Picking Up the Pieces

I'm really tired tonight, so I'm just going to write a quick log for today's practice. I only got to spend about 45 minutes at the piano tonight. I mostly worked on adding another couple of measures of the fugue . I did a lot of drilling, but it didn't seem like my mind was registering it. I was just really tired, possibly because I did a longer-than-usual run today (5 miles). I'm rearranging my schedule tomorrow so that I practice the Liszt first, and during the day rather than at night after dinner. I hope to devote the after-dinner practice to JSB, and then have another practice on Wednesday before my afternoon lesson. Time to get some sleep!

Practiced for about 80 minutes. The usual warm-ups, plus some of the fugue and a lot of the Liszt with no pedal and much exactitude. It was a good practice. Went longer than I'd planned, which was nice because I won't be able to practice again until Monday at the earliest.

Good lesson today. Deborah and I usually chat up a storm before we get around to music, but that didn't happen today. We just dove right into the lesson. Scales and arpeggios were fine. When we got to Suzuki, I told her I didn't want to do Suzuki anymore, that I felt that the time required wasn't equal to the benefit it was giving me. I knew she wouldn't be happy to hear that. But it's true--I hate taking valuable practice time to work on something that I believe is, honestly, not challenging enough. Particularly when I have a Liszt transcription and a fugue to work on. She compromised. She said, "OK, maybe some of these pieces are too easy for you, but I want you to try the Beethoven sonatina at the end of the book." At two pages and with two movements, it's the longest piece in Suzuki Book II. So I guess I'll get started listening to that. I played my twelve and a half measures of the Bach and she basically said to keep on doing what I'm doin

I only managed about 30 minutes at the piano today, but I did work on the Liszt. I'm posting this on Thursday morning and my piano lesson is this afternoon, so I'll write more about my progress after my lesson.

I was able to squeeze in 30 minutes of practice-time tonight, but I'm afraid I didn't make very efficient use of my time. Normally I'm Little Miss Efficiency when it comes to practicing, since I normally have so little time as it is. I planned to work on the Liszt tonight. So, naturally, I walked into the Inner Sanctum, plopped the Bach fugue onto the piano, and began practicing. There's something wrong with this picture, isn't there. Folks, I am a fugue-aholic. The fugue is like a big, juicy zit, and I can't stop picking at it. OK, maybe that's not the best simile for it. Zits are gross, infected, pus-filled things. The fugue is transcendent. Divine. A work of genius. Yep, the fugue went and got transcendent on me again tonight. I worked on the two "end pieces" of the section I've been working on HT for the last hundred years few weeks. Measures 14 and 15 were still good, but the measures at the end needed work. So I worked. Got the kinks

Spent 80 minutes practicing so far today, and I'm hoping I'll be able to grab another hour at the piano this evening. Scales sound good. OK, so g# gave me some trouble, but I did a little bit of 9-8 and did a little bit of playing in rhythms, and voila! it sounded fine after that. Arpeggios sound pretty good, too. I've always been better at scales than arpeggios ... maybe that's just the way it's supposed to be. As always, they sound good but not great to my ears. Inversions are becoming much smoother. Triad inversions (plus the 4-note dominant seventh) are easy enough to play, but I've started playing the triads in octaves (4 notes). That makes it a little harder. The familiar focus has to shift. Sometimes the results aren't so great. I can now play twelve and a half measures of the fugue ! It doesn't sound like much, but it's a nice little chunk of music. I started with mm 25-26, then went back and worked on mm 14-15 (the two measures before t

First of all, my lack of posts doesn't necessarily indicate a lack of practice, though my summer-glut of monster practice-sessions seems to have tapered off a bit. Thursday night, I went to a cocktail party and met Russian pianist Konstantin Soukhovetski. Friday around 1:00, my parents came over. My dad went off to play golf with the Hubster while my mom and I visited and made a cobbler. That evening, we all had dinner and dessert to celebrate my dad's birthday. (Though I later got a message from Konstantin's host asking if I wanted to hear Konstantin practice Friday afternoon ... argh! Too late!) I did get to practice for about an hour on Friday night, but most of it was devoted to the music I would be playing on Sunday morning at church (though I also did the usual scales, arps, and inversions, plus a couple of play-throughs of the Liszt). Saturday wasn't a day for practicing. I made chocolate truffles for part of the day in preparation for the "Classics and Choc

