Skip to main content

Sad, Slow Minor Moodling

A few days ago, I wrote about my lack of enthusiasm for minor sevenths, my Level 4 Foundations focus for the month at Piano With Jonny. At the end of that post, I wrote that I might try to "improvise/compose something, maybe, that manages to be based in minor sevenths without sounding lost and listless."

Sunday night when we got home from the volleyball party, I myself was feeling a little lost and listless. I'm not sure why. Part of it is I'm sad that yet another club volleyball season is over. I was also tired, and my teen daughter and I weren't getting along, and ... I just felt sad.

Even though it was after 9pm on a Sunday night, I sat down to practice for a few minutes ... but nothing was working. Not only that, I didn't feel like practicing anything. I wasn't in the mood for happy, bouncy ragtime, so no Maple Leaf Rag or Bare Necessities. My Chopin Nocturne would have matched my mood, but I didn't want to think that hard.

I just wanted to play and not think. That's what I wanted to do.

So I started "moodling" on the the I-IV-V minor seventh progression in C minor. I use the word "moodling" to mean a kind of aimless musical doodling that is guided by my mood--my melancholy mood, in this case.

What did I come up with? Nothing great. Nothing profound. Nothing catchy. But ... it sounds nice. It sounds lost and listless, but not in a bad way. It sounds kind of comforting (I think).

So here it is, my Melancholy Moodle in C Minor. It's little more than broken chords, with no real attempt at melody, but it's mine, and I like 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...