Trills, Trills, Trills and how to practice them!

This week’s post is, in part, a response to a Word Press inquiry about how to approach trills in Mozart’s Sonata in F, K. 332. (Allegro) The measures under examination are those that lead toward the Development section with a modulation to the Dominant key of C Major. These same configured trills return at the end of the movement, but in the home key. For time economy, I uploaded a video that addresses only the initial appearance of the trills. (measures 86-92) Note as well, the appearance of a tricky double trill that ends the sequence.

In short, I recommend first playing a series of measures without the Right Hand trills in order to internalize the melodic contour of the line. (Always practiced behind tempo) As a second step, I support separate study of the left hand, which happens to be a set of 4-note, double root broken chords. These can first be “blocked” for geography and spacing, but more importantly, their carrying a steady pulse is paramount to the “leadership” role of the relentless, broken chord bass. Rotations through broken chords are also needed to prevent stilted, vertical, angular playing. To the contrary, floating, horizontal movement is preferred.

In this vein, the bass must not overshadow the trill in balance, but must provide a well-spaced underpinning. (Without a rhythmically intact bass framing, trills can easily go awry.)

As the third step in trill practice, it’s a good idea to play the steady broken chord bass with the undecorated treble line with musical shape and sensitive phrasing.

Fourth step:

In the melodic realm (treble), I endorse measured trill practice in back tempo, embedded with the bass, but including a decision about fingering and the number of repercussions that will fill the space. Starting on the upper neighbor to the principle note, the trill should not sound compressed and mechanical. In its Mozart era framing, it must be “wavy” sounding and leaning on the upper neighbor as it emulates a “singer” rendering it. (I have chosen a R.H. 3, 2, 3, 2, 3, 2 sequence for the trills with resolution using fingers 1, 2, 5.)

To loosen up the trill as it progresses in increments to an advanced tempo, I urge students to try side to side rotation before rolling out the trill with a supple wrist through the fingers. The arm behind the wrist is always relaxed, and freedom of the breath aids a natural trill outflow. Resolution of the trill is a continuum of the MELODIC thread and should not be squeezed into a tight space. Keeping the thumb very relaxed through the trill, and thinking in groups of wavy notes are also helpful prompts that enhance the shape and contour of beautifully executed trills.

The video below expands upon the aforementioned steps in Mozart, K. 332:

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Supplemental Trill Videos

This one circumscribes trills and fingering options in Mozart Sonata in C, K. 545, first movement. (measure 25 into resolution in measure 26)

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Trills in Granados Oriental, Op. 5, No. 2

from Arioso7’s Blog (Shirley Kirsten)
https://arioso7.wordpress.com/2018/09/30/trills-trills-trills-and-how-to-practice-them/

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A Dissertation on The Art of Accompanying Classical Ballet Technique Classes

A huge resource for those interested in accompanying classical ballet: Yee Sik Wong’s University of Iowa 2011 dissertation on the art of accompanying classical ballet technique classes. There’s a huge amount of info here on pre-existing literature, schools of ballet, pedagogical structure of classes, how music fits in, and techniques that ballet pianists are going to need.

Dr. Wong is now on staff at the Kansas City Ballet.


from The Collaborative Piano Blog
http://collaborativepiano.blogspot.com/2018/09/a-dissertation-on-art-of-accompanying.html

Anti-boredom formula=Daily, attentive, patient, layered practicing

Over decades of teaching children from beginners to advanced levels, I’ve been struck by those who progress over a lengthy period due to their focused, disciplined, and organized practicing. Each encounter at lessons becomes for them, an awakening, reinforced by deeper probing. If a pupil is willing to partner in such a journey where a mentor guides and also receives valuable student feedback in a reciprocal exchange, then frustration or boredom with a piece, should not ensue.

A sample of travels through the Clementi second movement of the composer’s well-known Sonatina in C, Op. 36, No. 1, serves as an example. It’s bundled with a complexity that on first glance might be overlooked. A pupil will often shakily sight-read through a few lines, ignoring a satisfying balance of voices; the emotional effect of harmonic rhythm/key changes; the mosaic of a flowing, seamless triplet underpinning against a prominent solo treble melody.

The teacher’s role in this virgin journey, is to recommend and demonstrate an approach that transforms a less refined, top layer view of the movement into a deeper musical perception. Such an exploration, delivered in parcels, includes elements of structure, harmonic movement, meter, historic period framing, and aesthetics—all bundled with sound technical knowledge: i.e. how to produce a “singing” tone that pervades a cantabile treble line; how to create seamless broken chord triplets as they carry harmonic meaning through the movement; how to balance voices; how repeated notes and finger substitutions need to be threaded with shape and contour. (What are the principle destination notes?) In the cosmos of phrasing and voicing, a focus on weight transfer will direct energy transit through relaxed arms, pliant wrists and the natural curve of the hand. (This should be demonstrated, with regular reminders about natural, unblocked energy flow) The breath will accompany well-shaped phrases framed by a singing pulse.

Blocking can reinforce the soft supple wrist entry through arrays of harmony that, when unraveled, discourage finger-generated attacks or punches.

And as the piece flows with an affect of grace with its relentless spin of legato triplets, the imagination is stirred, accompanied by mentor prompts. Notably, in the midst of an F Major progression of phrases, a transition to G minor through a secondary dominant, brings a pivotal moment of modal pathos—perhaps comparable to the experience of a first sunrise.

While a student may not be theoretically advanced enough to automatically comprehend the mechanics of a modulation, he should have been prepared along the learning route with a parallel course of scales, arpeggios, and chords (inversions, etc.) through the Circle of Fifths.

