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On Teaching

September 28, 2011
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Gavin Black is Director of the Princeton Early Keyboard Center in Princeton, New Jersey. He can be reached by e-mail at [email protected].

This and that
This month’s column is a grab bag or miscellany of sorts. I will add to what I have already written about each of my last two subjects—memorization and interpretation—based partly on feedback and discussions that I have had about those subjects over the last few months and partly on my own further thoughts. By coincidence, a couple of things have arisen in my own performing life and in my teaching recently that shed some specific light on the issues that I discussed in July, August, and September, and I will recount those anecdotes. I will also provide a brief introduction to what will be the subject of next month’s column: figured bass realization and continuo playing.

Memorization vs. thorough learning
The first anecdote that I want to mention comes from my own recent performing life. It bolsters my existing views about memorization, or, more particularly, about the relationship between memorization and really thorough learning. (That is, it is a bit self-serving of me to recount it!) I recently needed to choose one of the larger Bach pieces to be part of a recital program. There were three in particular that I was interested in playing: the Prelude and Fugue in E Minor, BWV 548; the Fantasia and Fugue in G Minor, BWV 542; and the Toccata and Fugue in F Major, BWV 540.
The first two are pieces that I memorized for auditions or juries at Westminster in the early 1980s. The Toccata and Fugue is a piece that I first learned at about that same time but that I have never tried to memorize. I did, however, study the F-major more intensely and in more detail than I had ever studied anything up to that point. I did all sorts of motivic and other analysis, including an analysis of proportion in both the Toccata and the Fugue, which suggested to me that the two pieces are more closely related than they are sometimes thought to be. I also practiced it to within an inch of its life, using every strategy that I knew at the time, but relying mainly on good old-fashioned repetition. I feared at the time that it was “too hard” for me, but it was an absolute favorite of mine and I was determined to learn it.
I performed all three pieces from time to time in the 1990s, and had not looked at any of them within the last ten years. When I began exploring them in order to choose one to play, I discovered very quickly that the F-major was much more solid—retained much more of what I had once put into it—than either of the other two. In fact, right off the bat I could play through it at about 80% tempo and have it come out quite accurate and steady. The process of working it up to a performance tempo and getting it to feel solid and ready to play was as smooth and easy as I can remember that process ever being with any piece. Furthermore, I noticed that when I tried to play chunks of each of these three pieces from memory—at page turns, for example, in order not always to stop at the same place—I could do more of that with the F-major than with pieces that I had explicitly memorized all those years ago. This probably in part reflects my having done a less than stellar job of memorizing them, but it is also, I believe, a reminder of the power of really studying and working on a piece.

Reading or sight-reading
One of the ideas that I have encountered persistently in discussions about memorization after I finished writing my recent columns on the subject (before as well, but more after, for some reason) is that if you haven’t memorized, you are sight-reading. I discussed sight-reading in July and in August. However, at the moment I feel even more impressed that we must make clear to our students that the alternative to memorized performance is not or should not be anything that earns the description of sight-reading. “Reading,” yes; “sight reading,” no. The role of reading in a well-prepared performance is hard to describe. I would try some of the following:
1) Reading confirms what you already know or remember at a (slightly) subconscious level about what is coming up next, and therefore enables you to bring that knowledge to the conscious level in an untroubled manner.
2) Reading gives you something to latch on to if you feel that the performance is slipping away. In fact, the security—or perhaps the rescue—that players are sometimes tempted to achieve by looking at their hands when a passage seems about to unravel can usually be achieved better by zeroing in on the music and explicitly reading what the next notes are supposed to be. This sometimes takes a leap of faith—it can feel like tightrope-walking—but it works.
3) The experience of playing a piece from the score resembles the experience of listening to a long, complicated song (or oratorio or opera) that you know well. You would not be able to write out all of the words or the whole libretto, but as it unfolds you know with certainty at each moment what is coming up next.
4) There are many things in everyday life that we experience this way: for example, the road signs along a familiar route. I could never list from memory the content of all of the signs along, say, the Connecticut Turnpike or the Garden State Parkway. But as I drive along, I know what is coming up next, and I know right away if I see that one of them has been changed.

Semi-memorization
I describe this particular state of knowing something—a piece of music or a pattern of exit signs or anything—as semi-memorization. It results naturally from really thorough study of a piece of music. Reading with attention and focus a piece of music that you have semi-memorized is neither sight-reading nor playing from memory. It is its own thing, as different from each of them as they are from each other. It is the most common and natural mode of performance for most of us most of the time.

