a mistake and I don't believe she does, she keeps the calm and the peace that results in such great musicality.
As one of her students, for a time that was all too short, I always felt that she played with conviction. She played pieces with the style and grace of someone who truly practiced with great care and accuracy. Suzanne also played even the simplest of pieces with great musicality. When you take lessons from Suzanne, you are challenged. Because she expects perfection in her playing, she expects the best from you. If you really want to play with conviction, Suzanne is a great teacher.
So how did I have the good fortune to find Suzanne. She actually had moved back to her home town Upper Arlington with her family. She had posted an advertisement for students in the local suburban paper, and I called the number listed. I actually talked to her husband on the phone, and he convinced me that Suzanne was the piano teacher I was looking for. He was right!
In the time I took lessons from Suzanne, I challenged myself to be better. Suzanne could tell from across her piano studio, whether a note was incorrect. No stone was left unturned...usually a phrase you used to to describe an attentive trial attorney. Suzanne challenged me to work on my weaknesses, rhythm, fingerings, dynamics. She also convinced me that I could try composer works I never considered before. For instance I worked on a major Mozart sonata during my lesson time with her. She also encouraged me to jump into chamber music, and play in a chamber music group through the Chamber Music Connection. The collaborative artist description rings true, because Suzanne wants you to share your music with others.
Suzanne, also convinced me to take a leap that I had only dreamed about in the past...purchasing a grand piano. I had always thought about it, but saw it as a retirement goal. Suzanne reminded me what a good investment it would be. She was right and I bought a grand piano several years ago. I am glad I did, as it was a dream my mom wanted me to fulfill in her life time. It was so amazing to see how happy my mom was when she saw the piano sitting in our living room. More about my grand piano purchase in a later post.
When my daughter started high school marching band and after my parents' deaths I ended my piano relationship with Suzanne. I didn't really want to, but I felt the busy ness of my high school children, did not afford the time I needed to practice in the way I wanted. Suzanne and I keep in touch on Facebook and I try to get to an occasional performance by Suzanne, when I can. It was a real honor to take lessons from Suzanne. She was about challenging you to be a better pianist, to perform, and to be inspired. In fact whenever she thought there was something I should hear from a musical standpoint, she told me "I would be inspired." I still feel that way whenever I think about her as a pianist.
I await with great expectation all of the music Suzanne will continue to create!!!
It is hard to put into words about the excellence that is Dr. Suzanne Newconb. A piano professor at Otterbein University, a collaborative pianist and an incredible piano teacher with her own studio in Upper Arlington, Ohio. One of the most amazing things about Suzanne, is that one of her professors was the great Leon Fleisher. More about him in a later post. Suzanne attended the Peabody Institute and received her doctorate of Musical Arts. You should take time to view her website www.suzannenewcomb.com I can only repeat: amazing!!
I like the fact that Suzanne describes herself as a collaborative recital artist. That is a very apt description. I have heard Suzanne play chamber music with other musicians and it is truly incredible. Watching Suzanne, it boils down to this, complete focus, while creating beautiful music. Even if Suzanne makes a mistake and I don't believe she does, she keeps the calm and the peace that results in such great musicality.
As one of her students, for a time that was all too short, I always felt that she played with conviction. She played pieces with the style and grace of someone who truly practiced with great care and accuracy. Suzanne also played even the simplest of pieces with great musicality. When you take lessons from Suzanne, you are challenged. Because she expects perfection in her playing, she expects the best from you. If you really want to play with conviction, Suzanne is a great teacher.
So how did I have the good fortune to find Suzanne. She actually had moved back to her home town Upper Arlington with her family. She had posted an advertisement for students in the local suburban paper, and I called the number listed. I actually talked to her husband on the phone, and he convinced me that Suzanne was the piano teacher I was looking for. He was right!
In the time I took lessons from Suzanne, I challenged myself to be better. Suzanne could tell from across her piano studio, whether a note was incorrect. No stone was left unturned...usually a phrase you used to to describe an attentive trial attorney. Suzanne challenged me to work on my weaknesses, rhythm, fingerings, dynamics. She also convinced me that I could try composer works I never considered before. For instance I worked on a major Mozart sonata during my lesson time with her. She also encouraged me to jump into chamber music, and play in a chamber music group through the Chamber Music Connection. The collaborative artist description rings true, because Suzanne wants you to share your music with others.
Suzanne, also convinced me to take a leap that I had only dreamed about in the past...purchasing a grand piano. I had always thought about it, but saw it as a retirement goal. Suzanne reminded me what a good investment it would be. She was right and I bought a grand piano several years ago. I am glad I did, as it was a dream my mom wanted me to fulfill in her life time. It was so amazing to see how happy my mom was when she saw the piano sitting in our living room. More about my grand piano purchase in a later post.
