Week 3: Expression over Perfection

This Landler is definitely playful and light, but also has a sense of elegance to it. I'm hoping to convey both playfulness and elegance which comes out in how I'm approaching the articulation. The first time through I played more legato in the right hand to express a gentle elegance, and then in the repeat I switched to a softer dynamic and a more playful staccato to bring out the playfulness. I've recorded the A section, primarily because I'm able to play it better than the B section! I'm still challenged by bringing out the 3rd beat accents in the B section, and the octave reaches in the left hand in the B section are occasionally uncomfortable to my healing 5th finger (so I'm not practicing those sections as much). 

I appreciate how encouraging this community is. As a beginner, it can occasionally be intimidating to post my seemingly small progress amongst all of the more advanced repertoire that is being played so well here. Thanks to Dominic and all of you for together creating such a warm, inviting, and uplifting place to share music.

The prevailing mood and character of this impromptu is lyrical; the melody is folk song-like, and even the eighth note triplets of the more urging and flowing middle section could be imagined as played by a guitar or mandolin. However, Schubert's typical suprising modulations, deceptive cadences, and shadings of color create an undercurrent of unspoken sorrow, pain and tragedy that give the piece depth and darkness. 

I chose a segment from the "A" section, bar 17-30. It expresses a brief surge of resolve and optimism that nevertheless cannot be sustained and immediately fades into doubt and ambiguity, then resigns itself to a gentle, wistfully smiling “sigh” (two E flats) in the tonic, repeated as a question mark in the dominant 7th. I find that moment incredibly touching. To me, this segment is maybe the most challenging one of the entire piece. Because of the big chords in forte and fortissimo, and even ffz in both hands, it is easy to simply play it louder than the rest and in an almost vulgar manner. The result would be a break of the piece’s character, of the musical line and the narrative arc. Sometimes, when my teacher Karl-Heinz Kämmerling would ask me to play a passage forte or fortissimo and I responded by simply hitting the keys harder and playing louder, creating a harsh or flat sound in the process, he would say "Aber nicht äußerlich!" which translates as "But not externally!" or "But not superficially!". A forte or fortissimo, in his teaching, would always have to organically flow out of the music, grow from what came before it, and be motivated internally. That is precisely the challenge in this short part of the Schubert Impromptu. The forte or fortissimo still has to sing and breathe. In addition, one has to carefully calibrate the gradations between forte, forte with an accent, fortissimo, fortissimo with an accent, fortissimo sforzando, and piano. Then one has to shape the phrasing between stronger and lighter notes while always maintaining the basic dynamic within that phrase: the lighter/weaker note of a phrase that is marked forte or fortissimo as its baseline dynamic cannot suddenly sound mezzopiano or piano. And even the bars that are marked "piano" have to carry the sound; my first voice teacher would always say when I sang a phrase piano that didn't resonate or project: "yes, but it can't sound like something bad has happened to you". That's true for piano and pianissimo playing on our instrument as well. 

https://vimeo.com/1100919504/0233219f1e?ts=0&share=copy

I haven’t posted anything yet so here is the first part of my Schubert op90 no3.  I’ve been trying to concentrate on bringing out the shape and phrasing of the melody and making the bass sound supportive. It’s definitely improved after using Dominic’s practice tips. I think I need more contrast between the calm and more stormy passages and work on the transitions between these sections. 

Hi everyone, just posting a very short excerpt this week. I think these 8/9 bars represent a turning point in the piece with the turmoil in the preceding section giving way to a more generally more calm and accepting mood for the remainder of the piece. I'm still working on the voicing for this section as some of the chords are a little awkward to play. Derek

First, I’d like to echo Michelle’s thanks for the inclusive spirit of Domenic and the tonebase community.  I too have only been playing for a few years and agree it can be very intimidating to participate after hearing the advanced performances of others.

I’ve been working on the Kupelwieser Waltz, primarily the A section.  It may be too advanced for me, but I do love it.  I’ve had a few notable challenges.  First, I had just upgraded my piano from a Yamaha digital Clavinova to a Kawai K200 and second, having never played in G flat, I found staying on the black keys difficult, making  fluid playing even more challenging for me.  I did practice exaggerating the melody, but need to do more of that.

Regarding the emotional intent, the tone of the A section is very lyrical and flowing. The listener is meant to imagine two lovers waltzing around the room, with such grace they appear to be floating, completely and delightfully absorbed in each other.   Needless to say, I do not achieve that intent ;) 

https://youtube.com/shorts/jislMQaMQaA?feature=share