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 Post subject: No longer a Bach virgin
PostPosted: Fri Aug 31, 2007 10:25 am 
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My teacher has assigned me my first Bach prelude/fugue from WTC bk 1 (he's in for a lot of work!)
So do any of you Bach-o-philes (?) have advice or suggestions for someone about to take the plunge?

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PostPosted: Fri Aug 31, 2007 10:38 am 
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Location: Obamanation, unfortunately...
good luck, you'll need it!

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PostPosted: Fri Aug 31, 2007 12:05 pm 
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You don't need luck. Everything what is needed you have already, and more!

Take that book, close your eyes, leave through the pages, stop anywhere and take that couple. You will never draw a blank. :lol:

Maybe you would like that beautiful slow b sharp minor pair? Plenty of sharps is nothing what would shock you.

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PostPosted: Fri Aug 31, 2007 1:11 pm 
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Quote:
Maybe you would like that beautiful slow b sharp minor pair?

I don’t think I have that one in my book. Is there one of those BMW thingys for it?

The one I’m starting is 855 in E-minor. Just so happens that it is right in the middle of my book, so it opens up almost automatically.

The Prelude doesn’t seem too hard, but of course that’s probably a misconception because of all the nuances and technical exactness that I keep hearing you all talk about. Guess I’ll see what you mean as I get more into it. We didn't have time to get into it at my lesson yesterday, and my next lesson is two weeks from now, so I'm on my own until then. The fugue is two voices and only two pages long, which my teacher thought would be good for me to start with – less to manage, maybe? I only played through the first page of it, which took forever.

Olaf, I listened to your recording of this one here and think you played it nicely. Yikes, that Presto part goes so fast! And I think you have reverb on the recording (?) so I’m not sure if you used any pedal or not. I know there is a lot of varying opinions on pedaling. My teacher’s opinion is that it’s okay to use the pedal sparingly (just tapping it lightly every now and then to enhance some colors.) So out of curiosity, I played through the Prelude with a lot of pedal, and I like it better that way. Guess I’ll have to get out of my romantic music mode for these.

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PostPosted: Fri Aug 31, 2007 1:33 pm 
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Sorry, I misunderstood you - I thought you asked for a suggestion which couple to choose!

My e-minor pair recording is probably the weakest of my WTC items, especially the prelude is rather uneven. The fugue was for me also not easy to play, even if it has only 2 voices.

Bach and pedal is of course an endless theme. The keyboards Bach used, were all much more percussive but also clearer or brighter in sound as ourday's piano. Also the organ construction - they used in baroque time a construction where the registers did melt, but the notes are very separated. Romantic organs do melt the notes but not the registers (different principal construction of the organ wind channel). So to me all baroque music has in common that different sound scheme. I really do think the music is composed to suit that different sound. So I would use the pedal more frugal, and in future I for sure will take much more care to articulate not only legato, instead all the shades towards staccato too.
Of course taste differs, and why not play Bach in romantic manner. See the Barenboim takes on WTC1 and WTC2, that may sound well too - plenty of pedal and romantic style. Bach can take that all, I think.

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PostPosted: Fri Aug 31, 2007 3:27 pm 
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Don't you just love when someone makes special attention to one of your recordings that you don't think is that great? Unfortunately, it happens to me all too often. :(
But you sound just fine to me on this one. :)

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PostPosted: Sat Sep 01, 2007 12:43 am 
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My only advice is...get others' advice. :lol:


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 Post subject: Re: No longer a Bach virgin
PostPosted: Sat Sep 01, 2007 3:15 am 
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pianolady wrote:
My teacher has assigned me my first Bach prelude/fugue from WTC bk 1 (he's in for a lot of work!)
So do any of you Bach-o-philes (?) have advice or suggestions for someone about to take the plunge?

omg....you're a Bach virgin? For real??

I was just thinking a few hours ago that I really can no longer pretend that I love Chopin more than Bach. I used to think that I did (obviously). I guess Bach just seemed to me to be less passionate, or some such related term. But the more I get into Bach (which I have been progressively doing since I was in high school) the more absolutely enthralled I become with him. So, I love Bach and Chopin equally. :D

I'm willing to bet that you've got that same view of Bach that I've discarded, and I promise, after you dig into him, you'll begin to discard it as well. It takes a bit to get used to, being sparing on the pedal (I still have to fight using it too much at times) but once you get used to that only sparing pedal, it frees you up to play in the percussive style that Bach obviously intended, with percussive variation on the longer notes (such as the eighth notes in a piece that mainly uses eighths and sixteenths).

All of the PS recordings of the WTC I/10 set are good, but I especially enjoyed the Grant recording (Prelude and Fugue), though perhaps he took the beginning of the prelude a bit too slow (I say 'perhaps', because that tempo does two good things: it makes for a nice contrast with the presto, and it of course makes it easier to be graceful and musical with the ornamentation and such). The presto section in particular was excellent, as was the fugue.

pianolady wrote:
The fugue is two voices and only two pages long, which my teacher thought would be good for me to start with – less to manage, maybe?

Yeah, two voices is less to manage - your set is the only set with a two-voice fugue - but I wouldn't say it's the easiest fugue, even though it usually is labeled as the easiest of the fugues because of the fact that it only has two voices. There are some that are slower and I think easier.

MindenBlues wrote:
Maybe you would like that beautiful slow b sharp minor pair?

:lol: :roll: You shouldn't tease her like that!

pianolady wrote:
I played through the Prelude with a lot of pedal, and I like it better that way. Guess I’ll have to get out of my romantic music mode for these.

I wouldn't suggest getting out of that "mode" at all. Yeah, you're going to have to trim down the pedal, likely. But remember, pedal is okay as long as you're not muddying anything up, or watering down percussive opportunities. And keep that "romantic mode"! Bach and Chopin are very similar in many respects, and there's nothing I hate more than a dry, static interpretation of Bach. Just because his music is mathematically perfect does not mean that it should be played merely mathematically.

If you want a good example of the heavy pedal interpretation of Bach, and also some romanticism in Bach, listen to Hawley's recording of the Chromatic Fantasy and Fugue in D Minor. I don't know that I would use nearly so much pedal with that one in spots, because he does allow it to get a bit muddy in some of those chromatic passages, but overall, I really like his interpretation, and you can definitely get a feel for Romantic Bach from this one. ;)

MindenBlues wrote:
See the Barenboim takes on WTC1 and WTC2, that may sound well too - plenty of pedal and romantic style.

You say that as if they are available for free somewhere. :lol: Or am I misreading you? (I probably am. Oh well.) I've only heard Barenboim on the Beethoven Sonatas, and that's been a while. They've got his complete set of those in our music library.

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PostPosted: Sat Sep 01, 2007 6:17 am 
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pianolady wrote:
Don't you just love when someone makes special attention to one of your recordings that you don't think is that great?


Excuse me, I am sorry - however what I wrote was honest . Yes, I like if someone comments kindly a recording of mine. It was only so, yesterday I listened again to that recording after you wrote the comment, and felt a need to rework again on it: The (my) problem in that prelude is, that during the ornaments in the RH, I did not get it managed that the LH 16th remain really evenly on plenty much spots - no real idependance of both hands. But maybe that's the challenge old Bach gave his pupils and us in order to grow with that, I dunno.
Also the fugue - I agree with Terez, it is absolutely not the easiest one. It has "only" two voices, but they are tricky combined. Especially I like those bars, in which one hand plays 8th, the other 16th notes and vice versa - that eludes to switch the phrasing in both voices accordingly.

Terez wrote:
It takes a bit to get used to, being sparing on the pedal (I still have to fight using it too much at times) but once you get used to that only sparing pedal, it frees you up to play in the percussive style that Bach obviously intended, with percussive variation on the longer notes (such as the eighth notes in a piece that mainly uses eighths and sixteenths).


That's absolutely my opinion too. And I agree with you too reagarding that otherwise "romantic mode" in Bach. Playing in a more percussive style does not mean that it is played without feeling.

For me, the main difference between the composing style of the late baroque time and the following music styles, that most of Bach's work are polyphonic works - different voices which play along.
That's why I think all what helps to ease the perception of the following up of the different voices serves the music. A pedal tends to blurr the voices, also an enduring legato throughout a piece. Thereas a tasteful articulation and if possible, independant treatment of the voices helps for the perception.

@Terez: Sorry, I have the Barenboim recording only on CDs, as far as I know they are not available for free. I mentioned that only, because I can imagine that Monica would like that playing style since it is a bit "Chopin-like". It is not really my taste however. My favorites are the recordings from Richter and Schiff for the WTC, both are availabe for free (if you can read Cyrillic:lol:) .

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PostPosted: Sat Sep 01, 2007 6:32 am 
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MindenBlues wrote:
Also the fugue - I agree with Terez, it is absolutely not the easiest one. It has "only" two voices, but they are tricky combined. Especially I like those bars, in which one hand plays 8th, the other 16th notes and vice versa - that eludes to switch the phrasing in both voices accordingly.

I have had one of my favorite fugues on my mind all week, and I have been playing it some, though I should be spending my time on my current repertoire and my Bach project! Anyway, it is the fugue from the Sinfonia of the C Minor Partita (the fugue is the third distinctive section of that piece, to the end, and tbh this recording really makes me want to make my own, because I interpret it very differently). It is only a two-voice fugue, and nowhere near easy. The five-voice fugue from the WTC I-22 in B-flat Minor was much easier. :lol:

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PostPosted: Sat Sep 01, 2007 11:44 am 
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Quote:
omg....you're a Bach virgin? For real??

Sad but true – Oh, my first teacher gave me the books like Mozart’s little minuets and Bach’s shorter pieces. To me it wasn’t all that exciting and I hardly practiced back then because it all came pretty easily (not so anymore :( ) and besides, I wanted to be outside chasing butterflies or lightning bugs. My poor teacher had a dickens of a time getting me to sit still for anything longer than two pages, but when we came to my first Chopin waltz, everything changed. She was so happy that I finally expressed a passion for something that we kept to more romantic style music. And my next teacher steered me back into Mozart sonatas and wanted to get me into Bach (he even had his own harpsichord in his studio and that I played but wasn’t crazy about – too tinny sounding), but I was too busy being a teenager to be interested in learning any preludes and fugues. Now that I’m taking lessons again from a concert pianist with a doctorate degree in performing and piano pedagogy, I’m like starting all over again. The bad part is that I have a lot of ‘undoing bad habits’ to do. The good part is that I have a lot of “doing things the right way” to work on. So hence – it’s back to Bach. Like you said, maybe he will grow on me, now that I’m giving him a chance.



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MindenBlues wrote:
Maybe you would like that beautiful slow b sharp minor pair?

You shouldn't tease her like that!


Ok, I know I’m not the brightest light bulb on the Christmas tree, and someone right now is probably calling me a ‘stupido’. My dad is very smart regarding music and you should see the look he gives me sometimes when I say something so totally off or wrong. It’s that blank stare with the eyebrows raised that says, “How can you be my offspring?” But anyway, what I’m leading to is this: Is there such a thing as b-sharp minor, or is that the joke, and is there a prelude and fugue in this key?
Terez, you know how we talked about going back to school? Yes, I really need it, but from your other post regarding your Bach project, I don’t think I could get through all of that. And that’s just one of your classes, right?

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pianolady wrote:
Don't you just love when someone makes special attention to one of your recordings that you don't think is that great?


Excuse me, I am sorry - however what I wrote was honest . Yes, I like if someone comments kindly a recording of mine. It was only so, yesterday I listened again to that recording after you wrote the comment, and felt a need to rework again on it


Olaf, I think what I said here came off incorrectly. I didn’t intend to make it sound sarcastic – only that I understand how you feel, because I have many recordings up here that I’m embarrassed about and cringe to myself when one of them is mentioned. Sorry if I upset you. It’s beautiful weather in Naperville these days so I’m going to get myself off the computer today (keep myself out of trouble) and do some gardening – maybe chase a few butterflies while I’m at it. I’m glad to know your and Terez’s opinions about pedaling. Last night again, I played the prelude with a lot of pedal and really like it that way. I don’t think my teacher will, though.

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PostPosted: Sat Sep 01, 2007 6:35 pm 
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pianolady wrote:
Is there such a thing as b-sharp minor, or is that the joke

That's the joke - there is no such key as b-sharp minor or major. Of course, B# is enharmonically the same note as C. The key of b-sharp minor would go like this: B# - C## - D# - E# - F## - G# - A# - B#. Since we can't have double sharps in key signatures, we just call it C Minor. ;) B-sharp major would be even worse...

Quote:
and is there a prelude and fugue in this key?

Of course not - which is why I said he shouldn't tease you like that.

Quote:
Terez, you know how we talked about going back to school? Yes, I really need it, but from your other post regarding your Bach project, I don’t think I could get through all of that. And that’s just one of your classes, right?

Yeah, that's just one of my classes, but it's a senior-level class. No worries, Monica. There are a lot of classes you would have to take before a class like that to prepare you, and they're not nearly as hard as they might seem to you now. The first two years at music school are spent on teaching you music theory, starting at the very beginning with how to read bass and treble clefs, key signatures, simple chord structure...you have to start at the beginning because you will have voice majors and percussionists in class with you, and they're freshmen (18 years old and straight out of high school, for the most part), and they know way less about this stuff than you do. Trust me, it would be an absolute breeze for you, Monica. Pianists have it made in music theory, because we are accustomed to reading polyphony, where most other music majors are accustomed only to reading monophonic melodic lines in one clef. Not only are we accustomed to reading complicated polyphony, but we are accustomed to reading two clefs at once!

Also, music majors have to learn piano. All music majors. I just heard a few of them kvetching about it. :lol: They have to learn it in a class usually with about 20 digital pianos, in a group study type thing. We don't have to do that. ;)

Also, Monica, that second part of my project might be mind-boggling, but if you look at something like this Anatomy of the Fugue, it becomes much easier to understand. And again, that is a senior level class, and before this class, you are supposed to take two years of music theory, and then also Form & Analysis, and also Counterpoint. I cheated though, because I haven't taken those last two classes yet (they are junior level classes). :lol: I tried to take them this semester, but they were both full, so I took Keyboard Lit instead.

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PostPosted: Sat Sep 01, 2007 8:15 pm 
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That's the joke - there is no such key as b-sharp minor or major.

I sat down at the piano and discovered this myself, but then thought maybe I was missing something. Just give me the ‘stupid-question-of-the-day’ award. :) And who needs school when I have you! :lol:

Quote:
Also, Monica, that second part of my project might be mind-boggling, but if you look at something like this Anatomy of the Fugue, it becomes much easier to understand.

Ha, ha, ha – I looked at that Anatomy of the Fugue – Man, there’s a lot of stuff there. Again, way too much for me. I have another one of these internet information sites, this one about Chopin mazurkas - http://www.mazurka.org.uk/

I don’t understand most of it, but it has nice colorful graphs and pretty triangle things. :lol: What I found funny in a weird way, though, was on the second bullet point, Mazurka Discography, one of the pianists listed is Joyce Hatto. If you recall, there was a big scandal regarding she and her husband making fake recordings. On this particular page, it lists the record companies with the pianists and it says: Con Artist #####. I think “con’ is short for something, but it sure looks strange there.

Anyway, thanks for all the info.

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PostPosted: Sat Sep 01, 2007 11:00 pm 
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pianolady wrote:
What I found funny in a weird way, though, was on the second bullet point, Mazurka Discography, one of the pianists listed is Joyce Hatto. If you recall, there was a big scandal regarding she and her husband making fake recordings. On this particular page, it lists the record companies with the pianists and it says: Con Artist #####. I think “con’ is short for something, but it sure looks strange there.

:lol: I think it is short for "Concert Artist", because others have "Concert Artist" by their names in the list before her (and I think that's a record label?). But that is funny. :)

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PostPosted: Sat Sep 01, 2007 11:36 pm 
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Wish you the best of luck with playing Bach. He and Mozart (and similar composers - not Beethoven obviously) are two composers I'm not very fond of, no matter how much of their music I play. It's too boring and predictable, but that's only my opinion. I guess I'll always be a Romantic and Impressionist lover.

I hope you enjoy playing Bach and like his music. Good luck!


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PostPosted: Sun Sep 02, 2007 6:58 am 
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pianolady wrote:
Quote:
That's the joke - there is no such key as b-sharp minor or major.

I sat down at the piano and discovered this myself, but then thought maybe I was missing something. Just give me the ‘stupid-question-of-the-day’ award. :)


O no, I am the stupid dumb-ass here - I wrote also b-sharp minor/major for that b-flat minor/major pair in my homepage :oops: :oops: :oops:

Ok, I meant that b-flat minor prelude and fugue. It has 5 flats - for every voice one flat :lol:
Just counted - if I am right, b-sharp minor would have 9 sharps, b-sharp major would have 12 sharps or so.

The only excuse I have is that in German the naming is total different:
English<->German
B <-> H
B flat <-> B
D flat <-> Des
C sharp <-> Cis

The advantage of the German naming is that only a German can handle the famous key sequence in a proper way (numerous pieces for that notes were written including from old Bach itself):

B-A-C-H

Interesting maybe, for that c sharp major pair with 7 sharps there seems to be another score, coded with d flat major and 5 flats. That's something every Chopin lover will appreciate, since it is one of Chopin's most used keys, so one is more used to that. If anyone has the fugue coded as d flat major instead c sharp major I really would be interested to get a hint for a source to buy that.

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PostPosted: Sun Sep 02, 2007 7:55 am 
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Just as an aside, Chopin is quite fond of modulating into keys that have no proper key signature. Like D# major. You don't write pieces in D# major, because that gives you double sharps in the key signature (not allowed!) but Chopin will modulate into those keys without changing signature. :)

Bach probably does it too, but I'm not as widely familiar with Bach stuff as I am with Chopin stuff.

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PostPosted: Sun Sep 02, 2007 11:22 am 
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Speaking of Bach, why is it still "Bach" on the composer side bar in the main site? It should be "Bach J.S." and "Bach C.P" beneath it. :wink:

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PostPosted: Sun Sep 02, 2007 12:01 pm 
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juufa72 wrote:
Speaking of Bach, why is it still "Bach" on the composer side bar in the main site? It should be "Bach J.S." and "Bach C.P" beneath it. :wink:


Putting Bach below his sons, that would you really demand from Chris? I propose instead, putting Bach and Chopin on top of the complete list, and below come the "other" composers, the poor rest. Is also more ergonomic, see the statistics for the most accessed composers. :lol:

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PostPosted: Sun Sep 02, 2007 4:43 pm 
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No no! I meant like this:

Albeniz
Alkan
Bach J.S
Bach C.P (or C.P.E)
Balakirev

etc

I did not imply placing J.S beneath his son, that would be blasphemous :wink: :lol:

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 Post subject: Bach
PostPosted: Sun Sep 02, 2007 4:54 pm 
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I am certainly not an expert on Bach, but I find playing Bach to be very exciting personally. I never tire of playing his compositions.

Here is the address of my favorite Youtube post. It is Gould practicing apparently in the privacy of his home or studio. At first it seems like he is an insane person, but be sure to watch and listen to the entire post, and I believe you will agree with me that it demonstrates what a genius Gould was. I love it. I even love the dog and birds.

http://www.youtube.com/watch?v=qB76jxBq ... ed&search=


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PostPosted: Sun Sep 02, 2007 6:49 pm 
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That is a stttrraaaaange video! What are those birds doing there, anyway? And the dog sure didn’t seem very excited (big yawn). It’s probably used to hearing so much piano music all the time that it’s immune. But yes, that man can sure play!! I’m not sure what to think about all that singing, though. It’s like he can’t play WITHOUT singing. Still, it kind of adds an additional entertainment element - I would think it would be difficult to just sing something like that, let along sing and play. Maybe that’s what is meant by additional voices in fugues?(kidding)

Thanks John, that was interesting. The bird thing cracks me up.

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PostPosted: Sun Sep 02, 2007 8:04 pm 
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pianolady wrote:
I’m not sure what to think about all that singing, though. It’s like he can’t play WITHOUT singing. Still, it kind of adds an additional entertainment element - I would think it would be difficult to just sing something like that, let along sing and play. Maybe that’s what is meant by additional voices in fugues?(kidding)

hehe...in case you didn't notice, Monica, he was playing the fugue that I mentioned earlier (from the Sinfonia of the C Minor Partita). It's one of my favorites, and it's nowhere near easy, and it only has two voices. I no longer feel the need to make my own recording, because he interprets it more like I do, and he plays it much better than I could. :)

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PostPosted: Mon Sep 03, 2007 1:16 am 
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The video...

Ha! That is exactly how I practice, with all the humming and the odd "gagh" of frustration and the pacing and singing. :lol:

Pete


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Terez wrote:
hehe...in case you didn't notice, Monica, he was playing the fugue that I mentioned earlier (from the Sinfonia of the C Minor Partita).

What a coincidence!

Out of curiousity, I went back to Youtube and looked at the first Glenn Gould video that popped up and it was this one: http://youtube.com/watch?v=Ag3atJSmgTM
I don't know a thing about partitas, but this was a nice piece. (figures, it's another minor key :wink: ) I just came home from a Cheap Trick concert so this relaxed me. And doesn't Gould look a little like Arthur Fonzarelli (the Fonze)from Happy Days?

I'm watching him again right now and noticing his wrists and high fingers. My teacher is trying to get me to have looser wrists like this. He (my teacher) can produce such a nice tone on the piano, and explains that if I dig into the keys more, use more arm weight, wrists that (look like they)float or swim, I could sound better. I'm trying.
What a nice piece, so soothing. Maybe Bach's not so bad afterall. :)

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PostPosted: Mon Sep 03, 2007 9:48 am 
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pianolady wrote:
I don't know a thing about partitas, but this was a nice piece...

...so soothing. Maybe Bach's not so bad afterall. :)

That is the Partita I am working on this semester. ;)

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I was going to say, “Wow, another coincidence,” except I guess it’s not if I would just pay attention to the titles. :oops: But here’s one: Star Trek Voyager was on last night. :wink: :lol:

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PostPosted: Mon Sep 03, 2007 12:01 pm 
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VGER!

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Back to Barenboim...we listened to some of Barenboim's Goldberg Variations in Keyboard Lit today. He's definitely not a purist when it comes to the pedal (as in, he uses it) but I definitely wouldn't say he uses too much. I'm not really intimately familiar with the GV, but I think he did a good job.

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PostPosted: Fri Sep 14, 2007 6:07 pm 
stay away from the fugues!


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PostPosted: Fri Sep 14, 2007 7:53 pm 
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Quote:
stay away from the fugues!

What do you mean? Don't play them or don't listen to Barenboim play them?

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pianolady wrote:
Quote:
stay away from the fugues!

What do you mean? Don't play them or don't listen to Barenboim play them?


Both :!:

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Don't listen to him...fugues are awesome! :D

hehe....my roomie is a nursing major, and she's taking music appreciation. So, she's got this organ fugue that she's listening to, and I was trying to help her come up with stuff to say about it. lol...then I notice the title of the piece. It says "Organ Fugue in E Major". :lol: (It's the "Little Fugue" in G Minor...) So, either her teacher is dumb, or she just figured that a bunch of non-musicians would never know the difference...I let her listen to Olaf's recording, because her recording's organ sounds like a tin can.

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Taking a practicing break and feel like giving a progress report on my Bach piece. When my teacher first introduced me to it, I thought, ok – this is all right (the prelude). And it doesn’t look that hard. Now that I’ve been practicing it for a couple weeks, I think it is more than just all right. I like it – a lot! It definitely has grown on me. The way the hands have to be in sync and exact but still make it sound musical is a fun challenge. Can’t really explain it, but practicing at a slow tempo, sometimes my hands can actually do something right, and it’s very satisfying.

This particular prelude is beautiful in the beginning – the RH sings so gently a heart-wrenching melody. Then the faster section comes on and things are light and teasing, until the lower notes jump up the intensity. Then everything comes crashing down near the end and resolves on an E major chord. I love that!

Oh, and it certainly isn’t easy. Terez, I remember you talking about percussive playing in Bach. For now, because I cheat with the pedal sometimes, I’m not allowed to use it. My teacher wants me to develop more even playing between each finger and phrase. So I’m really playing in a more legato fashion, which sounds good to my ears.

I still have tons of work to do on the prelude. The fugue is in even earlier stages, but it is also getting to the point where I’m enjoying the intercourse between the voices. Not sure about playing a fugue with more than two voices, though. That might drive me crazy. Still, I can’t wait to see (hear) how far I can get with these pieces.

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PostPosted: Wed Oct 10, 2007 11:56 pm 
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Next update -

My Bach piece is getting worse, instead of better. I practice and practice and thought it wasn't half-bad a couple days ago. Today, it's terrible. What is going on? Maybe I'm just not cut out for Bach. All my fingers do now is trip over each other. :(

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If it's getting worse, then slow it down. I just went through that "getting worse" phase with my Bach piece. But I made it through. :D Try playing it with a metronome set on double time (so that you get more beat divisions) at a tempo you can handle with ease.

Also, you might just be having a bad day on it. Give it a rest for a day or two, and work on something else, and come back to it with a fresh attitude. ;)

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pianolady wrote:
Next update -

My Bach piece is getting worse, instead of better. I practice and practice and thought it wasn't half-bad a couple days ago. Today, it's terrible. What is going on? Maybe I'm just not cut out for Bach. All my fingers do now is trip over each other. :(


Theres always times when u practice piano, u feel really awkward and think that ur doing bad.
But u have to stick to it :D
Try playing slower, usually it takes few months to fully complete a difficult bach piece and well-tempered clavier is difficult.


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It's nice to have friends here who understand. Thanks to both of you for your support. I get a little 'down in the dumps' from time to time. It's so frustrating when you put in so much time at something and don't see any improvement.

The metronome is a good idea. I did use it some days ago, but I'm so impatient and think I can just sit down and play without hard, disciplined practice. I need reminding. And it's funny; I tell others to do these things all the time, yet I don't tell myself.

Quote:
usually it takes few months to fully complete a difficult bach piece and well-tempered clavier is difficult.


Argh! :lol:

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pianolady wrote:
Quote:
usually it takes few months to fully complete a difficult bach piece and well-tempered clavier is difficult.


Argh! :lol:



Yes, but the product is well worth the effort!

