November 20, 2012 § 2 Comments
Why is it so hard to read music? One reason is that doing many things at once, like reading and interpreting symbols, listening to the sounds you’re making, operating complex machinery at a high speed (that’s the piano, folks), coordinating 2 hands and 2 feet, 2 eyes and 2 ears in real time to a beat in your head, and trying to make sense of something you really care about, is genuinely HARD.
The other reason is that music itself is hard to WRITE. To simplify the process, lots of shortcuts have been made through the centuries. That leaves us with a system that is full of fancy repeats, symbols with multiple meanings, sporadic instructions (Key signatures? Accidentals?) and the things that try students’ patience and, fortunately, keep music teachers employed.
If it sounds like a lousy bargain, speeding up the writing but slowing down the reading, you have never written music by hand. It is a fussy, demanding job. And, up until computers, preparing the plates for printing was a laborious craft. Each mark on the page had to be made by hand, on a steel plate, backwards, perfectly, for printing. Every note, every stem, every slur, every dot, every flat, every sharp, every everything had to be scribed on the steel by hand. There is no moveable type for music. Gutenberg’s revolution missed us musicians.
This video, by the music publishers G.Henle Verlag, show the process in precise detail. The camera looks over the shoulder of a craftsman as he puts in the staff, knocks in the note-heads, rules the bar lines, scrapes, etches and punches his way through a line of music. It even shows how he corrects mistakes.
I could hardly breathe while watching this the first time. I knew it was an exacting craft, but I had no idea it was as demanding as this. This is the best video ever because it shows one reason why music is so hard to read: it is really hard to write.
April 14, 2012 Comments Off on Music and Memory
Here’s a wonderful clip from a documentary on the Music and Memory non-profit project. It shows a man in a nursing home being brought back to life by listening to music.
April 2, 2012 Comments Off on 2,300 year old lyre part found in Scottish cave
So it’s true: my ancestors were living in caves, singing and telling stories while the real work of civilization was going on in China and India. Why am I not surprised? Has anything changed?
The whole story of this archeological find can be read here.
March 25, 2012 Comments Off on Not Sold In Stores
187 full-length selections from the beloved 12-tone masters of the Second Viennese School.
I remember when playing Pierrot Lunaire on the lo-fi would make my mom pull her hair out in mock horror. Now Schoenberg provokes nostalgia for the lost days when these sounds were new. Groups play this 100-year-old music with real enthusiasm today, instead of the dreary earnestness of my youth. Is there nothing shocking in music anymore?
- Classical music survey: What musical blind spots do you have? What works and composers just don’t speak to you? (welltempered.wordpress.com)
December 26, 2011 § 4 Comments
The trouble with music is if it’s good I get itchy fingers and want to play something just like it and if it’s bad I want to play something to rinse the residue out of my ears and if it is just so-so it leaves me room to dream of my own playing and I want to get over to the piano and get some music going. All music seems to lead to piano playing for me so sometimes I have to avoid it to get some rest.
I’m not sure what people do with their lives if they don’t play the piano or make some other kind of music. I fear they have great gaping holes on the inside. What will happen if they are in an accident and are rushed to the hospital and the doctors open them up and find big cavities of emptiness? My HMO is pretty stingy but I would be afraid, if it happened to me, that they would try to fill me up with some peer-reviewed styrofoam or some TV wellness ads or something no better than placebo. Making music is way better than placebo, in fact is better than just about anything legal or illegal for whatever is missing in your life and it will fill you up. Ask yourself is music is right for you and listen to the answer before it is too late. Stop putting it off.
It is almost a new year and time to make plans. If this is the year that you’re going to learn how to play the piano, or get re-acquainted with it after years spent wandering in the desert without it, you’re in luck: I’m going to give away all the secrets of piano playing in the next paragraph. I’ve written this all down so that I can study it myself. I feel like I need a refresher.
So here it is, the secret of piano playing, the universe and everything: All you have to do, all that making music at the piano requires of you, all that stands between you and Beethoven’s Fourth Concerto right now, is nothing more than getting your hands on the right note at the right time and making it sound good.
If you can get that one note played at the right time and exactly the way you want it so that it leads into the next note and the one after that, and then some more, the job is done. Just make those notes tell that story you want to tell.
Let’s say you are working on Liszt’s transcription of Schubert’s Gretchen am Spinnrade. Start by getting those notes to conjure Gretchen sitting at her spinning wheel in front of her house, jilted by Faust and singing, “My heart is heavy, I will never have peace”. You will want to make her song as troubled as her heart. But keep the notes of the spinning wheel agitated, restless. Don’t let them swamp the song, and give them no peace. Do this all with your right hand, while the left hand weighs in with ominous low notes.
Heartbreak? If heartbreak weren’t as old as men and women, this would be the music that invented it. The whole tale is one long heartbroken melody with a gasp, right there, at the G natural, where Gretchen is overcome with the memory of Faust. It’s the song not just of Gretchen’s but of everyone’s heartbreak, the entire last 10 centuries of heartbreak, and the next 10 centuries as well, every heartbreak that came before and all that will come after. It is all there in the notes and if you get it right you will make it happen with your own two hands. Just do it. It is all that is required. Get those notes to behave. And then do it again. And again.
