Skip to main content

My Signature Sound

In any song I write, I have what I'll charitably call "my signature sound." I wrote about it a few weeks ago. It's the repetitive, broken-chord sound, root-fifth-root-fifth-root-fifth pattern, ad nauseam. I know it sounds crazy, but I never could figure out what else to do with my left hand. So anytime I played anything where the music wasn't dictated to me on a page, I would fill in the accompaniment with this signature sound.

A few days ago, I posted a tune/accompaniment that I came up with while working on major severth chords. I didn't realize it until a day or two later, but it's kind of a big deal this little song uses block chords instead of the old broken-chord signature sound in the left hand. This is huge! I'm choosing not to kick myself for not getting to this point when I was in my teens. At this point, I'm just happy to be returning to the fundamentals and filling in the gaps that have held me back all these years.

I don't hate my signature sound; I'm just bored with it. I've been bored with it for a long time, and I'm glad to have the chance to finally do something about it. But I do still enjoy some of the songs I've written/arranged using it. This video is of me playing my "signature sound" arrangement of "The Lovers' Waltz," by Jay Ungar and Molly Mason. I probably should have used more of an oom-pah-pah style waltz accompaniment, but ... all I knew was my signature sound!

When I first heard this song (it was featured in Ken Burns's 1990 Civil War documentary/miniseries), I wanted to get the sheet music but couldn't find it anywhere. That's why I came up with my own version of it. Hope you enjoyed it!

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 ...

The Amazing Practice Tracker 2.0: Leveling Up My Piano Game

(Apologies for the cheesy clip art. I needed to come up with something, or the Blogger template would show a fuzzy, overly-enlarged snippet of the first chart below.) When I showed my husband my piano practice tracker, he said I should market and sell it. Ha. It’s not for sale, but I’m excited to share how this tool has transformed my practice—and why it might inspire all three of my readers. Since my last post about the Amazing Practice Tracker, I’ve made it even better. Here’s a peek at how it works, using my June data. All The Pretty Colors, All the Pretty Winners My tracker now sparkles with color: darker shades for active pieces, lighter ones for maintenance, technique, and sight-reading. Each day, the piece I practice most gets a bright yellow highlight—a little “gold medal,” if you will. (Click image for a slightly larger view.) A leaderboard automatically shows the day’s top piece and time. And if that isn't enough, I keep track of the month's leaders--specifically, ho...

Dance of the Digits

Note: I've expanded significantly on this post over at my other blog, A Sort of Notebook . I am loving Liszt. I love the way my hands have to "share" the melody. I have so much to write on that, but I'm borrowing a computer and don't have enough time to do it justice. Suffice it to say that I've practiced three and a half wonderful hours today, and about two hours on Liszt alone. What I find wonderful about Liszt is that it pushes one hand hard, but not too hard. Then the other hand gets a turn to be pushed. But it's never both at the same time, and never one hand for too long. It's hard to explain. When I have more time to write, I'll word things rather more eloquently, I'm sure. All I can say now is that my fingers feel like they're dancing a wonderful, graceful dance. I've been trying to "play with my body," as my piano teacher says to do, so all of me is dancing. And Standchen, though it still need a lot of work (like, um...