Incredible advice! I can certainly relate to it. I started in my adulthood to study piano with an old teacher that graduated in 1957 from The New England Conservatory of Music. There was no leeway on what I really wanted to learn. When I expressed my love for modern music, she would dismiss it as “you shouldn’t be learning that garbage.” I learned a lot from her.... Chopin preludes, Mozart, and many other wonderful composers, but my heart wasn’t really in what I was learning. Thank you for your honesty and enlightenment on this subject!
Here`s something I wish I had known when I was younger Your posture matters outside the piano just as much as when playing, and look with your eyes, not your head! (smartphone users who have forward head symdrome, I`m looking at you)
I wish I had studied with you in college! My teacher was amazing and helped me fix my playing with her Alexander knowledge but I definitely felt pressured to learn the standard rep which I knew no one would pay me for. I work in accompaniment and I wanted to have more time to work on other things in undergrad but I had to spend so much time memorizing my recital music - for what? Just to prove I could. I am happy with my teachers and my career but it’s unfortunate that the traditions are still being forced on students and it’s completely not in their best interests. Also, the legato thing. So glad my grad school teacher was so big on “leggiero on the keys” and letting go! Oh the “everyone plays the same rep” thing. This drive me absolutely crazy. Don’t even get me started. Walk through any practice room hallway in the country and you’ll hear somebody practice Rach g minor prelude completely wrong.
I wish I had known that some teachers don't actually want to teach, meaning they really don't want to share their musical knowledge with you. Tip: If you discover this in your piano (or other music) teacher, stop the lessons and stop paying them the big bucks. They are deserving of every bit of contempt you give them. Me, I was too stupid to do that, and I should have.
Thanks for another really informative video! Dr. M, you referenced a previous video regarding legato/pedalling (?) within your discussion. What is the title of the video? I'd like to watch and get your perspective. Keep the thoughts coming.
The video is called Legato Cat. Do a search on the channel. I agree with Dr. Mortensen’s description of the cult of finger legato. Like a religion, it requires a willingness to believe the implausible-that it is necessary to connect every two adjacent notes, and that this can be done with the fingers alone. Not only is it not necessary musically, but for many pianists it’s physically impossible without contorting the hands and arms to a ridiculous degree.
Hello I have a question. How to drill bars 13-15 and 45 - 48 from first part of bachs italienisches konzert bwv971? Anyone? Please help me. I want to play this konzert but dont know how to drill it. Help please.
Could you please be a more specific about what you find difficult in those passages? For now, I would suggest merely that you begin by considering the tied notes in the left hand bars 9 & 11. In my opinion, the tied notes at the tops of those chords indicate that the left hand makes a fast arpeggio with only the top note remaining sustained and tied. The speed and manner of those arpeggios will then help set the same manner of playing in bars 13-15. In m.46 (as with earlier bars 34 & 42) I believe it is necessary to play the ornament as a quick trill of exactly 4 notes which begin on the upper note. So in m.46 that would mean playing A-G-A-G in the right hand before the F#. Although this may seem obvious, I find that the speed of this ornament (along with m.91-95, 97-100, 147-151) sets the overall speed-limit for the tempo of this movement based on your own ability as well as the way that your instrument handles these notes too. I try to always test-drive those passages on a new instrument before I play this movement so that I know what to expect and so that I can modify my tempo to be certain that those notes will speak clearly and solidly. I hope that advice helps someone :-)
Dr. Mortensen, you are a boon to the community. I appreciate that you foster critical thinking in the arts. Thank you for doing what you do.
I'd say there are two kinds of teachers: Those who pass on a tradition and those who teach you what they wish they have known.
Incredible advice! I can certainly relate to it. I started in my adulthood to study piano with an old teacher that graduated in 1957 from The New England Conservatory of Music. There was no leeway on what I really wanted to learn. When I expressed my love for modern music, she would dismiss it as “you shouldn’t be learning that garbage.” I learned a lot from her.... Chopin preludes, Mozart, and many other wonderful composers, but my heart wasn’t really in what I was learning. Thank you for your honesty and enlightenment on this subject!
