Jerry B. Shefelt Blogs: December 2018

Sunday, December 23, 2018

Merry Christmas!

As another year draws to a close, I hope you have enjoyed reading my blog and, if you are a piano student or teacher, have found it beneficial and of interest. Here are my top six blog posts of the year – several are perennially popular and have appeared on my Christmas ‘favourites’ list many times.

I’d like to take this opportunity to thank you all for reading my blog, and for your kind messages and continued support.

WISHING YOU ALL A VERY HAPPY, PEACEFUL AND FESTIVE CHRISTMAS

My Publications:

For much more information about how to practice piano repertoire, take a look at my two-book piano course, Play it again: PIANO (Schott). Covering a huge array of styles and genres, 49 progressive pieces from approximately Grade 1 – 8 level are featured, with at least two pages of practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

You can find out more about my other piano publications and compositions here.

from Melanie Spanswick http://bit.ly/2TaAKY1

Wednesday, December 19, 2018

Beethoven Piano Concerto Project

Beethoven’s piano concertos are amongst the most emotionally satisfying in the whole piano repertoire. British pianist and teacher David Alexander has, for the past few years, been programming all five concertos in London as part of his own Beethoven project. On January 10th 2019 he will be performing Beethoven Piano Concerto No. 4 Op. 58 at St. Peter’s Church in Notting Hill Gate with the Johannes Ensemble conducted by Angelika-Rose Stangl. I asked David why the fourth concerto is so special, and what draws him specifically to this work. Over to David…

Beethoven’s Piano Concerto No.4 in G, Op.58 stands out amongst the entirety of the keyboard concerto repertoire. The unique sound world makes it immediately recognisable and it has no less emotional and spiritual depth than is conjured up in his three last piano sonatas for example, composed fifteen years later. Listening to it leaves one to consider that they are hearing the composer’s heartfelt feelings expressed through music first and foremost over beautiful and successful harmonic and melodic notation. This in no way detracts from the compositional brilliance of the piece or the beauty of the work, the most lyrical of his five piano concertos. But it is a truly organic piece which speaks from the soul.

The opening very much sets the scene, a five-bar phrase played by the soloist and based upon very simple harmonies. However, a more spell-binding musical beginning is hard to imagine. Such simplicity is all-the-more striking when heard next to the huge technical demands asked of the soloist too during the opening movement; there follows virtuosity in abundance and a big cadenza too, but the work is rarely dramatic as such and the sound is never forced even at the loudest moments. One particularly special section is the start of the development section where the piano plays very soft passagework consisting of falling sixth harmonies over long sustained bass octaves in the strings. Time appears to be totally suspended, a thoroughly captivating and entrancing point. The second movement is comparatively brief. The orchestra’s very angular and pointed statements contrast with the tranquillity of the piano’s chordal writing before eventually resolving softly in E minor. There follows a short but emotionally charged cadenza before the movement draws to a close in complete stillness. The third movement is a lively rondo and is playful in mood. It is regularly interspersed with calming moments where one feels that the music literally needs to take a breath before immediately snapping back into character again. There is a third and final cadenza before a victorious finish.

The solo and chamber music repertoire of Beethoven have always been closest to my heart and to my pianistic ideals, both technically and musically. Therefore, putting on my own Beethoven Piano Concerto cycle was a must! I have no doubt that this will be one of, if not the most satisfying performance project of my life, and so far it has more than lived up to expectation. The idea was to take three or four years to study these works intensively and to perform them, in order to experience my very own and largely uninterrupted Beethoven journey. I wanted to develop some understanding of how each concerto moves on from the previous compositionally, structurally, and pianistically as Beethoven’s own mind developed to the form. I approached conductor Angelika-Rose Stangl who formed the Johannes Ensemble (as in Brahms) in 2011 and she was every bit as excited as myself to take on the project, and so all the ingredients were quickly in place. I find that not only has my own understanding of the music improved with each performance so far, but a real sense of evolvement regarding the partnership between myself, Angelika and the Johannes Ensemble has occurred throughout the cycle. Focused rehearsals, while also leaving room for some spontaneity in the performances have so far produced the highest of highs for all of us. This concerto will truly be the heart and soul of our project, our own heart and soul, and a performance experience like no other.

You can obtain tickets for this event, here.