When my daughter started high school marching band and after my parents' deaths I ended my piano relationship with Suzanne. I didn't really want to, but I felt the busy ness of my high school children, did not afford the time I needed to practice in the way I wanted. Suzanne and I keep in touch on Facebook and I try to get to an occasional performance by Suzanne, when I can. It was a real honor to take lessons from Suzanne. She was about challenging you to be a better pianist, to perform, and to be inspired. In fact whenever she thought there was something I should hear from a musical standpoint, she told me "I would be inspired." I still feel that way whenever I think about her as a pianist.
I await with great expectation all of the music Suzanne will continue to create!!!
Wednesday, November 12, 2014
Rhapsody in Blue
In my lessons, I keep coming back to Rhapsody in Blue. I have the Warner Bros. Music edition- New World Music. I bought it about 1967 and the list price was $4.00 back in the day. Though the entire work is challenging, page 5 is where a multitude of challenges begin. On page 5, the very first measure contains a set of triplets, which is the and of beat one, and then two sets of 16ths and two sixteenths and an 1/8 note. I tried for at least the last six months to interpret what I thought the rhythm was supposed to be.
Wrong....you cannot "interpret" the rhythm. With the help of my piano teacher I have resorted to the metronome, which is an 1/8 note at the speed of 88. It is amazing how the metronome points out the cold, harsh and stark reality of it all. The first three lines of page 5 continue presenting their rhythmic challenges.
It seems since looking at this music over the last 46 years, as I bought this music when I was 12, that whenever I opened the music, the challenges of the first three pages, cause me to put the music in the piano bench.
Having a piano bench with a lid that lifts up, allows you to put music in there, that, frankly, you don't believe you can conquer. So while it hides a lot of things when you are dusting, sometimes the closed lid can be perceived as closing off a dream. Perhaps you should open the lid up, and see what has frustrated you in the past. It may be, that if you have some wisdom you can try to learn something again.
My original Baldwin acrosonic piano with a piano bench with a lid, now belongs to a librarian friend of mine. I don't know if she plays it and tunes it the way my parents and I did, but that piano bench may contain her dreams and she should open the lid and get them out.
On page 6 of the rhapsody, line three, there is a tranquillo section, that is easier. Once you can get to this place in the music, you can gain some confidence. Perhaps you don't know the prior two pages as well as you should but here is a place, where you can conclude that you are actually learning this great piano work. I still think about the dare from Catherine Schroeder in 7th grade that caused me to buy the piece. I told her that I could play it...again an out and out lie, but it forced me to get it, and put it in a place in my mind, that I was going to learn it ....sooner or later.
In my lessons, I keep coming back to Rhapsody in Blue. I have the Warner Bros. Music edition- New World Music. I bought it about 1967 and the list price was $4.00 back in the day. Though the entire work is challenging, page 5 is where a multitude of challenges begin. On page 5, the very first measure contains a set of triplets, which is the and of beat one, and then two sets of 16ths and two sixteenths and an 1/8 note. I tried for at least the last six months to interpret what I thought the rhythm was supposed to be.
Wrong....you cannot "interpret" the rhythm. With the help of my piano teacher I have resorted to the metronome, which is an 1/8 note at the speed of 88. It is amazing how the metronome points out the cold, harsh and stark reality of it all. The first three lines of page 5 continue presenting their rhythmic challenges.
It seems since looking at this music over the last 46 years, as I bought this music when I was 12, that whenever I opened the music, the challenges of the first three pages, cause me to put the music in the piano bench.
Having a piano bench with a lid that lifts up, allows you to put music in there, that, frankly, you don't believe you can conquer. So while it hides a lot of things when you are dusting, sometimes the closed lid can be perceived as closing off a dream. Perhaps you should open the lid up, and see what has frustrated you in the past. It may be, that if you have some wisdom you can try to learn something again.
My original Baldwin acrosonic piano with a piano bench with a lid, now belongs to a librarian friend of mine. I don't know if she plays it and tunes it the way my parents and I did, but that piano bench may contain her dreams and she should open the lid and get them out.
On page 6 of the rhapsody, line three, there is a tranquillo section, that is easier. Once you can get to this place in the music, you can gain some confidence. Perhaps you don't know the prior two pages as well as you should but here is a place, where you can conclude that you are actually learning this great piano work. I still think about the dare from Catherine Schroeder in 7th grade that caused me to buy the piece. I told her that I could play it...again an out and out lie, but it forced me to get it, and put it in a place in my mind, that I was going to learn it ....sooner or later.
