Duet playing
"Duet playing provides valuable experience developing a sense of rhythm." This sentence is in the Wesley Schaum's Tunes for Two Book Two, that I played when I was about 10 years old so, circa 1965. I was involved in the massive piano recital, sponsored by the Grinnell Brothers Music House, which consisted of about 100 pianos, with two children on each of them, playing two duet numbers.
Grinnell Brothers in Detroit, was one of the prime places to purchase a piano. The Grinnell Brother's Music House was located on the main thoroughfare of down town Detroit, Woodward Avenue. Started in 1908 the Grinnell Building was designed by Albert Kahn. The Grinnell Brothers started in the business of selling sewing machines and quickly moved to the sale of musical instruments including organs and pianos. In looking back, Grinnell pianos were available at a reasonable price, and probably the piano an average family would purchase if they couldn't afford a Steinway.
My grade school piano teacher Madonna Moffat decided that her students would participate in this grand duet "play-in" I remember going to rehearsals somewhere in downtown Detroit, along with my partner, who's name escapes me now. I think she may have been a Lisa. In reviewing the actual duet music for My Wild Irish Rose and You're A Grand Old Flag, I marvel at how simple they look now. However, at the time the thought or concept of the duet frightened me. As I have mentioned in prior posts, I am rhythmically challenged, and these duet pieces tested my ability to play with another person with correct rhythm.
I liken this experience to Charlie Brown trying to kick the football, held by Lucy, and my response being an aaaaargh!. Playing the piano is often a singular activity, so duets force you to collaborate with another pianist, and test your ability to give something of yourself to make beautiful music. That sounds noble doesn't it? It also tests your ability to be calm, take on a challenge and grow from meeting that challenge.
I look back at my Tunes for Two book now. The cover is gone. However my 10 year old writing is all over the inside page. I was seated at Piano #30 and I even drew a humorous picture of the Mr. Smith, the conductor who controlled the massive piano duet demonstration. I know my parents went and they made my two brothers attend the recital as well. I am sure my brothers were annoyed that they had to take time out of a busy Sunday to attend this event.
However, what I did learn from this musical moment was one important thing, number your measures in ensemble playing so you can refer back to a spot where you played something incorrectly. I also learned the meaning of rests in my part, in relationship to my partner's part. I also learned that when notes are above or below the staff, and you figure out what the notes are, you should write them in the score. And always, always write them in pencil
My only regret, is that I didn't get these duets out when my children Sarah and Michael were little. We could have made some incredible music together. There will be blogs about my children's musical journeys, but I leave that to a later moment.
And as only an adult can conclude, I eventually learned that the grand duet piano recital was actually a way for Grinnell Brothers Music House to sell their pianos after the large recital was over. At the time I didn't see it as a business proposition. I remember I had to wear a white dress, and my mother's friend made it for me. It was the first time I had a "Jacqueline Kennedy" sheath. It was very Parisienne with pearl buttons, and I had my gold clown pin on the lapel. I also remember how much time my mom gave to me, so I could do this recital. My mother was always big on promoting music throughout my life. Actually both my Mom and Dad placed a great priority on music, in all of its forms. That is a blog post for another day as well.
Duets can change the way you play for the better!!! You simply have to have the courage, to give part of your self to the music.
Tuesday, January 27, 2015
Wolfgang Amadeus Mozart
Today is Mozart's birthday! This in itself is a reason to rejoice. Whenever one thinks about classical music, Mozart's genius should come to mind. I also look at the challenge Mozart's compositions present to any pianist. I remember learning Sonate 16 in C major during my high school years. If you look it up and play the first few measures the tune is very familiar. I had heard a recording of it, and I know I badgered my high school teacher Katherine Lemon, to let me study it.
That is part of the issue with Mozart. One hears a beautiful melody, and in the pianist's mind he or she will say to his or herself, that it cannot possibly be that hard. However, once you get to the true musical score, you realize you are DEAD WRONG!!
Hence, my journey with No. 17 Sonate in B flat major. I remember when my then piano teacher, Dr. Suzanne Newcomb decided it was one I could study, looking at the music it did not seem too challenging. Wrong first impression. It was very challenging, from the rhythm, to the dynamics, to the musicianship needed to pull the work off.
Yet in studying number 17, I learned about the movements, the Exposition, the development, and the recapitulation. I learned in a much different way, that it just cannot be about getting the notes right, it must be about developing the melody and creating something magical for your audience.
I spent an inordinate amount of time on this Sonata, which I think helped me rhythmically. I am rhythmically challenged and I need a metronome most of the time. Or alternatively, I must figure out a meter, and then count out loud to reach perfection.