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To create beauty, a bounty of ingredients cannot be shoveled into a few introductory lessons related to a “new” movement. The pace of learning is in tempo with what an individual can assimilate in spoonfuls–not beyond his/her capacity to ingest. Progress is not measured by any deadline, but it evolves naturally, when the student and teacher are on the same page in the conscientious preparation of a piece, between lessons.

If practicing is erratic, sporadic, inattentive, and impatient, the propensity for a student’s interest to wane is likely. Frustration and boredom set in, culminating in premature abandonment of a piece.

While a “new” piece on the horizon can provide a certain relief of the doldrums, it will only endure the same shortcomings that befell the preceding one.

Finally, a vital, and growth enhanced learning process is worth the baby steps taken through daily, attentive practicing. For both teacher and pupil, such a paradigm affords a foundation to build upon in future piano discovering adventures.

from Arioso7’s Blog (Shirley Kirsten)
https://arioso7.wordpress.com/2018/09/16/anti-boredom-formuladaily-attentive-patient-layered-practicing/

Happening This Weekend

Several must-see events across Canada over the next few days…
On September 13-16, Tapestry Opera presents Tapestry Briefs: Tasting Shorts, an evening of 10 world premiere mini-operas paired with food and drink. Featured singers are Teiya Kasahara, Stephanie Tritchew, Keith Klassen, and Peter McGillivray led by musical director Jennifer Tung. Featured composers are August Murphy-King, Ian Cusson, Rene Orth, and Benton Roark with texts by librettists Daniel Solon, Lila Palmer, Kanika Ambrose, and Colleen Murphy.

Facebook event listing

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Happening across Canada on Saturday on Saturday, September 15 is Mysterious Barricades, a series of free and live-streamed concerts in recognition of suicide awareness, prevention, and hope. Concerts will be happening in St. John’s, Halifax, Sackville, Montreal, Ottawa, Montreal, Kitchener-Waterloo, London, Winnipeg, Edmonton, Calgary, Kelowna, and Vancouver. If you can’t make it in person, watch the live stream
Here’s Beth Turnbull talking about her husband’s suicide and the mission of Mysterious Barricades:

Facebook page with all event listings


from The Collaborative Piano Blog
http://collaborativepiano.blogspot.com/2018/09/happening-this-weekend.html

The Worst Advice

Wise words from emilyplayscello: if you’re in a position of power and giving advice to younger musicians, you can tell them about the challenges of a life in music without straight-up discouraging them from entering it. Emily’s video:


Another point that Emily makes after 6:00 is that it’s the younger people in the profession who will bring genuine change to the field that will make it a more supportive environment. Let’s enable them to succeed.

The worst advice anyone gave me? Here are two examples:

Well-known composer:

You pay too much attention to quality of tone at the piano to ever have a career in contemporary music.

Senior administrator:

You don’t strike me as the kind of person who would be interested in graduate school.

Of course we get shitty advice along the way. The important thing is to be able to recognize it and move on. But when you’ve spent lots of time in the profession and know the lay of the land, offer advice that people will admire you for one day.


from The Collaborative Piano Blog
http://collaborativepiano.blogspot.com/2018/09/the-worst-advice.html

Your Teaching Website Needs Online Registration

Here are two different scenarios playing out with parents trying to find a new teacher for their child’s music lessons.

A parent is looking for a new piano teacher and all they have to go by is a phone number so they’ll enter it on a list on their phone and then call once they have time to call because no one has time for phone calls any more. Then when their prospective piano teacher gets the call, they’re busy so they’ll have to check messages later, write the message down and get back to the prospective parent once they have phone time but prospective parent isn’t answering calls so they’ll have to leave a message and the next round of phone tag begins. Two days later they connect.

Let’s try that again with online registration.

The parent goes to the teacher’s website, clicks on the “Register for Lessons” button, enters relevant info on their child and the piano teacher gets back within a few hours and the initial consultation is set up for the next day. Done.

This is why your website needs that very basic feature – it will quite literally put you ahead of other teachers in your area in the queue for getting more students. Being more easily findable and contactable will result your studio getting more students, many of them traveling larger distances.

Both My Music Staff and Music Teacher’s Helper have these features on all their packages, and are worth the investment. Best wishes for the new academic year!


from The Collaborative Piano Blog
http://collaborativepiano.blogspot.com/2018/09/your-teaching-website-needs-online.html

Sparks & Wiry Cries Launch Their 7th Season

Sparks & Wiry Cries is an organization that promotes the advancement and preservation of art song. Led by Martha Guth and Erika Switzer, they are entering their seventh season and this year’s events feature songSLAM events in Ann Arbor, Minneapolis, Toronto, New York, Slovenia, Chicago, and Denver. Martha Guth encapsulates their mission perfectly with this quote:

Sparks & Wiry Cries was born out of a passionate desire to keep the genre flourishing, to provide opportunities for those in its community and to support the growth of new art song, because the stories we tell, and the connections we make are critical to our humanity. 

What is songSLAM? Each event is:

a unique competition for emerging composer/performer teams to premiere new art song, in partnership with Source Song Festival. In the poetry-slam tradition, audience members vote on their favorite performances, and $900 in cash prizes are awarded.

Sparks & Wiry Cries also publish an art song magazine and podcast. If you feel moved to support their activities, you can also donate.

Best of luck to Martha and Erika as they embark on Season 7. Here’s a video of Martha talking about Sparks & Wiry Cries’ many activities:


from The Collaborative Piano Blog
http://collaborativepiano.blogspot.com/2018/09/sparks-wiry-cries-launch-their-7th.html