Friday, October 3, 2014
Katherine Lemon
Sometimes I get bored with the day to day of my law practice. Today I decided to scout on the internet for my Grade 7-12 piano teacher Katherine Lemon!
She was so amazing. She died in 2005 when she was 94. First and foremost she graduated from Oberlin. You don't need to say anything else about that, because of course she had the highest of standards.
I realize now when I look at her pencil notations in my music, that she is still there in an advisory role, you know the drill "notes, fingering, louder here, play this passage with more force." Go to www.haleyfuneraldirectors.com and put her name on their website search browser and you will find her obituary.
I am an adoption attorney and what was so fascinating and I never knew was that she was an adoptive mom. Who would have thought? I know she is proud that it is part of my law practice.
I remember senior year, she so wanted me to major in music, piano etc. I didn't feel like I was good enough and I told her I wanted to do something grand like going to law school. I guess I was caught up in the women's liberation movement, and staying home and teaching piano, didn't sound exciting enough.
Wow was I wrong. I realize now how much you learn in the discipline of piano practice in terms of life lessons. First and foremost, when you make a mistake in life, you go back and do everything in your power to correct it, make it better, improve the situation. You also learn that sometimes you have to learn the basics first before you get to your favorite Christmas song, or hymn or Beatles favorite, or jazz tune. Once you have the fundamentals you can work on the lounge lizard piece You also learn that any level of expertise on the piano is better than no ability at all!!!!!!
Mrs. Lemon always made you learn the classical music. However, she was open to you bringing the popular music of the day, so you could learn the song you heard on the radio, or on the stereo. I am not sure she like Beatles Music, or Teevee themes but she still let me play them.
Mrs. Lemon believed in music. Often when you went to her house, she would be playing away on the grand piano with the top up. When you clapped for her, her response was always "oh I'm just practicing" She was also always doing something artistic. She sewed her daughter's wedding dress. She made candles in her basement, and she needlepointed. I guess needlepoint to me always means that you are slightly royal and sophisticated, so I was always so fascinated by it. It was also the idea or concept that you were accomplishing something, similar to learning a piano piece.
Mrs. Lemon was patriotic. Every year she picked a student to play the star spangled banner at the opening of her yearly recital. Often the prize was awarded to a graduating senior. Yes I got to play it with her senior year. So amazing. I remember playing a movement of Pour Le Piano by Debussy. Mrs. Lemon was in the front row...it was a little intimidating. I remember in the middle of the piece losing my mind and having to go back a page or so and then keep on going. It was an out and out mistake for sure, but she stood and clapped as if I was Yo-Yo Ma or Emmanuel Ax. So gracious and incredible...which was what she was
So, so many years later, what does the learning time with her mean? It means that your music teacher has the most profound effect on you, because it is a one on one experience that no one can take away from you. It is one half hour, 45 minutes or an hour of time devoted completely to you. You don't get a lot of that in your life. It is very courageous to take piano lessons because you open yourself up to possibilities that you never thought you had. It requires some work, but the rewards come back over many years over and over again.
You never know how you make a difference. What a great way to end the week.
Sometimes I get bored with the day to day of my law practice. Today I decided to scout on the internet for my Grade 7-12 piano teacher Katherine Lemon!
She was so amazing. She died in 2005 when she was 94. First and foremost she graduated from Oberlin. You don't need to say anything else about that, because of course she had the highest of standards.
I realize now when I look at her pencil notations in my music, that she is still there in an advisory role, you know the drill "notes, fingering, louder here, play this passage with more force." Go to www.haleyfuneraldirectors.com and put her name on their website search browser and you will find her obituary.
I am an adoption attorney and what was so fascinating and I never knew was that she was an adoptive mom. Who would have thought? I know she is proud that it is part of my law practice.
I remember senior year, she so wanted me to major in music, piano etc. I didn't feel like I was good enough and I told her I wanted to do something grand like going to law school. I guess I was caught up in the women's liberation movement, and staying home and teaching piano, didn't sound exciting enough.
Wow was I wrong. I realize now how much you learn in the discipline of piano practice in terms of life lessons. First and foremost, when you make a mistake in life, you go back and do everything in your power to correct it, make it better, improve the situation. You also learn that sometimes you have to learn the basics first before you get to your favorite Christmas song, or hymn or Beatles favorite, or jazz tune. Once you have the fundamentals you can work on the lounge lizard piece You also learn that any level of expertise on the piano is better than no ability at all!!!!!!
