Getting There

Welcome to Ragtime Thursday!

I have no Bare Necessities video to share with you today. Ten minutes into the morning's practice session, I remembered I had a dentist appointment at 8 a.m., so I needed to hit the road. Hence, no videos today. (I may update this post a little later if I'm able to get a video tonight.)

Last Night's Practice: Slow and Measured

Last night I practiced both the Mozart and Bare Necessities with the metronome, at slow tempos -- not so slow that I got distracted, but slow enough that I felt like I had plenty of time to think about where my hands would go next. It was a wonderfully satisfying experience to be able to play each piece at a slow but recognizable pace, and to play them without missing a note.

Of course, I did miss a note every now and then. And when I did, I stopped, backed up a measure or two, and played it again. If I missed the note again, I stopped to drill. If I didn't miss it again, I kept going.

I did this several times for each piece. I ended up practicing the Mozart for about 50 minutes, and Bare Necessities for about 45.

Almost There

Once I was done practicing, I went upstairs to change into my pajamas. And then it hit me:

I'm no longer in the dark tunnel of learning Bare Necessities. I can see the end.

The light at the end of the tunnel. The end of the road. The finish line. Pick your metaphor.

I'm at the point now where I'm just working to bring up the speed and figure out what I want to do with dynamics and articulation. I can play this piece. I understand the theory behind each measure (except for those outro measures). I have enough muscle memory to be able to play them without thinking intently about each note. The ragtime/stride jumps are becoming internalized. I'm getting this.

One of the people on the PWJ Facebook page talks about "interiorizing" a piece of music, and I think that's where I am with this one. I'm slowly making it my own as I become more and more familiar with it, repeating passages and exploring the possibilities of expression.

I'm so excited. It may be a month or more before I get it up to speed ... or it may be less. But I'll get there. I'm getting there. I'm so happy.

Comments

Eureka! Secondary Dominant!

I am such a nerd, and I love being a nerd! Today I was working on Section 5 of You Are My Sunshine, specifically on getting this section up to performance level. In other words, I was practicing being a performer , not an arranger . But then, of course, I came up with another idea. I had just played the delicate sixths and descending rag rolls of "when skies are gray" (I chord) and then moved to the parallel octaves of "you never know, dear" (leading to IV). The shift sounded abrupt to me. Harsh. It needed something. It needed musical WD-40. Something to ease the hinge between textures. And then I stumbled upon it! Right before moving to IV, I can slip in a V7/IV — a secondary dominant! So I tried it, and it sounded so good that I actually yelled "Secondary dominant!" out loud in my house like I was Archimedes discovering water displacement in the bathtub. It's such a small thing. One little chord. But it smooths that transition, leaning the harmony ...

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...

The Tyranny of the Dots

In the Billy Joel documentary And So It Goes , Billy talks about "reading the dots." He didn't want—or need—to "read the dots," meaning the music notes on the page. He had developed his own rock 'n' roll piano style and, after a few years of classical training, he left the dots behind. I didn't want to read the dots, either, once upon a time. As a little kid, I had a good ear and could quickly figure out just about any tune on the piano. But in first grade, I finally started piano lessons, thus beginning my life with the dots. The Wall of Dots Between Me and Music I hated the dots! I wanted to learn them, sure, but it was so hard. If my teacher played what was written, I could play it right back for him. But if he asked me to play it from the dots, I felt like I would pop a blood vessel in my brain. It was so frustrating for my six-year-old self to have the code to a simple tune sitting silently before my eyes and not be able to crack it and bring th...

Picking Up the Pieces: A Piano Practice Journal

Search This Blog