I practiced for about 60 minutes tonight. I'd had a glass of wine with my husband at dinner to celebrate the bonu$ he got today, so I was feeling a little woozy when I sat down tonight to practice. I didn't expect a very good practice because I wasn't feeling quite alert enough for a good practice. Went through scales, arps, and inversions with my eyes closed. Literally. Just resting my eyes, I was. And the inversions sounded a lot better than usual. Usually, I'm scurrying to get the four fingers in the right place each inversion, and tonight I just played through them with a Zen-like calm. Weird. Wonderful, but weird. I played through Suzuki a couple of times, then moved on to the fugue . What a great practice. It started off rather slow, but it ended up ... transforming. My goal for the night was the tail end of measure 24. This is shortly after the bass voice has rejoined the soprano and alto. It's tricky, with the bass holding a note while the alto plays, an

I sneaked into the Inner Sanctum for about twenty minutes this morning to play through Standchen a couple of times. Ahhh ... it is sounding good. If a person who knew nothing about piano were to listen to me, they would be impressed. It still needs a lot of work, but I've definitely moved up a rung with this piece in the last week or so. No time for Bach ... I'm hoping to make time tonight.

Wouldn't that be nice? Wouldn't it be nice if I had a million dollars, too? :) I practiced for 120 minutes tonight. The time flew by. I started at 8:00, took a break from the Liszt at what I thought was 9:00, and realized that it was already 10:00. You know what they say about when you're having fun ... Actually, it was a frustrating but ultimately productive practice. Scales and arps sound great. OK, the scales sound great and the arps sound pretty darn good but not great. I need to spend more time doing them in rhythms and focusing on what I'm doing. At a certain speed, it just seems like my fingers are landing where they may, and if I hit the right note it's because I'm lucky. I usually hit the right notes, but I don't feel confident about them. Hm. Then it was on to the Liszt . Yes, friends, I resisted fugal temptation. I didn't even look at my WTC 1 book. I went straight to Ständchen. Tonight's focus was measures 5 through 26, and more specif

Yes, it has been a very long time since my last practice. I worked for about 70 minutes tonight. Did the usual warmups--my, but those scales and arps sounded good! I flew through two sets of each, worked on Suzuki for about two minutes, and moved on to the fugue . I kid you not. I played my six and a half measures from memory, perfectly, five times in a row. After five times I started to make little mistakes here and there ... but five times ! I think I kept replaying it because I didn't believe my ears. I worked on two and a half more measures tonight. I now have nine measures of the fugue. The material I worked on tonight wasn't quite as difficult because one of the voices steps out for a short while, and I'm only working with two voices instead of three. But even when the third voice comes back in, it's not too bad. I played those nine measures through about fifteen times. They sounded OK the first time, pretty good by the tenth time, and great by the fifteenth t

I have no idea how long I practiced today. I had a rare leisurely day and managed to practice on and off all day ... I probably got about 150 minutes in, give or take a few minutes. I didn't do Scales O' Day today. I just went through all of 'em, major and minor, four octaves, parallel and contrary motion--kind of like I used to do in college every day , minus the contrary motion. For arpeggios, I did a G major and Eb-minor. The arps sound great as long as I keep the metronome at 60. When I go above 60, the quarter-note contrary-motion arpeggios don't sound so good. I have to "warm them up" at 60 before I can play them well at 63. This morning, I worked on the C#-major prelude for about a half-hour. I need to quit telling myself that piece is easy. It's not that easy. It's just easy when compared to the fugue. I devoted the bulk of my today's practice time to Liszt (finally!). I can now play through the whole piece. I also spent quite a bit of t