Mrs. Lemon always made you learn the classical music. However, she was open to you bringing the popular music of the day, so you could learn the song you heard on the radio, or on the stereo. I am not sure she like Beatles Music, or Teevee themes but she still let me play them.
Mrs. Lemon believed in music. Often when you went to her house, she would be playing away on the grand piano with the top up. When you clapped for her, her response was always "oh I'm just practicing" She was also always doing something artistic. She sewed her daughter's wedding dress. She made candles in her basement, and she needlepointed. I guess needlepoint to me always means that you are slightly royal and sophisticated, so I was always so fascinated by it. It was also the idea or concept that you were accomplishing something, similar to learning a piano piece.
Mrs. Lemon was patriotic. Every year she picked a student to play the star spangled banner at the opening of her yearly recital. Often the prize was awarded to a graduating senior. Yes I got to play it with her senior year. So amazing. I remember playing a movement of Pour Le Piano by Debussy. Mrs. Lemon was in the front row...it was a little intimidating. I remember in the middle of the piece losing my mind and having to go back a page or so and then keep on going. It was an out and out mistake for sure, but she stood and clapped as if I was Yo-Yo Ma or Emmanuel Ax. So gracious and incredible...which was what she was
So, so many years later, what does the learning time with her mean? It means that your music teacher has the most profound effect on you, because it is a one on one experience that no one can take away from you. It is one half hour, 45 minutes or an hour of time devoted completely to you. You don't get a lot of that in your life. It is very courageous to take piano lessons because you open yourself up to possibilities that you never thought you had. It requires some work, but the rewards come back over many years over and over again.
You never know how you make a difference. What a great way to end the week.
Monday, September 15, 2014
Angela Hewitt
Angela Hewitt, a Canadian born pianist is one of my favorites. Here is a youtube.com link to her comments about slow practice. https://www.youtube.com/watch?v=xPv_5VHlHUs
Interestingly, slow practice goes hand and hand with patience. That basically means that I don't like to do much of it. When I was younger slow practice, to me, meant that something was wrong with me and wrong with my playing. That was somewhat short sighted on my part. Ms. Hewitt does comment that you should play a very fast piece slowly and also play a very slow piece quickly. You can think of it as sort of being and exercise for your mind.
I guess (and I am no expert) but slow practice points out the flaws in the piece. Going at a slower speed allows you to hear what you are doing wrong and to correct it. AAAAARGH as Charlie Brown would say when Lucy pulled the football away from him. I guess that gigantic sigh of relief also applies to slow practice.
Even though we have all heard of the benefits of slow practice, it always bears repeating.
Angela Hewitt, a Canadian born pianist is one of my favorites. Here is a youtube.com link to her comments about slow practice. https://www.youtube.com/watch?v=xPv_5VHlHUs
Interestingly, slow practice goes hand and hand with patience. That basically means that I don't like to do much of it. When I was younger slow practice, to me, meant that something was wrong with me and wrong with my playing. That was somewhat short sighted on my part. Ms. Hewitt does comment that you should play a very fast piece slowly and also play a very slow piece quickly. You can think of it as sort of being and exercise for your mind.
I guess (and I am no expert) but slow practice points out the flaws in the piece. Going at a slower speed allows you to hear what you are doing wrong and to correct it. AAAAARGH as Charlie Brown would say when Lucy pulled the football away from him. I guess that gigantic sigh of relief also applies to slow practice.
Even though we have all heard of the benefits of slow practice, it always bears repeating.
Thursday, September 11, 2014
The fermata!
- A hold or pause sign that indicates a note should be held longer than its normal duration.
Why have I been thinking about the fermata today? Well quite simply I am working on Chopin's Etude in E Major which he composed for his friend Franz Liszt. On page 4 of the etude there is a passage described with con bravura in the measure. The notes are crazy sevenths that test one's patience beyond any reasonable level of understanding.
When I dream about playing this etude in a drawing room with a fire place, I think that when I reach the end of the etude on page 5, that I should hold the final e g and e g for ever. In other words I should hold those final notes as if there were a fermata on top, so I will have the time to realize what I accomplished in getting to the end of this wonderful piece.
Which leads me to one additional thought about fermatas. Every year from 7 to 18 I participated in a yearly piano recital. Each year, I seemed to play with more polish than in years past. However when I got to the end of the piece, I often seemed to play the last note and jump off the piano in sheer relief. Relief that I got through the blasted sonata, invention or nocturne. Or relief,that I could finally take a couple of weeks off and play music from my various "Beatles" books.