But what if, try as you can, those heartbreak notes don’t get played right or get played at the wrong time or you can’t possibly get them to sing and keen and break? What if what you are playing and hearing is not what you are imagining, not even a little bit?
Then you will have to study and try things out and go down lots of dead ends and back up and get frustrated and repeat yourself a lot. You will spend a lot of time at the piano, working over those notes. Sometimes you will despair and sometimes you will be thrilled and sometimes you will just do the job and sometimes you will love every note and sometimes you will hate them all. It will be pretty much like the rest of life. There will be no sure answers, no simple solutions, no steady, predictable results. But you will do it, chasing that elusive sound. This is what we call practice.
They say practice makes perfect. I don’t know who they are; they clearly are not hanging around a piano trying to get things under control. I’ve practiced a lot in my life, probably a lot more than you have, and I can say without hesitation, (and offer references if you need them), that I am not yet perfect, not at the piano and not as far as anyone can tell at anything else. So if practicing makes perfect I’d like to know when I might take delivery on the perfection, because it has been a long time waiting.
Nothing will ever be perfect that involves pianists trying to get sounds right because no matter how good we all get, the goalpost keeps moving off ahead of us and tomorrow we have to get up and chase it down again. Tomorrow we will feel differently about what that goal really is and maybe we will have a headache or be thinking about lunch. It is a slippery thing, musical achievement is, well within our grasp today and gone tomorrow. But like any good drug, once we have it we want it again so we keep at it, trying to hit that sweet success.
Some people think they can get the same results by buying CD’s or going to concerts or downloading all the works of Schubert onto their iPods and listening while they run 3 miles in the morning. I’m here to tell you that this won’t work. Those are all fine experiences but they don’t fill those holes inside the way playing the notes yourself will. You have to get your hands into the music and mess with it and then mess with it again. Call it practice or call it playing or just call it music, there is no substitute.
But here I go, yammering on about practicing. I promised to tell you all the secrets about how to play the piano and got side-tracked on the practicing angle, what we call the P-word, a hobbyhorse we pianists all ride and ride and ride. Should you play scales? Should you work through all of Czerny? Do you do stretching exercises or start with Bach? That stuff is irrelevant. It is like asking a carpenter whether he uses nails or screws. You do what you need to do to get that music made.
The real thing you have to do to get that music made, is to play the piano every day. Every day means Monday, Tuesday, Wednesday, Thursday, Friday, Saturday and Sunday. Every day as in 7 days a week. This isn’t some soul-destroying job we’re talking about here, where you need to take holidays just to keep from crying all the time. This is like eating and sleeping and petting puppies and walking around making up jokes and stories. You’re going to do it every day because it is that important and because otherwise your life will be full of holes.
If you’re old enough to find this blog and read it, you’re old enough to have plenty of things to do every day. You may have a job that eats your brain 5 days a week, a passel of little ones underfoot who need you right now, homework to do so you won’t flunk math and be an embarrassment to your family, a leaking roof or a problem with the IRS that only lawyers and a name change will solve.
I don’t know what you’re going to do about these things. But if you are going to play the piano you must find time to do it every day. People in far worse situations have played the piano as if their lives depended on it. Chopin played the piano while dying of TB, Clara Schumann played the piano while raising 8 children whose father was in the mental hospital, people play the piano while their marriages unravel and the wolf paws at the door. You can, too. If this is your year to get better at the piano, you will have to figure out a way to make it happen.
Many people can’t get started on a project like this because they worry about quality. They are afraid their piano playing will be like other people’s babies: wrinkly and smelly and loud and hateful.
There is no reason to worry about whether your playing will be good or not. It isn’t as if everything we humans do has to be great or we else we just skip it until inspiration arrives. Unless you are reading this while sitting in the Sistine Chapel, all you have to do is glance around you and see how much dedication to quality the average human enterprise has. In my own neighborhood, for example, you can drive the main drag for miles without seeing any more compelling architecture than a World War II Quonset hut converted to a defunct carpet store. And you’re worrying about your piano playing? Come on now, get a grip.
People have no fears about cooking a 7-course Chinese New Year’s dinner from recipes they got off the internet and serving it up to their friends. Yet they will not even get started on playing the piano in the privacy of their own homes for fear of not doing it well. They will tolerate the musical equivalent of fast food rather than risk piano playing that might be imperfect. What are they afraid of? Ptomaine? Handmade music is as delicious as handmade food any day and just as nourishing.
All you first-timers out there are probably feeling like I’m not talking to you. You can’t tell your hands apart much less use them to make music. No way can you play Schubert or Liszt or anything else. You can’t play note one, right or wrong, and forget about notes 2 and 3. Well, I’ve got news for you and also for you more accomplished people who are feeling slightly superior to all those beginners: it is the same job whether you are playing note one or note one million. The music is in the notes and it starts with one good one. You beginners actually have a kind of advantage, in that you haven’t been over-practicing a million notes all your life, hoping that maybe, sometime in the future, they will magically turn into music, and meanwhile you have to get these parts learned and that tempo up. Beginners can start now and get it right today.
The hard work needs to be done upfront, and it is getting that one right note played right and at the right time and connected to the next right note so that the result is music. Then tomorrow you do it again. If this is your first note at the piano, welcome to the territory and get to work. Your first note is waiting for you. For the rest of you, your first note is also waiting.
This is going to be our year.