Skip to main content

Ode to Joy Day 18: I'm Making Music!

In my journey through the Learn New Repertoire Faster Challenge at Piano with Rebecca B, I’ve reached Day 18 of Jonny May’s stride arrangement of Ode to Joy. Today’s assignment is threefold: continue reviewing Batch 4 (measures 64–71), continue learning Batch 6 (measures 96–123), and continue reviewing Batch 1 (measures 0–23).

Day 18

This morning I focused primarily on Passage 1 of Batch 6, which is almost identical to Passage 3 of Batch 1, so I got to revisit Batch 1 at the same time. This eight-measure passage is the opening A phrase, repeated, and after seven days away from it, I was hoping I’d sit down and magically be able to play it.

No such luck.

I had to play it through six times (three times, a short break, then three more), followed by a five-minute Batch 4 review before coming back to it.

It didn't exactly sound bad, but there were a few stubborn half-measures, and I took a few minutes to drill each of those.

At the end of my short practice, though, I was playing it, and at a tempo faster than a slow crawl! My fingers knew what to do, and my brain felt like it had time to think about what my hands were doing, where they were going, what chords we were playing, and where we were in the harmonic progression.

Oh, goodness. I just used "we" to refer to myself, my brain, and my hands.

Ah well, I guess piano really is a group effort.

Where I Am Now

Despite an unpromising start this morning, I'm very happy with where these eight measures stand right now! Instead of feeling disappointed that it took a while to get them back, I'm encouraged by how quickly they finally settled in and how good they sound after seven days away. In fact, they've begun to sound like music!

In the video below, I talk through some of the challenges and play those eight measures, along with part of the intro (which is also most of the outro) ... and it sounds like music too!

Today is the first day that I've really felt like I was making music and not just striking keys and making sounds. The rest of it still feels like work, but I think the boundary between the two is starting to fade.

Comments

Popular posts from this blog

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 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 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...