![]() ![]() Furthermore, above each section, I write an adjective or an adverb which best describes the section. ![]() Whilst it is an important part of teaching and learning, it is important that students target difficult sections by singling them out, either by putting a ring or box around the bars or using ‘bracket-practice’. Many pianists and piano teachers often see repetition as an important aspect of practice. My suggestion is to listen to the recording once a student has finished learning the piece. The excellent recordings published by the AMEB provide a guide for both student and teacher. It is also incumbent on the teacher and student to find a unique interpretation, rather than copying or following recordings. It is imperative that students try to develop a deeper and more personal connection with the work. For teachers electing to select music from the manual list, I find it useful to play through the piece, identify important features in the work, and pinpoint any technical and musical challenges that the student may encounter. The performance suggestions at the back of the AMEB Grade books provide pianists and piano teachers an understanding of the technical difficulties associated with each piece. Other significant treatises by Johann Philip Milchmeyer and Daniel Gottlieb Türk highlight the importance of legato and fingering fundamentals in the introductions of their work. Bach discusses the importance of ensuring that all notes are heard, especially at the softer dynamic range, as a lack of control leads to indistinctness, and an ability to lose control. Bach’s excellent treatise, Essay on the True Art of Playing Keyboard Instruments discusses at length important fingering fundamentals, along with approaches towards embellishments and performance. Legato playing became the default touch during the Classical period, and it has become a quintessential building block of modern-day pianism. This is to ensure students develop a solid finger legato. Furthermore, my principal suggestion would be to teach a piece of music without using the pedal before introducing pedalling. This requires thoughtful experimentation from both the student and the teacher. It is equally important for musicians to realise that sometimes fingering presented in one edition may present its challenges for some younger musicians. Many editions offer excellent fingering suggestions, but it is important to find a fingering that will allow students to bring out the articulation and character. The most fundamental aspect of learning works would be to establish an appropriate fingering. What do all the expressive and tempo indications on the score mean? If the work is a programmatic work (for example, music usually composed from the eighteenth century), what does the title mean? What is the overall character or mood of the piece?ĭoes the music repeat? If so, how many times does the section come back? After each playing, I will ask the following questions. ![]() When I introduce and teach a new piece of music to a student, I begin by playing it through twice. Unnecessary movements ultimately hinder the eventual outcome of the performance and can lead to unwarranted tension. Having such freedom will allow students to overcome many technical difficulties and will also assist in forming a unique interpretation. My teaching philosophy centres around adopting appropriate practice methods for students in the practice room and developing freedom and control in the arm, fingers, and upper torso. I begin by examining issues relating to fingering, performance suggestions, effective practice techniques, characterisation, and tempo choice, before finally providing a performance guide of Casella’s Galop Final. It requires pianists to adjust their playing according to the stylistic features of the work, to explore various sounds and timbres from the instrument and most of all, the ability to ‘tell a story.’ Notable pianists and pedagogues such as Boris Berman (Yale University), Heinrich Neuhaus and Charles Rosen discuss the importance of characterisation in classical music performance.This handout will discuss the importance of characterisation in interpretation. Piano technique does not only involve playing with the right notes, dynamics, and articulations. Many pianists prioritise accuracy over musicianship and stylistic considerations. David included additional footnotes with more information in his submitted article, available for purchase as part of the 2022 Piano Masterclass Content Pack (developed by David).Įxploring Characterisation in Interpretation ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |