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I agree Stubbie- I have done no pedalling in my sheet music practise as yet. I wouldn't have a clue!

I don't know if it is an achievement BTW but I'm now starting to play BHT on new pieces instead of R hand, L hand then HT- but it'll soon go back to HS once I get harder pieces of music!

Stubbie, thank you for your kind word. Am just licking my wound. I have to do something to overcome the stage freight. I would ask my husband to sit on a couch in front of the piano and intently listen to me. I have been recording myself occasionally but it's a different experience.

Farmgirl, it is intimidating to feel like the least experienced person in a group. All this talk of pedals, it is a major stretch to reach the pedal with the new higher stool.

Week 45: I spend most of the week working on the new piece, Shadow, playing around on the black keys, and rehearsing Ashokan Farewell. The Songmakers hoot on Saturday was a good time. The crowd was on the small side. I perform Shadow, a new half-baked piece on the black keys that I want to call Black Hills, and Somewhere Over the Rainbow on the host's Roland keyboard. The Roland is probably 20 years old. It reads and writes 3.5 inch floppy disks. The Roland was set up weird and I couldn't figure out how to clear the settings, or get the host to do it, so performed with an electric piano sound and maybe some strings. It wasn't unpleasant. I chicken out on Ashokan Farewell. I close with In Dreams on whistle, which may have been the first tune I played when I came to my first Songmakers hoot, years and years ago. I have some minor flubs on the four performances, but overall I did well.

I attend a concert, mezzo-soprano Laurie Rubin singing, and accompanist Jennifer Taira on piano. Ms. Rubin was born blind and does two original songs about being blind. Do You Dream in Color? is the most common question she gets when taking to people after performances, so she wrote a song about those conversations and also used that title for her autobiography. That is such a great song title, my mind gets to working on lyrics on the way home. The second song is about being 14, and a conversation with another kid telling her that she had no future, that she would probably always live with her parents and never have a decent job because of the handicap. Kids can be so cruel (teachers can be too). I certainly had my cruel moments and my moments where I was bullied or mistreated. The concert was self-indulgent at times, but really really good in parts. Ms. Rubin's performance of Never Walk Alone was prefaced by a story about her seeing-eye dog. She never walked alone when she had that dog.

I believe it is someone on the forum that said that the five black keys form a simple pentatonic scale. Pentatonic scales are popular in Asia and also in Native American music. I spent some time this week playing only on the black keys, and played a piece, Black Hills, in that fashion at Songmakers. It is strangely pleasing.

Other highlights from Songmakers include a drum circle, someone singing the first song he ever wrote (~35 years ago) about a broken heart, a young man singing two original songs about heartbreak, the host had a new cello. Talk about a learning curve for cello, piano looks easier than cello. I know, apples and oranges, but it might be a year before he can play a clean sounding scale and that's if he applies himself. The lack of frets is a big obstacle for the adult cello beginner. I know many beginners struggle with piano, but at least a person can play some notes and some chords without months of frustration.

This weeks YouTubes are from Bill Hilton on comping. I never heard of comping before this week. The wiki has a definition referencing jazz, but to me watching the videos, it felt more like a compromise between improvising and composing. Another person takes it be short hand for accompanying singers, but I didn't get that feel. More to learn. More to learn.

FarmGirl, don't be so hard on yourself - but stay brave and be ready for the next time. I will take you at face value when you say you are the least experienced - but you wouldn't have been invited to join them unless the teacher thought you could do it. You just have to get over the first few times, and the change in pedal use!!!!
Seems pedalling is a theme this week, doesn't it?


Edwardianpiano, it is so much fun to start playing new pieces hands together! Yes, maybe with new music in the future you'll go back to HS, but probably less and less as time goes on!


Sand Tiger - interesting to hear about your experiences with the group , and how funny that the Roland was so old it still uses floppy disks! What you say about there being so much to learn is so true....the more I learn the more I realize how little I know.

If I can have another AOTW....my Melody is coming along very nicely, and my jazz piece fine tuning is progressing well too. I'm feeling chuffed!

I'm trying to improve my pedal usage too. It really needs some cleaning up on the Chopin Waltz. It calls for using the sustain pedal almost throughout the entire piece, but I played it through the other day using no pedal at all. It got me to listen to the notes again, without being overshadowed by the sustain effect. I think that helped me a bit. I'm also practicing using the soft pedal at the same time as the sustain, and letting them off at different times. That sure was confusing at first!

SandTiger, I started taking yoga classes a few months ago and have grown to really like it. I don't know if it's helping my piano playing, but I think it's a great way to stretch (in both senses of the word) and become more attuned to your body.

Had my annual "goals" talk with my teacher at my last lesson. We're going to especially concentrate on expression and harmony (ear training & theory) this year. I'm excited!

I'm guessing these are from "Music for Millions". Those books are so full of great pieces; I loved playing out of them! Every time you mention a piece that I remember from the red book, I have pull it out again and play from it.

Sand Tiger - I always enjoy reading your post. What a musically enriched life you have! I thin it's great to get used to performing from now. You are also composing. That's really amazing.

Cheryl, thank you for your encouragement. I do know how to use una coda (spelling?). The issue is in my brain. I just memorized it recently and the some changes in pedaling in the first page totally threw me off. The moment l applied una, all the memory was gone. I must have been intimidated too. The guy before me played a semi professional appasionata the whole thing. Another lady performed chopin nocturne in f minor op. 55 no. 1 flawlessly. After me schubert's wanderer's and List's etude (can't remember the name). The class is split into two age groups, young students who are getting piano performance credit and older students who are playing the piano between 20 to 80 years. The oldest guy is 89 years old fine pianist. He's been playing the piano since age 6 and never really stopped. He is good. He sight read Brahmes 1st piano concerto and played the piano part with my teacher playing the orchestra. The amazing thing about these people are their flexibility. The teacher gives technical feedback and they incorporate it on the spot. Very different from me. A little change in pedalling throws me off completely. I have a long way to go.

Ah Farm Girl, How great it is that you are surrounding yourself with talent and going for higher levels. Your experience sounds like one I had a few years ago. I signed up for a Master Class (clueless really as to what would be expected). I arrived at a home with a special room built for two grand pianos and the audience were all professionals (performers and or teachers) and me. WHAT was I thinking. The Master was Barry Green (I think that was his name) and he was very kind to me with my half ready Mozart sonata. I had no idea that the expectation was performance ready. My hands shook, my brain left the room, I could barely speak, and although I didn't drink anything I left without memory of the worst parts of the experience. Looking back NOW, I can see that more instruction of the expectations would have made my afternoon more of a learning experience. Last year I went and OBSERVED a master class...learned a lot. Now I totally prepare a piece so the brain stays with me. Don't think I'll EVER totally get over the lack of confidence at piano. BUT...you never know

Keep doing it and I'm one of the many here applauding your efforts. Don't think about the others...just your own learning.

It's "una corda", FarmGirl

Hearing others play so much better (or seemingly better) can be so intimidating, especially in a setting where you were expecting peers. Nobody wants to be the worst of any group! I needed to consciously put myself over that feeling when submitting to the quarterly recital here. All those people with decades of experience, playing Chopin or in bands or making beautiful videos. But you know, people are nice here and eager to be helpful.

I agree with you Allard - I went into the first e-cital without having listened to any of the previous ones! I was stunned when I started listening to the one I joined, and yet....... people here are truly so nice and eager to be helpful and encouraging, I am inspired rather than discouraged!

FarmGirl - isn't adding in something new one of the most difficult things about moving forward? You've added in the una corda.....(I know what it does on a grand, but I had to check to see what it does on my upright )
It is also tough being the newbie, and feeling that you're at a different level of competency.
Give it a few weeks and I bet you'll be more relaxed and it will come together in a way that you will find satisfying and enjoyable!

Wisebuff - what an experience that must have been! I can well believe that was hard to get over. You're very right that some preparation on knowing what to expect would have served you well.

Don't you find that as you develop your piano skills your ears HEAR the wrong notes or phrases more acutely? The first piece I submitted to an e-cital here sounded so BAD to me but I was determined to participate. I, too, had never listened to the high caliber of submissions before jumping in. The other day I listened to it with a year or two of distance and it was ok...maybe even pretty nice. Having others listen with that distance is very affirming. The PW group is something I recommend to others I know who play because it's been a good experience. I'm teaching a class on speech and thought which focuses a lot on consciousness...in the process I can't help but apply the piano experience to our study of inner speech. If we could just eliminate that negative inner voice even when we flop miserably. THAT would be a major achievement. This week I'm learning the last page of the first movement of a Mozart Viennese sonatina....slow slow slow then a little bit faster

AotW - I must be practicing properly. Why? Because the wife complained (this isn't the first time), "Please, just play something - that is really annoying".

:;

For reference, there are some chords with a chromatic progression in the Chopin Eb Nocturne that are going to take a lot of practice to get smooth. Apparently that's super annoying ...

FarmGirl, it sounds like a very select group you are working with! I am sure all of them have had performances that did not go well. Don't let their experience intimidate you. Your teacher must think you are on par with the rest of them. It should be a great learning experience.

I sent my Bach prelude recording to my teacher at her request, and she told me today that she thought it was very good! Boy was that a surprise. I spent the whole weekend worrying about this lesson because when I listen to the recording, I hear all the things that I could have done a little bit better. So, I guess my AOTW is my recital recording is done! Of course I will probably do a few more takes to see if I can do better. I am still trying to get a recording of the Chopin C# minor Waltz as well. I don't feel the Piu Mosso section is fast enough for recital yet, though. I guess the piece needs to mature a little more.

I had a shock when I started in on the Arabesque. I have played a few pieces with twos against threes, or fours against threes, and had absolutely no problem feeling the rhythm. I get them right without trying. Not so with Debussey's Arabesque. I finally figured out why today. It is the first piece I have played with twos in the left hand and threes in the right! All the others were triplets in the left hand. You would think it would be an easy switch, but no, my brain is apparently not wired that way. I am struggling with this. I assume it will click sooner or later, but it sure was a surprise. So, the teacher says I stay on the first page until that rhythm is natural to me. Proof once again that sometimes you don't know what you think you know!

Yes, tricky for me too - though this was the first piece I played where I had polyrhythms. Later on in the piece you get triplets in the left against doubles in the right so hopefully that will be easier.

I wonder if it's the way these need to cascade, like mini-waterfalls, that's the issue? They just have a different feel than some other pieces.

Wisebuff, thank you for sharing your experience with me. I can totally relate to what you went through. Yes it is very similar to my experience. Mine is a studio class for piano performance students and others with permission of instructors. I underestimated the level. It is a community college so I did not think the performance levels were as high as They were. My teacher said that there were two age groups, retired and young students transferring to 4 year college or conservatories. These young students were good and preparing for competitions. I frankly wonder why they were not in 4 yerar colleges. Maybe because of the teacher. She is a renowned performer and teacher. The reason why I got in is because I take private instruction from her. And all those old people kicked my butt. I was stunned in disbelief. 89 years old an 70 years old are playing like no other. She also said that there were varied levels, it was true but the variations were not between beginners and advanced but variations among advanced, early advanced and fine performer levels. Yeah right, I was the only early advanced or late intermediate.

I recovered yesterday. I realized that there are things I could do and did not do. Like playing hands separately and memorize left hand part. I tend to sight read a piece from the beginning with both hands and never do focused hands separate - which is very good to discover weakness in memory and techniques. Anyway I won't be discouraged. I will continue. A good thing is I have very low bar of expectations now. Just play through the best I can. I don't need to impress anyone.

Cheryl, Allard and SwissMS, thank you for your encouraging words.

SwissMS - glad your teacher was happy with your recordings of Bach prelude. I have been trying to play smoothly my Bach pieces too. In connection with my root cause identification process for my poor performance, I realized that I have never done hands separate practice for Bach too. Especially Bach pieces are not jumping and hopping like romantic pieces, it's easier to sight read and play by the feel of the keys. But it will only take me so far. I can't really improve the performance and memory unless I do the real "work". Unlike you I was told by my teacher that I need to make effort to perfect each section. She told me that there is no reason you cannot play the piece excellently. You have all what needs to play the piece. Sigh. Basically I think I was just playing the piece like a robot not really practicing.

FarmGirl, my teacher insisted that I memorize my Bach Prelude (BWV 936) hand separately and "sing" each voice. It seemed like progress was so slow, but once I put them together the HS payed of. For me, making it sound like music took a long time, and that is just with three voices! Your fugue must have more than that! My brain gets tired quickly working on Bach.

Yes, I think you are right. The accents in the cascade confound the issue. I'll get it sooner or later.

MaryBee - sounds like some interesting work with the pedals - will we hear your Chopin at a recital? It is also a great moment when you can really hear a difference in what you are doing! Sometime the struggle just to play the notes gets in the way of that for me!
And yes, the music is from the red book! I have the red one and the blue one (vol 17 and 27 I think). I love both of them.

Andy - that's pretty funny. Good work on getting good practice rolling, too bad it is so annoying for your wife!

SwissMS congrats on getting your recording done. I'm almost ready - I've been doing trial runs but still haven't got my dynamics quite right. I'm loving it though and determined to record the acoustic this time instead of using the digital option.
I have to stop and think about what you've said for the Arabesque, but it certainly sounds difficult to me!

FarmGirl, you're right, you don't have to impress any one. Making recordings really does help with being able to target weak spots.

I'm bouncing off the walls for a non piano AOTW..... I just got confirmations and go ahead for 2 contracts that have been pending, plus 2 requests for new projects plus 3 confirmations (out of 15 needed) for a study-vacation I'm organizing to Canterbury this summer. Work is booming!!!!!!! (less time for piano though... sigh......ah well, what can you do!

Canterbury!!!
Ooooh, I had the best fish and chips ever and a little chippie across from the cathedral school when I was there, and we went to a pub with hop vines all twined around the inside...

As for AotW, I've been working through the ABRSM sight reading app on my ipad and miracle of miracles it appears that I am improving! I started shortly after Christmas, when Santa got here with my mini. In the grade 1 exercises the hands alternate, which got pretty easily manageable by the end of the 55 exercises.

In grade 2, both hands have something to do which swamped me at first to the point that I aimed to read only the first measure rather than all 4. I am up to number 15, and I'm getting quite a bit better! Okay, I am working at mm 41, so there is still plenty of room for improvement!