Skip to main content

OTJ Day 5, Part 2: Scales and Arps and 13ths, Oh My!

This evening I reviewed the B section from this morning and considered changing it from yellow to red (after changing it from green to yellow this morning). I kept it yellow, but it has definitely given me more of a challenge than I expected.

Working on the Solo A Section

After that, I moved on to the solo A section. The two passages in this batch are four measures each, and the smaller sections definitely made my practice sessions more manageable. I spent 15 minutes on each passage, using the following techniques:

Practicing in tiny chunks/rhythms: Because this section has some scale and arpeggio work, it made sense to practice in small chunks, or rhythms as I call it. This is very similar to one of the techniques Rebecca recommends for speed. I'm not going for speed right now so much as muscle memory, and this technique is good for that.

Memory: Because we're looking at scales and arpeggios, this section has been easier to memorize. I can't say I can play the whole thing from memory, but I've memorized the scale and arpeggio sections.

Mental practice: There are three measures in a row where the left hand does not do the standard 1-to-5 motion (jumping up and down the keyboard) but instead stays more or less stationary while still playing the oom-pah rhythm. Because I'm so used to leaping back and forth, I had to deliberately not do that. It should be easier to play these measures, but I found it harder because I had to fight the tendency to leap back down into the bass. To address this, I pictured my left hand staying in the same place as I audiated the melody in my mind. This seemed to help.

Humming: There are a couple of rhythmic "hiccups" (16th notes) among what is mostly eighth notes, and I hummed the melody to myself a few times to prevent my tendency to play all hiccups (common in the previous sections) or none of them.

Theory: As always, it helped for me to understand the theory behind what I was playing. The left hand is not hard at all because the chords are the same as in the other A sections, though sometimes in different inversions. And I play a 13th chord and recognized it as a 13th chord! Yay!

Tomorrow will be more of the same, but tomorrow is also maintenance day. Normally I wouldn't work on my active projects at all, but I'll be working on this one for the challenge!

Meanwhile, here is my Part 2 video, starring Buddy the Cat.

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 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...