Earl Wild
You can expect to see several posts from me about purchasing my grand piano and the great pianist Earl Wild. Tonight is a combination post.
I always dreamed of owning a grand piano, glossy black, six foot long and beautiful. I had a Baldwin piano growing up so I thought, I will buy a Baldwin Grand. Interestingly, my favorite pianist is Emmanuel Ax, and I read once that he was a Baldwin artist. He probably is actually a Steinway artist, but somewhere I had read he was a Baldwin artist and that was good enough for me. So I decided to buy a Baldwin Grand.
I shared this dream with my daughter Sarah when she was about 9 years old. I told her that we were going to buy a grand piano, and her response was always "okay mom" and she would clap.
One day after a busy day at St. Michael School, Sarah and I drove over to Graves Piano and Organ, the Steinway and Baldwin dealer in Columbus, Ohio I was in jeans and a sweat shirt, and for some reason Sarah was in similar dress. I walked into the store, and told the receptionist I was looking at grand pianos. I think from my dress she thought I wasn't serious. But I was. What she didn't know is that I had $10,000 in cash from my maternal grandmother. My grandma had kept a $10,000 savings bond with the sole purpose of contributing to my grand piano fund.
I was in a large show room, and Sarah and I were looking at Steinways, Baldwins and Bechsteins. Several men walked into the show room, and out of the corner of my eye, I could see that Earl Wild was with them. I knew he lived in my home town of Worthington, and I knew he was a famous pianist. He looked at me and Sarah and asked me "are you thinking of buying that piano?" I told him yes, and he just smiled. He didn't say anything else, and he didn't comment about whether my choice was good or bad. I add that the piano was $25,000 and that was going to be my financial limit. Just seeing Earl Wild at that point in time, was amazing. I've always taken that chance encounter as a sign, I guess a musical sign.
In any event, I had my piano tuner go over and take a look at it, and he confirmed that the piano met my requirements. I add that this was the most incredible material possession I have ever purchased. Owning a grand confirmed to me, that I was a good enough pianist to actually own a grand piano. After I made the purchase and before delivery, I would wake up in the middle of the night, and literally pinch myself. I could not believe that my biggest material dream was coming through. So incredible.
Now whenever I go down the stairs in the morning and look in the living room and see my piano, I know that all is right with the world. No matter what peaks and valleys I have in life, knowing that I realized my dream, with the help of my grandmother never ceases to amaze me. I add that my grand mother was widowed at 49 and went to work in a factory to support my mom. She always purchased savings bonds, and bought one for me that grew to $10,000. She almost gave it to me to help with law school tuition, but she knew I wanted to buy a grand piano, so she kept that bond, for me. She died in 1993 and did not see me realize my dream. I believe I purchased my piano in 1999 or 2000. I will have to confirm that with my piano tuner. But I am a spiritual person, and I know she can see that I DID purchase that piano!!
My mom did see me buy this piano, though which was so incredible. My Dad had Alzheimer's by that time and didn't know me, but my mom was truly happy that I made the piano purchase, happen in her life time. When she came over to my house right after it was delivered, I could tell how truly happy she was for me. As a parent, you can always be happy when your child realizes a major dream.
So, what has owning a grand piano done for me? I think I play better because it is a better instrument. I also like the full sound the piano produces. It literally fills the room with beautiful sound. It also makes me feel like I am a real musician. I know I'm not, I'm just your crazy, piano playing fool, but when I sit down at that piano, I am transformed. I play with more feeling, and more attention to detail.
There will be many more blog posts about my piano. Suffice to say, I am a proud owner of the greatest of instruments. It may not be a Steinway, but it a beautiful sounding instrument that makes every day seem filled with peace and joy.
Friday, March 20, 2015
Sunday, February 15, 2015
Burt Bacharach
I was watching Glee the other evening. This season has not come up to the level of high quality of other seasons. That being said last week's episode zeroed in on the music of Burt Bacharach. Burt Bacharach was a pianist and composer. He was a real star of the sixties and seventies, but even now his music is timeless.
After hearing Lea Michele of Glee sing Promises, Promises, I took a moment to find my book of Burt Bacharach piano music. The book was in my piano music bookshelf, and looking at it is worn. It has pictures of Mr. Bacharach and Hal David his lyricist on the front cover.
Taking the book out, and opening it up brought back a lot of memories. Looking at the various songs, I noticed that none of the music was that challenging to play. In fact I often have believed that a great song, doesn't always have amazing accompaniment. The truly great song can stand on it's own quite simply with a single melody line. Think of songs like Always or Time after Time.
For instance, the waltz tempo of "What the World Needs Now" makes this song wonderful. The song can be played quite simply on the piano, and was originally performed with tuba accompaniment. I always think of this song as one I would begin or end with, if I was a piano player at Von Maur Department Store.
The Bacharach book of music also contained the 5th Dimension hit, One Less Bell to Answer. I can only imagine when playing it that Marilyn McCoo is belting it out, with her absolutely amazing voice.
The Carpenters' Close to You was also in the book, and I had forgotten it was written by Mr. Bacharach. There is also the beautiful ballad A Message to Michael. In naming my son Michael, I often think of that ballad.
Again, if you are a pianist amateur or professional, you should look through your music shelves, you might be able to bring a great memory to the forefront of your mind. You also might have an opportunity to work on your sight reading, even if it is only a half hour before you have to make dinner, or help your children with your home work.
Again, as with any great composer, it is a privilege to be able to play the music created by them.
I was watching Glee the other evening. This season has not come up to the level of high quality of other seasons. That being said last week's episode zeroed in on the music of Burt Bacharach. Burt Bacharach was a pianist and composer. He was a real star of the sixties and seventies, but even now his music is timeless.
After hearing Lea Michele of Glee sing Promises, Promises, I took a moment to find my book of Burt Bacharach piano music. The book was in my piano music bookshelf, and looking at it is worn. It has pictures of Mr. Bacharach and Hal David his lyricist on the front cover.
Taking the book out, and opening it up brought back a lot of memories. Looking at the various songs, I noticed that none of the music was that challenging to play. In fact I often have believed that a great song, doesn't always have amazing accompaniment. The truly great song can stand on it's own quite simply with a single melody line. Think of songs like Always or Time after Time.
For instance, the waltz tempo of "What the World Needs Now" makes this song wonderful. The song can be played quite simply on the piano, and was originally performed with tuba accompaniment. I always think of this song as one I would begin or end with, if I was a piano player at Von Maur Department Store.
The Bacharach book of music also contained the 5th Dimension hit, One Less Bell to Answer. I can only imagine when playing it that Marilyn McCoo is belting it out, with her absolutely amazing voice.
The Carpenters' Close to You was also in the book, and I had forgotten it was written by Mr. Bacharach. There is also the beautiful ballad A Message to Michael. In naming my son Michael, I often think of that ballad.
Again, if you are a pianist amateur or professional, you should look through your music shelves, you might be able to bring a great memory to the forefront of your mind. You also might have an opportunity to work on your sight reading, even if it is only a half hour before you have to make dinner, or help your children with your home work.
Again, as with any great composer, it is a privilege to be able to play the music created by them.
Tuesday, January 27, 2015
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.
"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.
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!!!
Tuesday, December 16, 2014
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!!
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, 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.
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