Repetition Without Aim
A few days ago, as I taught my sister Jirene some pieces (to prepare her for an audition at Blackburn High school in Dec), I told her that she must start practicing for real. You know many times we think that to practice is simply to play a piece from beginning to end for 3 times, then move on to the next, and then that’s the end of it. I now realize how futile such a method of practicing is! Sadly, I admit that I used to do that – and I find most people are contented with practicing like that.
I told Jirene that she must stop the routine or habit of treating a music practice like just a brief, mindless “run-thru” of pieces. She must pick out the nasty parts and work on them until it becomes more than playing “automatically” or mere the reading of notes. Such practice can be compared to studying a textbook, or “listening” to a boring teacher rambling on – the mind is not really absorbing the information, it is wandering elsewhere.
Likewise with practicing the piano, one must not merely treat it as a boring, aimless repetition of songs or notes! It is far, far more meaningful. At this point, I am truly a lover of Classical music (which most people would deem as a boring and old-fashioned type of music for old people). I’ll probably talk about my love for it some other time. :P Anyway, continuing, we can’t practice without having a desire to understand the particular nasty bit (which is most often the bestest bit!). If not, we’d just be rehearsing the same thing for ages without discovering anything new!
I told Jirene, “Repetition without an AIM is useless. You must have a plan and goal. Now your aim is the audition. Practice your music with that aim and purpose!”
Hmm, the moment I said that, I immediately thought to write it down so that I won’t forget. Haha, the best quotes come from spontaneous mouths, or rather, minds. Hee (: Now that's also a good quote, hey! :P
Thursday, September 17, 2009
Sunday, September 13, 2009
All Glory to God
At the VCASS audition, I learned once again to ask for God’s peace to fill my heart and mind and keep me calm and composed. I wanted it to be a memorable and worthwhile experience. I didn’t want to blow it by being over nervous and worried – and what for? If my performance and the results are in God’s hands, I already have the victory and success in Him. Even if I do not get in, I will let it all go to God and learn to take the chill pill – simply benefit and grow from the experience.
Thankfully, I discover that whenever I truly place my trust in God, just perform and play out my heart unto Him, not even unto people, it will work out for good.
At the much anticipated audition, I only got to play like one-third of my pieces! How sad, right. I did not even manage to get to the best parts and the parts I practiced so much. But I believe the panel would’ve been able to gage my ability and level of playing even from the beginning (hopefully). Anyway, like I testified in my blog, God gave me the peace and I was not worried at all about how I would please the panel – there were five of them!
From now onwards, my main focus is to work on my TONE. It is almost the most important thing in piano playing. I regret that I’ve never been drilled with such core “foundation” principles all these years I’ve been playing. Tomorrow (my 16th birthday) will mark my 10th year playing the piano. God has led me this far, surely He will continue to reveal greater truths to me and lead me to more discoveries in music. NOW is only the BEGINNING.
Now that I am freed of this audition (that’s been pressurizing me for 4 months!) I can start pursuing new songs and challenge myself with another load of repertoire. Exciting, fun, and another season of sweat and tears to pour into my music! Haha, “why so serious?” right. But seriously, I AM dead serious. “Inspiration comes with perspiration” – wise words from my bestie Joyce Shamini. ;)
At the VCASS audition, I learned once again to ask for God’s peace to fill my heart and mind and keep me calm and composed. I wanted it to be a memorable and worthwhile experience. I didn’t want to blow it by being over nervous and worried – and what for? If my performance and the results are in God’s hands, I already have the victory and success in Him. Even if I do not get in, I will let it all go to God and learn to take the chill pill – simply benefit and grow from the experience.
Thankfully, I discover that whenever I truly place my trust in God, just perform and play out my heart unto Him, not even unto people, it will work out for good.
At the much anticipated audition, I only got to play like one-third of my pieces! How sad, right. I did not even manage to get to the best parts and the parts I practiced so much. But I believe the panel would’ve been able to gage my ability and level of playing even from the beginning (hopefully). Anyway, like I testified in my blog, God gave me the peace and I was not worried at all about how I would please the panel – there were five of them!
From now onwards, my main focus is to work on my TONE. It is almost the most important thing in piano playing. I regret that I’ve never been drilled with such core “foundation” principles all these years I’ve been playing. Tomorrow (my 16th birthday) will mark my 10th year playing the piano. God has led me this far, surely He will continue to reveal greater truths to me and lead me to more discoveries in music. NOW is only the BEGINNING.
Now that I am freed of this audition (that’s been pressurizing me for 4 months!) I can start pursuing new songs and challenge myself with another load of repertoire. Exciting, fun, and another season of sweat and tears to pour into my music! Haha, “why so serious?” right. But seriously, I AM dead serious. “Inspiration comes with perspiration” – wise words from my bestie Joyce Shamini. ;)
Wednesday, September 9, 2009
9/09/09
Today I performed Beethoven’s Appassionata 3rd Movement in Music Performance & Composition class with my schoolmates and subject teacher as audience. The main thing I MUST work on is ARTICULATION and TONE CLARITY. Like Ms Sandra Birze said, “Don’t allow your overly-passionate playing to swallow the notes!”
