The "Special Teams" of Piano Technique

Anyone over the age of 12 has heard one of the most popular New Year's resolutions of all time: "This is the year I'm going to exercise and get in shape." No further comments needed on this one...

It does, however, bring to mind a few threads following my piece from January 1. As we begin our New Year ventures by envisioning the "end" of a new semester or period of study—culminating in a jury, a performance, a recital, or even the mastery of a piece in the world of amateur musicians)—be sure to include the role of "getting in shape at the piano" (i.e. technical work).

I believe technical work is an essential part of every musician's daily diet. If you are among those students who recognize technical gaps in your playing, this is the time to address them and work to assimilate these fundamentals. If you are among those fortunate students who have already integrated solid technical fundamentals—such as agility, independence of fingers, and tonal variety, among others—consider an analogy from football at this time: special teams.

Their name originates from the fact that they are part of neither the "offense" or "defense" teams of the overall football team. (My apologies to all those who know the game inside out!) But their role can be crucial to the score at the end of the game. Special teams players include field-goal kickers and the kick-off receivers. Without them, no team is complete.

In a weekend of a series of football games, my mind wandered: what are the "special teams" of piano technique? Trills, octaves, double notes, sixths, broken octaves, voicing technique, tonal development... certainly more than in football!

Many students assume that if they have agility and strength at the keyboard, they have the "complete technique." This is short-sighted and misinformed.

Here's where I circle back to the New Year's exercise resolution: how about identifying those "special teams" of your piano technique you'd like to acquire this year and get busy learning them? How about one a month: e.g. January, focus on trills; February, octaves; March, double notes; etc., etc.

It can bring new life into your learning and practice—and it holds the additional benefit of "cross-training." (More on that in an upcoming post.)

Back to the game... someone has just thrown an interception!

Kick-off photo credit: acaben
Field goal photo credit: Yourdon

The End Lies in the Beginning

I have been on hiatus from blogging the last several months. Writing, immersion seminars and summer courses here at Studio 1301, a new class of international students in my CCPA studio and the 11th season of Rush Hour Concerts at St. James Cathedral, with its ever-expanding energy and growth, have kept me away from this space.

The recent holiday season and its accompanying break, combined with all the associations of New Year's, have drawn me to "crank up my computer" (as an old friend used to say) and write down a few thoughts in the first moments of this bright, young and new year.

One crisp little phrase has been roaming around my consciousness since early December; it finds its rightful claim on this particular day:

"The end lies in the beginning."

The Romans—of course—had an even crisper way of saying it; it was the mantra of my kids' high school, where I first heard it.

The end lies in the beginning. We've just finished a year of living; many who read this blog have just finished the fall semester of study, practicing, performing, and teaching.

We're beginning a new year today. What "end" do you envision for various beginnings you have signed onto today?

Rather than wandering into the resolution cliché, how about thinking of the "end" of a certain project, skill, way of thinking, of expressing yourself verbally, or in writing?

For those music students/majors who have just recently finished fall semester juries, what "end" do you envision in May of this year, and to that end, how will you begin your new semester of study?

What have you learned from the ending of last year that can inform how you go about things this year?

Take a moment in this holiday time of winter break and gather up your assessments, your learning. Sketch out what your "ending" of next term might look like, and work backwards towards its beginning.

Happy New Year! Here's to success-contained beginnings!

Calendar photo credit: rmkoske
New Year photo credit: sukanto_debnath

Let's Hear it for the Background

I have been traveling in Spain these last few days and have learned a good many things. In Madrid, I visited the Reina Sofía museum, Spain's national museum of modern and contemporary art.

In it, Picassos, Mirós and Dalis abound, along with countless other masters of this genre. It is a treasure! I last visited this museum three years ago, but it wasn't until this trip that I understood why I find the works of Joan Miró so appealing: it is his backgrounds!

The colors are so vibrant, and even if a background reads "blue," close examination reveals that there are a mix and blend of colors that contribute to the energy and vibrancy of the "blue." I saw that the vibrancy of the background made whatever subject Miró painted in the foreground just pop with energy and interest.

Of course this brought to mind the role of the Alberti bass in the Viennese classics of Haydn, Mozart, and Beethoven. I had learned the importance of the Alberti bass many years ago from Alfred Brendel, including how to play it technically. The effectiveness and uniqueness of the melody line above is directly affected by the energy and vibrancy of the Alberti bass "background" below it.

I love it when the visual informs the auditory!

And here, for fun, for all of you who work with the metronome (and I hope there are many of you!)—from the same museum, a picture of Man Ray's famous work.

Adios!

Reina Sofía photo credit: Miolo

Jury and Recital Preparation: The Final Days

If nothing else: think pasta!

In the days leading up to your recital or jury, get plenty of rest, exercise regularly, get outside for air and sunlight and eat plenty of carbohydrates and protein. Don't forget to eat! Pasta, potatoes or rice accompanied by chicken or fish are especially good the night before a daytime jury. If you have an evening performance, it's good to eat pasta and protein for lunch, rest a bit in the afternoon and then "go to work" at night. Bananas are prolific backstage at The Chicago Chamber Musicians' concerts; oranges are popular as well for a burst of energy before going on stage.

Here, once again, the parallel between musicians and athletes is clear: tennis players have a very strict regimen of what they eat when on the day of a match. Musicians can learn a thing or two from this!

All in all, you want to feel like you have performed your recital or jury program a hundred times before the day of—and you will have, if you have followed my route outlined in previous postings. You will be very comfortable with all aspects of it, and, at the same time, you will be open to new insights and growth all along the way—including the concert or jury itself!

Good luck!

Plate photo credit: Jovike

Jury and Recital Preparation: The Last Two Weeks

In the week or two before a concert or jury, you are clearly ready, if not eager to play.

Keep things fresh by reinforcing your work in the practice room with score study away from your instrument. This helps you see and understand your pieces from another angle, and you'll find them growing in new ways once again. Continue to practice "smart," doing whatever "housekeeping" you deem necessary, and play through your program once or twice during the week. By this time, you should be able to do a lot of practice in your head. (More on this another time!)

It's also great to find a friend you can play for—anyone who will listen! If you can't find anyone during this busy time, perform for your tape recorder. It's amazing what the pressing of the "on" button does to create an atmosphere of performance!

Score photo credit: Alfstorm