Some times when I think about the fermata, I think about it in terms of work. Perhaps when I am doing a presentation I should pause, sort of holding that thought, and give the people I am speaking to the time to digest what I have said, before I jump to the next topic.
I remember hearing Jean Yves Thibaudet at the Ohio Theatre one time. He had the ability to play and linger on the last note, which gave you time to think about all he had accomplished, and of course to look at his red socks. He has a wonderful Debussy CD which is life changing actually, so I would suggest buying it very soon.
My daughter Sarah while in the Bishop Watterson High School, had a button that said "hold me I'm a fermata" Good advice I think!
- A hold or pause sign that indicates a note should be held longer than its normal duration.
Why have I been thinking about the fermata today? Well quite simply I am working on Chopin's Etude in E Major which he composed for his friend Franz Liszt. On page 4 of the etude there is a passage described with con bravura in the measure. The notes are crazy sevenths that test one's patience beyond any reasonable level of understanding.
When I dream about playing this etude in a drawing room with a fire place, I think that when I reach the end of the etude on page 5, that I should hold the final e g and e g for ever. In other words I should hold those final notes as if there were a fermata on top, so I will have the time to realize what I accomplished in getting to the end of this wonderful piece.
Which leads me to one additional thought about fermatas. Every year from 7 to 18 I participated in a yearly piano recital. Each year, I seemed to play with more polish than in years past. However when I got to the end of the piece, I often seemed to play the last note and jump off the piano in sheer relief. Relief that I got through the blasted sonata, invention or nocturne. Or relief,that I could finally take a couple of weeks off and play music from my various "Beatles" books.
Some times when I think about the fermata, I think about it in terms of work. Perhaps when I am doing a presentation I should pause, sort of holding that thought, and give the people I am speaking to the time to digest what I have said, before I jump to the next topic.
I remember hearing Jean Yves Thibaudet at the Ohio Theatre one time. He had the ability to play and linger on the last note, which gave you time to think about all he had accomplished, and of course to look at his red socks. He has a wonderful Debussy CD which is life changing actually, so I would suggest buying it very soon.
My daughter Sarah while in the Bishop Watterson High School, had a button that said "hold me I'm a fermata" Good advice I think!
Madeline Karn
"No excellence can be acquired without constant practice." These were the words of actress Judi Dench in Pride and Prejudice (the Kiera Knightley version) as Ms. Knighley played the piano. Truer words were never spoken!. Which brings me to my thoughts about my current piano teacher.
Madeline Karn first and fore most is a fine pianist. She is also an Oberlin graduate, which speaks volume about her ability as a pianist and musician. Madeline was also my daughter Sarah's only piano teacher, and Sarah is not rhythmically challenged today because of Madeline.
Madeline was also a friend of Earl Wild, one of the finest American pianists. His influence on the world of piano is still strong today, as many budding artists and amateur pianists play his wonderful transcriptions. There will be more about Mr. Wild in a future blog post, but take a look at the story of his life in A Walk on the Wild Side. Also his recordings are available through Ivory Classics.
However, back to Madeline. I think when someone is truly in love with the piano, it just shows. For instance, when you enter Madeline's house, she literally has all of her music in book shelves. It reminds me of a professor at Oxford, who cannot part with any classic literature. One of the things I have learned about playing the piano, is when your teacher marks your music, and/or makes suggestions, you have those suggestions for ever. So, you can refer back to those markings as reminders about how you can play a piece better.
Madeline also has her originally theory/rhythm books, which she uses with you to figure out rhythmic patterns. Usually the approach to figure out a rhythmic pattern is to clap out the beat. It seems and sounds elementary but it truly works. It also can make you crazy!
Madeline can also play very well! I had the opportunity to hear her play several years ago at a Women in Music concert and it was very affirming to know that her technique and musicality were actually quite amazing!.
Madeline has never given up on her students. I guess she could retire and sit around listening to Horowitz CDs but instead she keeps focused on her students. There is a certain amount of sheer discipline that is required to teach the fundamentals of piano to others. Madeline has that discipline!!! She also loves teaching adults, which is somewhat comforting when you are coming back to the instrument after many years or starting for the very first. time.
You have a very personal relationship with a piano teacher, which is actually very rewarding. Madeline has been a great confidant and friend, and I enjoy my time learning new things about the piano with her. She also didn't talk me out of working on Rhapsody in Blue. I bought the piece when I was 12 and now I am actually learning it. It will never be at concertizing stage, but I can dream.
Who knows 10,000 hours for Gershwin's number one may be all I need!