My Publications:

You can find out more about my other piano publications and compositions here.

from Melanie Spanswick https://ift.tt/2S4c434

Friday, December 14, 2018

Finchcocks: A Piano Course with a Difference

Last Friday evening I disembarked from my train at Paddock Wood station in Kent (UK), and enjoyed a meandering car journey through what appeared to be a never-ending warren of country lanes. Eventually, we turned on to a long, narrow private road, which pereginated around various fields before revealing, in the distance, a large, palatial mansion. The house was beautifully set, classically formed (to my eye, at least), and effectively lit. Next to the house was a much smaller building, a coach house, and this was to be my home for the next two days. My room (pictured below) was of ample proportions, tastefully decorated in rich dark colours with luxurious fabrics and an impressive fireplace; had I inadvertently stepped into a romantic eighteenth century novel? I fully expected Mr. Darcy to sweep in and take me to dinner.

This was my introduction to Finchcocks Music. Finchcocks is an early Georgian manor house (pictured at the top). For 45 years it housed a large collection of historical keyboard instruments which was open to the public. Recently, Finchcocks was sold and has now started a new chapter, reopening as a retreat to study the piano. Piano courses are a feature most weekends throughout the year, and they are largely frequented by adult amateur pianists and piano teachers who are keen to improve their skills and meet other musically minded souls.

As piano course director it was my job to ensure participants savoured the whole experience. My course began on Friday evening and concluded at 4.00pm on Sunday, it was advertised for intermediate players (around Grade 4 – 7 of the ABRSM exam system), but most of the seven attendees were beyond this level. From all walks of life, my students clearly shared a common love for the instrument and a tremendous capacity to learn.

The course was conducted in the main house; the basement had been converted from cellars into a most attractive and unusual performance and practice space (see photo to the left, where I am coaching Finchcocks owner, Neil Nichols). There were five designated sections for solo practice; within the cellars, rooms had been created with sound proof glass doors, each one resplendent with mostly historic grand pianos. There were seven grand pianos in total, available for student use. The main space contained a concert sized historic instrument, with plenty of room for participants to sit, walk and spread out during the course. And there was even a comfortable ‘coffee area’ with several sofas, designed as a much-needed respite from the intensity of the course.

I love teaching, talking about, and writing about piano technique, and Friday evening’s class was a basic introduction, surveying wrist flexibility and motility during practice and performance. This was well received, and it certainly got participants thinking about the importance of cultivating a relaxed posture. This is the first step to overall improvement. ‘Technique chat’ continued on to dinner. The meals were enjoyed back at the coach house, and they took place around a lavishly set table (pictured above), and consisted of a three-course meal with delicious food and copious wine, all prepared by a chef employed for the weekend.

Saturday was a full day, commencing with memorisation techniques, moving onto master classes, which continued after lunch. Course members were generally quite anxious whilst performing, but (hopefully) due to the relaxed nature of the weekend and the constantly evolving friendships forming between them, these open classes gradually became more light-hearted.

One aspect of the course that I particularly enjoyed and appreciated was the opportunity to give one-to-one lessons. Neil Nichols, who now owns Finchcocks and hosts the courses, was keen for students to have time with me on their own, rather like a private lesson. This works extremely well, and it offers the chance to address issues in a more private domain. I gave private lessons on both Saturday and Sunday during the course.

After a feast on Saturday evening, Sunday began with a morning of sight-reading; ordinarily this is seen as a dull, perfunctory element of piano playing. But I’m always keen to show that it can be fun. After waltzing through my sight-reading notes (I aim to give course members practice notes), we embarked on solo sight-reading, and, after coffee, this was followed by duets, and finally, trios or three pianists at one keyboard. The trios were definitely a highlight (see photo above), and due to the plethora of instruments, we were able to double up and have six pianists at two pianos (photo below). I find this one of the best and most engaging concepts for those wanting to improve their reading. It also encourages students to really become acquainted with the fellow course members.

After all the classes and private lessons, the course ended with a final performance of a trio by composer Mike Cornick. Coffee and a rather indulgent slice of cake closed a delightful weekend. I had made wonderful new friends and worked with some talented pianists.

Piano courses are a great way to improve many facets of music study. They seek to inspire, address technical and musical issues, consolidate learning skills and endeavour to suggest new practice ideas. My thanks to Neil and his wife, Harriet, for their superb hospitality. If you would like to study the piano in luxury at a country retreat, do check out Finchcocks. Next year’s tutors include Graham Fitch, David Hall, Andrew Dunlop, and Warren Mailley-Smith.

