Skip to main content

Two Hours at the Center for Art and Music

The Center for Art and Music is a huge music store in Wintersville, Ohio (the Hubster's hometown, and my location for the next few days). On the main floor are an art studio, musical instruments for sale, gobs of sheet music and instructional materials, cheesy music-themed gifts that piano teachers get showered with every Christmas, and several "studio rooms" with baby grand piano, where lessons are taught in the afternoon.

On the bottom floor is the "Piano Showcase," a room with six or eight clavinovas, a dozen or so consoles and/or studios, and about eight baby grands. Yesterday the Hubster and I stopped by to ask if I could possibly "borrow" one of their pianos for practicing.

The woman seemed a little uncertain discouraging bemused at our request and said "Maybe, but you need to talk to our piano guy." Okay. So Piano Guy came out and was very nice and said, "Of course you can practice here. No one uses our teaching studios in the morning, so come early and you can play for as long as you want."

Yay!

So I went to the Center today and practiced my little heart out on a Baldwin grand for two and a quarter hours.

Bach: The fugue sounded good, particularly considering I haven't worked seriously on it for weeks. But I honestly think this was a fallow period. Why? Because I've only sat down to practice it a few times in the last few weeks, and I play it (almost) perfectly every time. With no practicing, I can still play those sections that I've learned HT. So I moved on to two more measures, worked on them, and ... all I can say is this: HT doesn't seem nearly as difficult as it did a month ago. It's coming along a lot more quickly. Instead of having to play a fourth of a measure twenty-five times before I get it, I'm only having to play a full measure a few times before I get it (by "get it," I mean being able to play it through without mistakes ... this step comes before the incessant drilling of passages).

I played through the Prelude, very slowly. I can play it note-perfect if I play it slowly. I think my future practices, as least for the next week or so, will include just one or two slow play-throughs of this piece. I think it'll be kind of like watering already-planted seeds in my brain.

Liszt: Oh, baby. Liszt is sounding good. I have all the notes, and now I'm working on movement and expression. It didn't sound so good on the Baldwin grand today because the bass was too muddy. For tomorrow's practice, I'll use another piano.

Shostakovich: Haven't started it yet. Maybe in a couple more weeks, now that Liszt is in the "polishing" phase.

More later ... I'm hoping to have time to write another practice update tomorrow.

Comments

Popular posts from this blog

The Rusty Lock and Key

I'm in a room. There's a door in front of me. On the other side of that door is a whole world of adventure and imagination and joy and delight, but for the moment, I'm locked in this gray little room. The door itself has a lock that is all rusted. I've tried to open it in the past, but I've never gotten very far. Sometimes I try to scrape the rust off the lock. I also have a rusty old key that I occasionally try to polish. Each time, after I've made a little progress, I'll put it into the keyhole in hopes of opening the door. It turns a half a millimeter or so, but the brief excitement at my progress dies quickly when I realize, once again, the lock isn't opening. I set the old key aside, and from there I can forget about the door, the lock, and the world outside, for months—years, even. But then something happens—I hear birdsong, or I catch a glimpse of color—and I pick up the key and start picking away at the stubborn rust. That dark little room is my ...

March Goals Recap/Looking Ahead to April

It's April 1, and time to revisit the goals I set for last month. I practiced a total of 50.45 hours in March, averaging 1.62 hours (or just over an hour and a half) per day. Realistically, I practice about 45 minutes to an hour a day on weekdays, and I usually get at least one longer practice (or multiple shorter practices) in on one or both days of the weekend to bring the average up. CLASSICAL GOALS Chopin, F Minor Nocturne March Goal: Have entire piece by memory and performance-ready. I have about 90% of the piece by memory, but I still have some work to do before it's performance-ready. The only two sections that I don't quite have are "The Agitation" and the "stretto" section with the seventh chords. I'll work on both this week and will have them both memorized before the weekend. April Goal: Finish memorizing, and polish, polish, polish! My focus now is really on phrasing and dynamics. I have the notes down, even in the difficult passages. Fro...

Feb. 9 Practice

My February 9 practice was short and sweet. I worked only on the Liszt, playing in rhythms. Do you know how hard it is to play a piece in rhythms when the LH is even and the RH is all over the place, with 2-against-3 and later with 4-against-9? Don't worry--I'm not trying to be impeccably exact when I'm doing rhythms. And I've discovered what a *rut* I've gotten into with the Liszt. It's so beautiful, and part of me is content just to play it through, again and again, and be done with it. But rhythms are forcing me to look at the seamy underside, at the 0's and 1's that make this piece what it is. And it's not an altogether pleasant experience. But it's waking me up. The beauty of this piece has lulled me into a sort of sleepy complacency when I play it. I think that's why Deborah said not to play the piece through a single time this week. It is so tempting to just play it through and listen to the beautiful music. But when I do that, I'm...