I also failed to mention the Sonate Number 5 in G major. I think I played this in high school, and it is another sonata, I simply love. Because it is in G, there is only an F sharp to worry about, so I think it lends itself quite well to being a great Mozart composition to begin to study. I also add that you have to watch your rhythm, because once you develop a level of competency with it, you feel the urge to rush the entire first movement. It is a glorious work of 120 measures, and if you are studying it, I like to think of it as a Sonata that can "wow" the crowd.
I wish as a young pianist, I had worked through my rhythm issues, instead of jumping into a piece and playing notes the way I thought they should sound. You just cannot do that with the great musicians. They wrote it in a style and rhythm, and there thoughts and plans should not be distorted by the average piano playing fool. These foregoing thoughts are particularly true of Mozart's sonatas
Beyond my thoughts about rhythm, in regard to Mozart, I still feel it is a privilege to attempt to play any of his music. There is a such a lively aspect to his sonatas, and just imagining how and when he composed these works, makes me think that I should look at any attempt to play them with a great deal of gratitude.
When ever I put a CD in my player of Mozart music, I often thing, the melodies sound so clear, direct and something I can hum. However, when I actually pull out the music and look at the composition, I then see, and understand the intricacies of what he was composing.
In a dreary mid west winter, knowing that Mozart's birthday takes place on January 27th can make all the difference when you are trudging through the snow, and the wind is blowing your scarf over your face Mozart brings to mind, a simple freedom, that you only find when listening to quality music. His compositions can make a gray day beautiful, even if the sun isn't shining.
Just looking at my two Klaviersonaten books of Mozart renews my faith in life, love and this wonderful world!!!
Today is Mozart's birthday! This in itself is a reason to rejoice. Whenever one thinks about classical music, Mozart's genius should come to mind. I also look at the challenge Mozart's compositions present to any pianist. I remember learning Sonate 16 in C major during my high school years. If you look it up and play the first few measures the tune is very familiar. I had heard a recording of it, and I know I badgered my high school teacher Katherine Lemon, to let me study it.
That is part of the issue with Mozart. One hears a beautiful melody, and in the pianist's mind he or she will say to his or herself, that it cannot possibly be that hard. However, once you get to the true musical score, you realize you are DEAD WRONG!!
Hence, my journey with No. 17 Sonate in B flat major. I remember when my then piano teacher, Dr. Suzanne Newcomb decided it was one I could study, looking at the music it did not seem too challenging. Wrong first impression. It was very challenging, from the rhythm, to the dynamics, to the musicianship needed to pull the work off.
Yet in studying number 17, I learned about the movements, the Exposition, the development, and the recapitulation. I learned in a much different way, that it just cannot be about getting the notes right, it must be about developing the melody and creating something magical for your audience.
I spent an inordinate amount of time on this Sonata, which I think helped me rhythmically. I am rhythmically challenged and I need a metronome most of the time. Or alternatively, I must figure out a meter, and then count out loud to reach perfection.
I also failed to mention the Sonate Number 5 in G major. I think I played this in high school, and it is another sonata, I simply love. Because it is in G, there is only an F sharp to worry about, so I think it lends itself quite well to being a great Mozart composition to begin to study. I also add that you have to watch your rhythm, because once you develop a level of competency with it, you feel the urge to rush the entire first movement. It is a glorious work of 120 measures, and if you are studying it, I like to think of it as a Sonata that can "wow" the crowd.
I wish as a young pianist, I had worked through my rhythm issues, instead of jumping into a piece and playing notes the way I thought they should sound. You just cannot do that with the great musicians. They wrote it in a style and rhythm, and there thoughts and plans should not be distorted by the average piano playing fool. These foregoing thoughts are particularly true of Mozart's sonatas
Beyond my thoughts about rhythm, in regard to Mozart, I still feel it is a privilege to attempt to play any of his music. There is a such a lively aspect to his sonatas, and just imagining how and when he composed these works, makes me think that I should look at any attempt to play them with a great deal of gratitude.
When ever I put a CD in my player of Mozart music, I often thing, the melodies sound so clear, direct and something I can hum. However, when I actually pull out the music and look at the composition, I then see, and understand the intricacies of what he was composing.
In a dreary mid west winter, knowing that Mozart's birthday takes place on January 27th can make all the difference when you are trudging through the snow, and the wind is blowing your scarf over your face Mozart brings to mind, a simple freedom, that you only find when listening to quality music. His compositions can make a gray day beautiful, even if the sun isn't shining.
Just looking at my two Klaviersonaten books of Mozart renews my faith in life, love and this wonderful world!!!
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