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pianolady wrote:
The metronome is a good idea. I did use it some days ago, but I'm so impatient and think I can just sit down and play without hard, disciplined practice. I need reminding. And it's funny; I tell others to do these things all the time, yet I don't tell myself.

I think the metronome is especially vital with Bach, because of the level of precision that is implicit in all of his music.

Good luck, Monica - I hope you make it over your hump soon. ;)

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Well...I think I'm over that hump. Today was a better day on the Prelude and Fugue. (still not done, though)

Except now I have developed a habit of clenching my teeth together so hard while I play that I end up with a huge headache. I never used to do this. Obviously, I'm doing it because of tension. I don't really feel like there is tension all the time in my hands, but there sure is in my mouth. Sheesh!
Does this happen to any of you?

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pianolady wrote:
Except now I have developed a habit of clenching my teeth together so hard while I play that I end up with a huge headache.


Friday in the weightroom I saw a guy having a mouthguard in when he was doing Barbell Shoulder presses. Maybe you should goto your local sports store and buy a mouth guard (fitted to your size...being a woman, i recall, 5'3"-ish, it would be a "small") and wear it while you think you are clenching your jaws. See what happens with it in.

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I know you are trying to be helpful, but I tried playing through the fugue after I read this and started cracking up. I pictured myself sitting at the piano wearing some weird mouth contraption thingy, and now I don't know if I'll ever be able to play this with a straight face. But not only that, if I did get one of those things, I would only clench down on it instead of my teeth, so it probably wouldn't do any good. Still - thanks for a good laugh. ( :lol: :lol: me sitting at the piano looking like I'm ready to go into the boxing ring :lol: )

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Those things make you drool anyway. :lol:

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Terez wrote:
Those things make you drool anyway. :lol:


There is a technique of swallowing with a mouthguard in. I think I mastered it in my fifth year of football (I only played 6) :wink:

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Terez wrote:
Those things make you drool anyway. :lol:


Now there's a pretty picture! :lol: :lol:

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PostPosted: Wed Dec 05, 2007 5:34 am 
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Hey Monica...I went to a doctoral piano recital this afternoon, and heard an arrangement of your prelude by Siloti (and also transposed to B minor). It was interesting...

This was her lineup:

Siloti/Bach Prelude
Mozart K 179 Variations on a minuet by Fisher
The Lark (Glinka song arranged by Balakirev)
Debussy L'isle joyeuse
intermission
Mussorgsky, Pictures

The first half of the program was awesome. Really, really awesome. Pictures disappointed, unfortunately...

EDIT: I just realized that it wasn't precisely your prelude that Siloti arranged. It was an earlier version that Bach later morphed into the WTC version. I was wondering why Siloti didn't do anything with the presto section, which is my favorite part. :lol:

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Hey Terez,

It's nice that you get to go to a lot of recitals.

It's been awhile since I have thought about Bach. I have plenty of other stuff I'm working on right now, but someday I should try out another Bach piece. I wouldn't mind another p/f and wonder if there are any slow ones? Although John R once suggested something else by Bach but I can't remember what. Oh, and I think you have suggested one or two or ten other pieces too! :lol:

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pianolady wrote:
Hey Terez,

It's nice that you get to go to a lot of recitals.

Get to go, yes, but "have to go" is a lot more accurate. I've sat through a lot of stuff I otherwise wouldn't have sat through for recital credit. :lol:

Quote:
It's been awhile since I have thought about Bach. I have plenty of other stuff I'm working on right now, but someday I should try out another Bach piece. I wouldn't mind another p/f and wonder if there are any slow ones? Although John R once suggested something else by Bach but I can't remember what. Oh, and I think you have suggested one or two or ten other pieces too! :lol:

I remember the one John recommended cause it's the one I just played for an audition last spring - the WTC I-22 set in B-flat minor. You will luuuuuuuuuuuv the prelude (it's very romantic), and the fugue is that (relatively) easy 5-voice fugue I was telling you about. ;)

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