I was a tad bit nervous when I played. But then it evened out and I was more able to achieve a “balance between mind and heart”, as Ms Georgi Lewis once told me after the Gala Soiree performance. However, the piano was a ‘muffled’ kind, and the carpet on the floor kinda’ sucked up a lot of the sound. Thus my performance wasn’t as clear as it should have been.
This is a good practice for my VCASS audition in two days (I wrote about it in the previous post)! I must take heed to not play automatically (although sometimes it helps to calm my nerves) and not forget the contrast in the expressions that are so vital to this movement. Without clear expression and tonality, it becomes merely a series of fast notes all jumbled up without any direction, meaning and purpose. I need to tell a story through the piece.
I must FORGET THE AUDIENCE!!! Immerse myself in the piece, in every note, savour every part. I cannot play so exhilaratingly until I forget the expression and ignore the parts that I have so carefully rehearsed. I must remember each part that I tend to play automatically. Do not just think about ending the piece. Think about bringing out the part you’re playing with all your heart and fingers!
However, I am quite pleased that I had achieved a sufficient amount of DRAMA and SUSPENSE. I must be aware of every part I’m playing. DON’T PLAY IT AUTOMATICALLY!
The performance seemed as if it went by in a flash. I can’t remember how I played most of it. However, I am particularly pleased with a certain part where both hands are playing the same melody and it must be played very LINEARLY. One thing I must add to it is a CRESCENDO! I must remember that bit. I think it helps when I look straight ahead when I play this part. I must feel every note in order to play it linearly – listen to the left hand.
So the key areas that I need to take note at the audition are:
1) Articulation – don’t swallow the notes! Make it all clear.
2) Tone. Each note must be crystal clear and heard individually.
3) In order to achieve the above two areas, I must use FINGERTIPS!!!
4) Expression. Don’t simply focus on getting the notes right. Note ff & pp contrasts.
5) When you have expression, you will surely play out the MELODY.
6) Separate melody and accompaniment. Accompaniment is more subdued.
7) RELAX. Savour the slow and quiet (suspenseful) parts – rest and relax your shoulders.
8) Be DELIBERATE when playing the parts you’ve practiced most.
9) Accuracy. LOOK AHEAD before you land – don’t blindly hit a key.
10) PEDAL. Clean and don’t blend notes.
Thank God for the opportunity to perform today. It somehow makes me feel more prepared for the audition in two days. Yikes. Yipee. I really don’t know what to feel. God please help me. I place my confidence and trust in You alone!!!
Today I performed Beethoven’s Appassionata 3rd Movement in Music Performance & Composition class with my schoolmates and subject teacher as audience. The main thing I MUST work on is ARTICULATION and TONE CLARITY. Like Ms Sandra Birze said, “Don’t allow your overly-passionate playing to swallow the notes!”
I was a tad bit nervous when I played. But then it evened out and I was more able to achieve a “balance between mind and heart”, as Ms Georgi Lewis once told me after the Gala Soiree performance. However, the piano was a ‘muffled’ kind, and the carpet on the floor kinda’ sucked up a lot of the sound. Thus my performance wasn’t as clear as it should have been.
This is a good practice for my VCASS audition in two days (I wrote about it in the previous post)! I must take heed to not play automatically (although sometimes it helps to calm my nerves) and not forget the contrast in the expressions that are so vital to this movement. Without clear expression and tonality, it becomes merely a series of fast notes all jumbled up without any direction, meaning and purpose. I need to tell a story through the piece.
I must FORGET THE AUDIENCE!!! Immerse myself in the piece, in every note, savour every part. I cannot play so exhilaratingly until I forget the expression and ignore the parts that I have so carefully rehearsed. I must remember each part that I tend to play automatically. Do not just think about ending the piece. Think about bringing out the part you’re playing with all your heart and fingers!
However, I am quite pleased that I had achieved a sufficient amount of DRAMA and SUSPENSE. I must be aware of every part I’m playing. DON’T PLAY IT AUTOMATICALLY!
The performance seemed as if it went by in a flash. I can’t remember how I played most of it. However, I am particularly pleased with a certain part where both hands are playing the same melody and it must be played very LINEARLY. One thing I must add to it is a CRESCENDO! I must remember that bit. I think it helps when I look straight ahead when I play this part. I must feel every note in order to play it linearly – listen to the left hand.
So the key areas that I need to take note at the audition are:
1) Articulation – don’t swallow the notes! Make it all clear.
2) Tone. Each note must be crystal clear and heard individually.
3) In order to achieve the above two areas, I must use FINGERTIPS!!!
4) Expression. Don’t simply focus on getting the notes right. Note ff & pp contrasts.
5) When you have expression, you will surely play out the MELODY.
6) Separate melody and accompaniment. Accompaniment is more subdued.
7) RELAX. Savour the slow and quiet (suspenseful) parts – rest and relax your shoulders.
8) Be DELIBERATE when playing the parts you’ve practiced most.
9) Accuracy. LOOK AHEAD before you land – don’t blindly hit a key.
10) PEDAL. Clean and don’t blend notes.
Thank God for the opportunity to perform today. It somehow makes me feel more prepared for the audition in two days. Yikes. Yipee. I really don’t know what to feel. God please help me. I place my confidence and trust in You alone!!!
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