Page turns
I have become increasingly impressed by the extent to which full-fledged memorization is mentioned as a necessity specifically to avoid dealing with page turns. Page turns can be annoying indeed, but, as I mentioned in July, wholesale adoption of memorization seems to me to be a disproportionate response to this annoyance. It is especially disproportionate as something to ask of our students as a major part of what they work on.
(At this moment in history, it seems possible that the practical side of page turning will change dramatically, perhaps quite soon. There are already electronic music reading systems that work very well on orchestral-type music stands, and that can work also on piano or harpsichord music desks. They eliminate the need to turn pages by hand. I have started using such a system in my harpsichord playing. It is useful in concert, and also sort of a conversation piece, given that it is still fairly rare. However, the most important difference that it makes is in practicing. After all, no one ever employs a regular page-turner for practice sessions. I have often in the past had the experience of playing through a piece without page-turning breaks for the first time when I played it in concert. These new music-reading/page-turning systems make that unnecessary. It is trickier to devise a system like this for organ, mainly because the organist cannot spare the feet for operating page-turning pedals. However, it seems certain that any practical obstacles to this will be figured out and that systems like this will some day be commonplace.)
However, page turns do create a real musical problem, and one approach to solving that problem involves a modest selective use of memorization. If a player—student or otherwise—always stops at a specific point, turns the page, and picks up the piece immediately after that specific point, then that moment in the music will often be permanently technically insecure or musically hesitant or unconvincing, or both. I have seen students struggle with short passages that seem puzzlingly difficult, for which no fingering, no way of practicing, no way of thinking about it seems to help. Then we have realized that the page-turning break has been actually training the student to become anxious and distracted at that spot. He or she has literally never played or heard that moment in the music without a break. (This is easy to miss in lessons where the teacher is routinely doing the page turns.)
The solution to this is straightforward. The student must vary the placement of the page turn break while practicing. This can be done by selective copying—taping a copy of the final line of the earlier page to the top of the later page and a copy of the first line of the later page to the earlier page, and then pausing to turn that page at all sorts of different places. It can also be done by memorizing the last few measures of the earlier page and the first few measures of the later page and again pausing to turn at various different spots, randomly distributed. This little bit of memorization should be anxiety-free, since is it never intended to be brought out in performance.

Teaching interpretation
Here is another recent story, this one relevant to teaching interpretation. It is also, I am afraid, intended to confirm or bolster what I have recently written, so it too is a bit self-serving. A young student of mine—middle-school age, a somewhat experienced and very talented pianist with so far just a little bit of harpsichord and organ experience—was working on a piece that was manuals only, two voices, with a left-hand bass line in steady eighth notes and a more florid right-hand part in sixteenths and thirty-seconds. After she had worked on the notes a certain amount, when it was almost time to put the hands together, I did the following. I played the first several measures of the left-hand part for her three different ways: legato, staccato, and in-between, that is, mildly but distinctly detached. I asked her to think about which she liked better: nothing about which I preferred, or about historical authenticity, or about anything else (supposedly) authoritative. I did say to her that in the end there was no reason that these approaches couldn’t be combined and the results varied. She took this home to think about.
Over the next week or two of practicing and the next couple of lessons, she not only, in a sense, chose one of my options (the middle one) but more importantly worked out—on her own—a completely varied and nuanced articulation with some notes held longer than others and certain phrases or passages played overall more or less legato than others. This exercise pointed her in the direction of listening carefully to what her playing was doing and to thinking about what she wanted out of the piece and each of its constituent passages. It also led—without my saying anything else—to her beginning to make similar choices about other pieces that she was playing and to her listening more closely to what she was doing in those pieces.
I believe that none of this would have happened if I had said to her something like “why don’t you try this phrasing and these articulations,” and had written various markings into her music. Of course this happens a lot—otherwise this approach would not be the essence of what I recommend, as discussed last month. I mention this case because the student was young enough—and sufficiently inexperienced at the particular instrument—that any teacher might easily have misgivings about leaving so much to the student’s choice, because it happened to arise while I was thinking and writing about these things, and because it worked out especially well.

Figured bass realization
Next month’s column will be about figured bass realization and continuo-playing at the keyboard. This skill is not necessarily directly relevant to the day-to-day work of most organists or to what our students come to us to learn. It is normally thought of as part of the constellation of skills that might be taught to those studying harpsichord, though of course in the days when continuo was a universal practice, much continuo playing took place at the organ. Certainly any organist who feels comfortable realizing continuo parts himself or herself (rather than relying on printed realizations found in modern editions) will have both greater flexibility and greater musical possibilities open to him or her in playing any non-solo Baroque music. This includes many anthems and other music that church choirs might sing. It is even relevant to the playing of many hymns. Understanding continuo playing is also a window to understanding a lot of what is going on in (at least) Renaissance and Baroque music in general. It is also a step towards undertaking the art of improvisation, since it is itself a form of improvisation, though one conducted within defined limits.
Figured bass realization is often taught as part of the teaching of harmony, counterpoint, or theory in general. In that context it is considered a good idea to think of continuo realizations as being in effect pieces of music that should follow the rules or customs of composition especially as to voice leading. This is an approach that is nearly the exact opposite of what works best in actual performance. The reasons for this lie in the nature of what a keyboard continuo part contributes to a performance. An understanding of this is the key to learning to play continuo comfortably, not least because it actually has the effect of making the process easier than it can seem to be in theory class. I will discuss this in detail next month. That discussion will also include a very practical protocol for working on continuo playing and of course for introducing it to students of various levels and backgrounds.

 

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