If you would like to attend one of my courses in 2019, the dates are as follows:

June 14th – 16th

September 6th – 8th

November 15th – 17th

I look forward to meeting you!

www.finchcocks.com

My Publications:

You can find out more about my other piano publications and compositions here.

from Melanie Spanswick https://ift.tt/2BiZfuJ

The School Video

The post The School Video appeared first on International School Bangkok.

from International School Bangkok https://ift.tt/2CdwAZD

Monday, December 10, 2018

No Words Necessary Competition

This week Pianist Magazine and Schott Music are kindly running a competition on Pianist’s website; the prize is a copy of my new piano pieces, No Words Necessary published by Schott Music. This volume features 12 original piano pieces intended for students of around Grade 3 – 6 of the ABRSM examination board level.

These pieces are melodious and comfortable to play, and they are suitable for children or adult learners. If you or your students enjoy playing music by composers such as Ludovico Einaudi, Yirumi and David Lanz, then they might like to try these compositions. You can find out more about the pieces, and hear them, here. And you can read a recent review on Pianodao website, here. To enter the competition (there are three copies to giveaway), click here.

‘These are pieces which I believe could easily find their place in the intermediate player’s heart, combining easy-to-master patterns, melodic charm, and simple structural cohesion. They give players a vehicle through which to develop expressive, engaged playing. And with plenty of variety on offer, too, the collection offers good value. If you’re looking for a fresh collection of accessible contemporary pieces, do give this a try! Warmly Recommended.’

Andrew Eales (Pianodao)

www.pianistmagazine.com

My Publications:

You can find out more about my other piano publications and compositions here.

from Melanie Spanswick https://ift.tt/2zMQgSs

Saturday, December 1, 2018

Basic Tips for Healthy Piano Playing

Earlier this month I presented a workshop for piano teachers at Millers Music in Cambridge. This activity will become increasingly important during 2019; Schott and I have organised several workshops across the country, and I’m really looking forward to meeting and working with teachers and students. The following article was published on Millers Music website earlier this week (you can read it here) and it offers basic relaxation ideas, which is why I thought it useful to publish today. Hope it’s of interest.

My workshops for piano teachers offer a few ideas for developing basic flexibility in piano technique, with a view to harbouring positive habits during piano practice and piano performance. It’s a privilege to work with teachers, talking about technique, how to develop it, and more specifically, how to keep students free from pain, discomfort and tension.

The following tips serve as elementary suggestions; some can be done away from the instrument, and, as with piano practice, regularity is the key to success.

Before a practice session begins, sit at the instrument and drop your arms by your side, so that they hang loosely from the shoulders. Ensure your upper torso is really relaxed; it’s sometimes difficult to notice tension – this is why a good teacher can prove crucial. Relax from the shoulders and arms, through to the wrist and hand. The feeling should be one of looseness and ‘heaviness’. Remember this feeling, as it provides a useful reminder of relaxation during practice sessions.

From this relaxed position, swing your arms up (from the elbows), and literally rest the hands on the keyboard or a table top; it’s the ‘feeling’ that you need to cultivate, so it doesn’t matter if there’s no instrument present. Keep your upper body relaxed and loose as your hands rest on the piano keyboard. And don’t worry if you are not in the ‘correct’ playing position (your hands and wrists will probably be in a hanging position). This is not about playing, but rather about understanding the feeling of relaxation required for the concept of ‘tension and release’ necessary in developing technique. Assimilation may take time, especially in older students.

The next step is to use a simple five-finger exercise: try middle C – G with both hands in either minims (half notes) or semibreves (whole notes). Start with the thumb (in the right hand); play and hold the note (middle C) and then drop the hand and wrist afterwards. Keep hold of the note; you may need the other hand to help here, as both the thumb and fingers have a tendency to fall off the keys at first. As you drop your wrist, ensure that it feels loose; the wrist should be relaxed, and will probably be ‘hanging’ down from the key. It’s not the position you would ever use to play, but it can provide the key to promoting flexibility, fostering relaxation. Work at each note in this way and then try with the left hand.

The final step for basic relaxation, would be to use the five-finger exercise again, but this time introduce a circular wrist motion technique. That is, using the same note pattern, but forming a circular motion with the wrist between every note whilst keeping it depressed. They key here is to make sure that the whole arm, wrist and hand feel totally loose. If done after every note, this motion can really instigate complete flexibility, both physically and mentally, that is, students learn to remember the feeling and start to implement this into their practice regime. I encourage pupils to play to the bottom of the key bed, or play heavily and powerfully on every note, establishing a firmer touch.

These steps may take a good few weeks to master, after which we move on to little exercises (usually by Czerny, and these are followed by J S Bach’s Two-Part Inventions), implementing wrist motion techniques on extended passagework.

My Publications:

You can find out more about my other piano publications and compositions here.

from Melanie Spanswick https://ift.tt/2FOPTfH