"No excellence can be acquired without constant practice." These were the words of actress Judi Dench in Pride and Prejudice (the Kiera Knightley version) as Ms. Knighley played the piano. Truer words were never spoken!. Which brings me to my thoughts about my current piano teacher.
Madeline Karn first and fore most is a fine pianist. She is also an Oberlin graduate, which speaks volume about her ability as a pianist and musician. Madeline was also my daughter Sarah's only piano teacher, and Sarah is not rhythmically challenged today because of Madeline.
Madeline was also a friend of Earl Wild, one of the finest American pianists. His influence on the world of piano is still strong today, as many budding artists and amateur pianists play his wonderful transcriptions. There will be more about Mr. Wild in a future blog post, but take a look at the story of his life in A Walk on the Wild Side. Also his recordings are available through Ivory Classics.
However, back to Madeline. I think when someone is truly in love with the piano, it just shows. For instance, when you enter Madeline's house, she literally has all of her music in book shelves. It reminds me of a professor at Oxford, who cannot part with any classic literature. One of the things I have learned about playing the piano, is when your teacher marks your music, and/or makes suggestions, you have those suggestions for ever. So, you can refer back to those markings as reminders about how you can play a piece better.
Madeline also has her originally theory/rhythm books, which she uses with you to figure out rhythmic patterns. Usually the approach to figure out a rhythmic pattern is to clap out the beat. It seems and sounds elementary but it truly works. It also can make you crazy!
Madeline can also play very well! I had the opportunity to hear her play several years ago at a Women in Music concert and it was very affirming to know that her technique and musicality were actually quite amazing!.
Madeline has never given up on her students. I guess she could retire and sit around listening to Horowitz CDs but instead she keeps focused on her students. There is a certain amount of sheer discipline that is required to teach the fundamentals of piano to others. Madeline has that discipline!!! She also loves teaching adults, which is somewhat comforting when you are coming back to the instrument after many years or starting for the very first. time.
You have a very personal relationship with a piano teacher, which is actually very rewarding. Madeline has been a great confidant and friend, and I enjoy my time learning new things about the piano with her. She also didn't talk me out of working on Rhapsody in Blue. I bought the piece when I was 12 and now I am actually learning it. It will never be at concertizing stage, but I can dream.
Who knows 10,000 hours for Gershwin's number one may be all I need!
Tuesday, August 12, 2014
Aaron Diehl
http://www.aarondiehl.com/videos-5.html
Take a moment to look at this link for Aaron Diehl. In this link you can listen to him playing Viper's Drag by Fats Waller. This is incredible. Perhaps because he is from my adopted city of Columbus, Ohio, Aaron is a sign that Columbus, Ohio is so much more than Buckeye football. In fact, if you follow my blog, you can expect to hear about other amazing Columbus area musicians, and in particular pianists. I like other instruments, but I guess it really is only about the piano, and probably will be until I become an angel playing a key board in heaven.
I have seen Aaron perform live at the Columbus Great Southern Theatre. He is absolutely incredible. I am 58 and I think he might be 27, so I hope I can live to 80 years old so I can see what he is going to be up to in the world of jazz. It is an honor as an amateur pianist to be able to attend any concert where he is performing. As the late Tim Russert would say, "what a country!"
Word on the street, is that while a student at Juilliard he was invited by Wynton Marsalis to go on tour with him. That is still so incredible, and whenever I have a bad day as a lawyer I just go to Aaron's site and play this link. Again, so, so incredible.
Aaron has a very good Facebook page, and you can keep track of what he is up to in terms of concertizing.
http://www.aarondiehl.com/videos-5.html
Take a moment to look at this link for Aaron Diehl. In this link you can listen to him playing Viper's Drag by Fats Waller. This is incredible. Perhaps because he is from my adopted city of Columbus, Ohio, Aaron is a sign that Columbus, Ohio is so much more than Buckeye football. In fact, if you follow my blog, you can expect to hear about other amazing Columbus area musicians, and in particular pianists. I like other instruments, but I guess it really is only about the piano, and probably will be until I become an angel playing a key board in heaven.
I have seen Aaron perform live at the Columbus Great Southern Theatre. He is absolutely incredible. I am 58 and I think he might be 27, so I hope I can live to 80 years old so I can see what he is going to be up to in the world of jazz. It is an honor as an amateur pianist to be able to attend any concert where he is performing. As the late Tim Russert would say, "what a country!"
Word on the street, is that while a student at Juilliard he was invited by Wynton Marsalis to go on tour with him. That is still so incredible, and whenever I have a bad day as a lawyer I just go to Aaron's site and play this link. Again, so, so incredible.