I really like your honesty and you approach to the music.
Here`s something I wish I had known when I was younger
Your posture matters outside the piano just as much as when playing, and look with your eyes, not your head! (smartphone users who have forward head symdrome, I`m looking at you)
I wish I had studied with you in college! My teacher was amazing and helped me fix my playing with her Alexander knowledge but I definitely felt pressured to learn the standard rep which I knew no one would pay me for. I work in accompaniment and I wanted to have more time to work on other things in undergrad but I had to spend so much time memorizing my recital music - for what? Just to prove I could. I am happy with my teachers and my career but it’s unfortunate that the traditions are still being forced on students and it’s completely not in their best interests. Also, the legato thing. So glad my grad school teacher was so big on “leggiero on the keys” and letting go! Oh the “everyone plays the same rep” thing. This drive me absolutely crazy. Don’t even get me started. Walk through any practice room hallway in the country and you’ll hear somebody practice Rach g minor prelude completely wrong.
If all the teachers had your wits and open mind that would be wonderful...one can always dream.
excellent insights, brilliant
Been thinking about these kinds of things a lot during lockdown, so great to hear it clearly articulated!!
I wish I had known that some teachers don't actually want to teach, meaning they really don't want to share their musical knowledge with you. Tip: If you discover this in your piano (or other music) teacher, stop the lessons and stop paying them the big bucks. They are deserving of every bit of contempt you give them. Me, I was too stupid to do that, and I should have.
Anne Goodwin big bucks? In the U.K. private teachers are paid around £30 per hour, about $37...
John, I've really been enjoying your lectures. Always a joy to hear your thoughts. Keep at it!
Many thanks!
Really enjoying these discussions
The list is getting longer. Very nice series, thank you.
love what u are doing . keep it going. Love from Iran
Very interesting and useful, thank you,
Thanks for another really informative video! Dr. M, you referenced a previous video regarding legato/pedalling (?) within your discussion. What is the title of the video? I'd like to watch and get your perspective. Keep the thoughts coming.
The video is called Legato Cat. Do a search on the channel. I agree with Dr. Mortensen’s description of the cult of finger legato. Like a religion, it requires a willingness to believe the implausible-that it is necessary to connect every two adjacent notes, and that this can be done with the fingers alone. Not only is it not necessary musically, but for many pianists it’s physically impossible without contorting the hands and arms to a ridiculous degree.
Hello
I have a question. How to drill bars 13-15 and 45 - 48 from first part of bachs italienisches konzert bwv971?
Anyone? Please help me. I want to play this konzert but dont know how to drill it. Help please.
Could you please be a more specific about what you find difficult in those passages?
For now, I would suggest merely that you begin by considering the tied notes in the left hand bars 9 & 11. In my opinion, the tied notes at the tops of those chords indicate that the left hand makes a fast arpeggio with only the top note remaining sustained and tied. The speed and manner of those arpeggios will then help set the same manner of playing in bars 13-15.
In m.46 (as with earlier bars 34 & 42) I believe it is necessary to play the ornament as a quick trill of exactly 4 notes which begin on the upper note. So in m.46 that would mean playing A-G-A-G in the right hand before the F#. Although this may seem obvious, I find that the speed of this ornament (along with m.91-95, 97-100, 147-151) sets the overall speed-limit for the tempo of this movement based on your own ability as well as the way that your instrument handles these notes too. I try to always test-drive those passages on a new instrument before I play this movement so that I know what to expect and so that I can modify my tempo to be certain that those notes will speak clearly and solidly. I hope that advice helps someone :-)
So, ....it's all Flummery. I always suspected my music teacher 50 years ago was a fraud who was just faking-it for a paycheck and a pension.