Follow Up From Heidelberg Master Class Workshop

I attended Alan's recent workshop to get some advice of a problem I had playing properly with two hands. Basically, I would seize and stop breathing. I've been learning the piano for a bit over two years so I'm pretty well a raw beginner. So Alan watched me for about 10 seconds and said: "Stop right there, your problem is that you are typing notes, not playing them. The hand is well formed but everything from the knuckles back is rod stiff." So it was back to square one learning how to move the hand, the wrist and the arm properly. I just published a first instalment of Mikrokosmos Volume 1: pieces 1 thru 6 - Six Unison Melodies to my MobileMe Gallery: There are improvements but the road is going to be long one. Notes: - It's a 3 minutes sequence that should stream just fine if you have a broadband link. If not, just download it to your PC. The download will also allow you to view is full screen. - the sound was a direct pickup from the piano line-out so the sound quality should a lot be better than if it had been recorded from a microphone. Wearing headphones should allow you to hear all the (messy) details. - The piano was set on super light touch. As a result, there is no margin for error and the (many) notes that are not played just right will stand out. rgds

Hi, Before I comment on the actual playing, I have a concern with your post Wearing headphones should allow you to hear all the (messy) details. - The piano was set on super light touch. As a result, there is no margin for error and the (many) notes that are not played will stand out. rgds I think the highlighted words are the main problem. What does it mean to play a note "just right"? There are many many different ways to play the notes and every time you play a piece it sounds different. I think what I hear in your music is that you are trying to play "just right" and as a result the sound is very controlled. Regarding your playing, I think you need to work on a better sense of pulse and more dynamic variation. What is the meter of these pieces? When does a phrase start and where does it end? It sounds a bit like somebody speaking at a constant rate without taking a breath to rest, and no pause between sentences. I find it helps to exaggerate at first. Play the first note of each bar extra loud, and the rest of the notes extra soft. It will probably sound bad, but it will give you an idea of the direction you need to take. Also, watch where slurs start and end, and take a moment to breath between them (exaggerate that too - lift your hand high up from the keys). To get better phrasing and dynamic ideas, you could try to sing these melodies while tapping the beat with your hand. Usually when we sing we instnctively inflect the rhythm the and the dynamics slighty to match our musical idea. Then try to copy what you hear to the keyboard. Also, I find that playing at a faster tempo helps to get a better feeling of the pulse and playing becomes more musical as a result. Even if the piece is supposed to be played at a slower tempo eventually, playing it a bit faster helps you develop a musical idea. As you say, the road is long (and the journey is enjoyabe). On the positive side, it doesn't sound like complete typing to me. When you called yourself a typist I excpected to hear banged notes all over the keyboard, but instead there is a nice flow between one note to the next. Keep working on your legato touch, but with more dynamics, a clear sense of pulse, and slight pauses between phrases. Zack

Zack, Thanks for the remarks. By just right, I mean, a minima, hitting both notes (from LH and RH) simultaneously and preferably also with the same force. Emotion will come later. "need to work better sense of pulse and dynamic variation" : yes indeed and I'm still working on my breathing. It's gone from NIL to some. "watch where slurs start and end": Thank you for pointing that out. Each piece as a number of those. I was so focused on get the legato right that this one flew right by me !! The pieces are all 4/4 , quarter note at 96-104 (andante). I've posted the score here: . There is a 30 day viewing window on this link. (note to readers : I 've got proper permission from the publisher to post such fragments) I also have recordings of the work by Gyorgy Sandor and Dezsö Ránki which I listen to repeatedly. "I expected to hear banged notes but instead there is a nice flow" : aah, you are hearing/seeing the first results of Alan's lessons. They WERE being banged and there was NO legato whatsoever. Lastly, shameless plug: I you want to read all about how I got into this adventure, go here: Keep those letters and cards coming.. Marc

Hi Marc, Thanks for clarifying. If the intention of posting this link was to review the technical element of tai-chi walking of the keyboard, then I would say that you have done some great progress. There is still room for improvement of course, but it definitely sounds legato now. I have been practising Alan's legato excercises for 8 months or so, and it has been a great help. It takes a long time until this way of playing becomes instinctive, but when it does it opens the door for so many options (and so much more hard work ) When you feel more confident with your legato try to include more dynamics, while still keeping the notes connected and overlapping. It is not easy, but if you cultivate a stable arch you will discover that you have a very fine level of control over your sound. Zack

Ahh, nice when my 'deputies' can say all the right things for me... AFF