Aaron has a very good Facebook page, and you can keep track of what he is up to in terms of concertizing.
Art of the Fugue by Angela Hewitt
The great pianist from Canada, Angela Hewitt has released her compact disc, Art of the Fugue. If you like Bach, and want to hear some orderly, and calming music this disc might be for you. Angela has a wonderful Facebook page where she talks about her concert schedule as well as her master classes. She actually held a master class in Spoleto this summer, and you can catch a glimpse of her work by looking at her wonderful and informative Facebook page.
The great pianist from Canada, Angela Hewitt has released her compact disc, Art of the Fugue. If you like Bach, and want to hear some orderly, and calming music this disc might be for you. Angela has a wonderful Facebook page where she talks about her concert schedule as well as her master classes. She actually held a master class in Spoleto this summer, and you can catch a glimpse of her work by looking at her wonderful and informative Facebook page.
Thursday, June 19, 2014
In 7th grade I was attending the local public junior high school in Farmington Hills michigan. OE Dunckel Junior High. One of my friends Catherine Schroeder asked me if I knew how to play Rhapsody in Blue. Not to embarrass myself I said yes. What an out and out lie!
I then thought, I have to get it and learn it!!! So I made my mom drive me to the music store in Berkley, Michigan and I bought the $4.00 Warner Brothers edition. Did I learn it? No!
But I decided now that I'm an almost empty nester, I am going to learn it! 31 pages and I can play through, poorly the first eight. So part of this blog will be my discussion of Rhapsody in Blue progress. It is a piece that has so much greatness, but also a piece that brings out the Charlie Brown aaaargh!
Page 4 measure 7. 4 flats and those close 4 note chords in the right hand. Simply intimidating! More to come about the Rhapsody.
I then thought, I have to get it and learn it!!! So I made my mom drive me to the music store in Berkley, Michigan and I bought the $4.00 Warner Brothers edition. Did I learn it? No!
But I decided now that I'm an almost empty nester, I am going to learn it! 31 pages and I can play through, poorly the first eight. So part of this blog will be my discussion of Rhapsody in Blue progress. It is a piece that has so much greatness, but also a piece that brings out the Charlie Brown aaaargh!
Page 4 measure 7. 4 flats and those close 4 note chords in the right hand. Simply intimidating! More to come about the Rhapsody.
Tuesday, June 3, 2014
The years 7 to 21, I dreamed of being a pianist, something along the lines of a church musician, or a pianist for a ballet company, or arranging popular music, and playing in a class lounge with a black grand piano. When I got to Albion College my freshman year, and I signed up for piano lessons, I decided I simply wasn't good enough to be a professional musician. The teacher I had, who mostly had piano majors for students, told me I had double jointed thumbs and I would never be able to play correctly. That took me into almost a ten year hiatus away from the piano When I was home from college ( I switched to Michigan State) my sophomore year I looked at my parents' piano and aside from the occasional Christmas carols I didn't play it. However my college boyfriend, whose older brother was in a fraternity, convinced me to play the frat piano when they had Friday night TGs for sorority girls. I guess it was at that point, that I got back into it. I would play a variety of lounge lizard songs for drunken fraternity men and their girlfriends. They were too drunk to care, and I would improvise and change keys on the Beatles, Beach Boys, Bread etc. I was insecure around guys, and the piano was my refuge, I could play and do something constructive instead of hanging out with dolt like guys who had greek letters on their sweatshirts.
So I am back into piano lessons once again, Part of the motivation is to end my empty nester grief. My husband Mark is a amateur musician. He had his own barbershop quartet in law school, and he is currently committed to our contemporary church choir at St. Peter. I love the choir, but I always have believed if I commit to anything musically it simply has to be the piano.
Right now I am learning the etude in E major by Frederic Chopin. It is a very well known Chopin work with four sharps. He wrote it for his friend Franz Liszt, which says so much about the piece. Can you only imagine being friends with Franz Liszt? That is something to think about, and something that could make you day dream for an entire day. The nitty gritty of this work is balancing the melody in the right hand with the continual base in the left hand. But the challenge of the piece starts on measure 38 of the Willard Palmer edition, with chromatic fourths (professional musicians, please don't kill me if I describe it incorrectly, and then the craziness of measures 46 to measure 53. I decided on measure 46 through 53 I would simply have to write in the notes, with a pencil, because I simply cannot remember then after I work them, out and then leave the piece to come back another day.
