Archive for the ‘Pianistic Concerns’ Category

431 • Waiting to exhale

Monday, January 12th, 2015

The pianist inhaled expressively at the first note and did not exhale until the last; the music turned blue and eventually fainted.

394 • Archangel Uriel

Friday, November 2nd, 2012

You have to play the piano ultimately as if you invented piano playing. And indeed one has to re-invent piano playing for one self. One has to wield ones art like a holy flaming sword.

389 • The eyes are not fast enough to control individual fingers or keys but they serve well to provide topographical orientation.

Friday, November 2nd, 2012

380 • The result of just pushing buttons is an arbitrary and thus undesired sound.

Thursday, September 13th, 2012

A sonorous tone, an orchestra at your finger tips, a brilliant balance, singing at the piano ... are all matters of creating a particular sound that you imagine and want to hear, a desired sound.

379 • Start well – end well!

Thursday, September 13th, 2012

The end of a piece must be a confirming statement or a tender good-bye, not an rustled apology or a rushed IED.

378 • The physically expressive but potentially misguided pianist played like a puppet on rubber strings.

Tuesday, September 11th, 2012

366 • Michelangelo’s hand

Thursday, March 1st, 2012

In every solar system in the galaxy is a range around the sun within which the ideal distance and trajectory for a life sustaining environment is provided. Astronomers and astrobiologists term that range the Habitat- or Life Zone, colloquially the "Goldilocks Zone", the "just right" distance from the sun. Not surprisingly our planet is in the Goldilocks Zone around our star - 2% further out and global glaciation would envelop the planet.

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347 • Yodic warm up routine

Saturday, February 11th, 2012

When you warm up before a performance, don't just warm up your fingers: warm up your ears, your musical mind, your artistic soul!

When you rehearse alone before a concert, you can and perhaps should play at a slower tempo, but under no circumstances should you play with diminished dynamics.

“With expression your performance repertoire rehearse you must!”

333 • Singing in octaves

Friday, February 10th, 2012

When we have a melody in octaves, usually we'd lead with the high and sometimes with the lower voice. But try to sing the octave as a compound sound like strings can and do.

305 • Right choice

Monday, January 16th, 2012

Fingerings often subdivide in different places in parallel passages ~ e.g. scales with both hands over 4 octaves, the howling wind over the graves in the last movement of Chopin’s Bb-minor sonata, the playful wind over the steppe in the last movement of Tchaikovsky’s concerto in the same key, and such. It is the performer's right to choose which hand to give leadership to.

If it is challenging to play difficult parallel passages together fast, one should not only lead with the left hand, but group (subdivide) by the left hand. The right choice then is to master and obey the left.

See: 263 • A reader’s digest version of Josef Lhevine’s technical advice

  • A weblog of thoughts, ideas, concepts, observations, suggestions, research, methodology, discoveries, rules, exceptions, aphorisms, and secrets from pianist to pianist.
Total number of posts: 436
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