Sometimes I am so bogged down in the notes, that I feel like the piece is "learned" once I learn the notes. I know that is only a small piece to the puzzle. Perhaps that is what calls me back to the piano so often, I know I will never be quite perfect at playing. But knowing on some level I can play something keeps me going, because a solid practice session is one of the best things you can ever do. You spent some time creating something in the language of music. It is so amazing. Sometimes I dream, that when I die, there will be millions of grand pianos all being played by musicians (including all of the famous ones) who have gone before me. Just thinking of that is gratifying, and helps to make any day a good one.
So I am back into piano lessons once again, Part of the motivation is to end my empty nester grief. My husband Mark is a amateur musician. He had his own barbershop quartet in law school, and he is currently committed to our contemporary church choir at St. Peter. I love the choir, but I always have believed if I commit to anything musically it simply has to be the piano.
Right now I am learning the etude in E major by Frederic Chopin. It is a very well known Chopin work with four sharps. He wrote it for his friend Franz Liszt, which says so much about the piece. Can you only imagine being friends with Franz Liszt? That is something to think about, and something that could make you day dream for an entire day. The nitty gritty of this work is balancing the melody in the right hand with the continual base in the left hand. But the challenge of the piece starts on measure 38 of the Willard Palmer edition, with chromatic fourths (professional musicians, please don't kill me if I describe it incorrectly, and then the craziness of measures 46 to measure 53. I decided on measure 46 through 53 I would simply have to write in the notes, with a pencil, because I simply cannot remember then after I work them, out and then leave the piece to come back another day.
Sometimes I am so bogged down in the notes, that I feel like the piece is "learned" once I learn the notes. I know that is only a small piece to the puzzle. Perhaps that is what calls me back to the piano so often, I know I will never be quite perfect at playing. But knowing on some level I can play something keeps me going, because a solid practice session is one of the best things you can ever do. You spent some time creating something in the language of music. It is so amazing. Sometimes I dream, that when I die, there will be millions of grand pianos all being played by musicians (including all of the famous ones) who have gone before me. Just thinking of that is gratifying, and helps to make any day a good one.
Monday, May 19, 2014
My first piano teacher George Assemany, was the organist at the catholic church where I attended grade school. I grew up in Northwest Detroit, and went to Christ the King Grade School. The school is one of two Detroit Catholic Schools that is still open to this day. He had been the organist at my mother's church growing up, so my mom had known this man for many years. He was an exceptional organist and could sing almost anything in Latin. Mr.Assemany would take his pointer stick and put it under your wrists to hold them up. I don't think his technique was very effective, but nonetheless, that was his focus. If you played a piece flawlessly, you got a large gold star. If you didn't play it flawlessly, he would write in large cursive what you were doing incorrectly.
As years passed, I learned that he scared some of my other classmates away from the piano. But for me, even the things that bothered me about him, didn't deter me from loving the piano. Nothing ever stopped me from loving the piano nothing. I dreamed even as a six, seven and eight year old, that I would own a 6 foot black grand piano. Yes, that was basically my dream.
I think my mom who was musical in her own right, but not a pianist, knew that another teacher might be better for me. But nevertheless, Mr. Assemany taught me the notes, the staff, the clefs and basic rhythm and for that I am eternally grateful.
As years passed, I learned that he scared some of my other classmates away from the piano. But for me, even the things that bothered me about him, didn't deter me from loving the piano. Nothing ever stopped me from loving the piano nothing. I dreamed even as a six, seven and eight year old, that I would own a 6 foot black grand piano. Yes, that was basically my dream.
I think my mom who was musical in her own right, but not a pianist, knew that another teacher might be better for me. But nevertheless, Mr. Assemany taught me the notes, the staff, the clefs and basic rhythm and for that I am eternally grateful.
10000hours88keys
I was listening to npr one morning when the voice speaking indicated that to become an expert at anything you had to spend 10,000 hours to develop your expertise. As I was drinking my morning coffee I found myself in my living room looking at my 6 foot black Baldwin grand piano, and thinking I could be a better pianist if I tried to play for 10,000 hours. Hence this blog. The blog will focus on playing the piano as an amateur.........how I try to play better, what pieces are giving me difficulty, the measures of music that try my patience, pianists I admire,CDs I listen to, and what brings me back to the piano every day of my life!!
Sixty Minutes had a story last night on children in either central or south america playing instruments made from re cycled trash. It was amazing. The children, and their orchestra will be the subject of a documentary to air in the fall (in the United States) called the Recyclers. Instruments were made from oven tins, coins, tin cans. Instruments were mainly string instruments, but I wouldn't be surprised if a piano was eventually attempted. It proves what I have always believed, that music cannot be stopped. Check out the news piece on CBS Sixty Minutes.
Subscribe to:
Posts (Atom)