Friday, 20 September 2013

Musical Style: an introduction

Musical detectives

Music Grade exams start to include questions related to musical style and period at Grade 5.  At this stage, you may describe the period of the music in quite general terms.  Your teacher will help you to plan your listening around key periods of musical history:
  •     medieval
  •     baroque
  •     classical
  •     romantic
  •     20th century
  •     contemporary
  •     jazz
Your job, as a detective of musical history, is to think about the what and the how of what you are hearing.  For example:
What pictures or mood does this music bring to my imagination/
How does the composer make this happen?

In your detective work, it may be useful to relate the music to a composer you know well:

If is sounds like.............                                                     It's probably............
      •     Purcell, Bach, Handel                                Baroque
      •     Mozart, Beethoven                                   Classical
      •     Chopin, Tchaikovsky                                 Romantic
      •     Debussy, Bartók                                        Modern
If it sounds like a piece you have played, think about what that is.  If texture, form and dynamic range are all similar, this is likely to be very helpful in dating the piece.  

Get into the habit of reading the footnotes to your exam pieces, or researching the composer for yourself, so that you develop you music general knowledge and can relate that to what you are playing. 

At later grades, you will be expected to describe certain dance and rhythmic styles, and relate them to the instrument and period.  By then you should be able to use a variety of features to recognise or "typecast" a piece as being of a particular era. 

You should also be able to contrast the work of particular composers with others from the same period.

You can find more information on these in the pages in this section, but the very best thing you can do is to listen widely and critically and to explore new pieces in your own playing.
     



Musical Style: the Renaissance

Medieval 476 - 1400

Medieval style

At the start of the era, the notated music is presumed to be monophonic with no instrumental support.
We know that instead of major and minor scales that sound 'normal' to modern, Western ears, medieval music was primarily modal.  The rhythms used in performance are not notated and can really only be guessed at.  In the church, plain chant (also known as Gregorian chant) was most common.
Play   Alleluia, Angelus Domini, recorded by Dominique Vellard on harmonia mundi HMC905261


Polyphony develops during the later period.  Harmony centres on, at first, consonant intervals of perfect fifths and  octaves, although in later music, perfect fourths will be introduced.  Once rhythmic notation started to happen, songs could be more easily recorded and repeated.
Play   Miri it is, recorded by the Dufay collective on chandos records CHAN9396
 


Renaisance 1400 - 1600


Renaissance music gradually came to rely more on consonance than elaborate polyphony, enjoying the concordance of thirds and fifths, and thus carrying music into the tonal era.
Masses and motets were composed for voices in churches and cathedrals.  Of secular song structures the madrigal was prominent, and composers such as Byrd and Dowland in Britain, or Gabrieli and Gesualdo in Italy, generally produced music for both contexts.
Instrumental music was in the structure of a dance suite - often including a basse dance, pavane and galliard - or a consort.


Musical Style: Romantic

Romantic period 1815 - 1910

Romantic style

The Romantic era established the idea of tonality.  Composers  took the great structural harmonic plans of Bach and Beethoven and added their own chromatic innovations, ranging through key changes like giants in the mountains. 
Chromaticism and dissonance started to be used. Modulations could be effected with a single pivot note rather than pivot chords.

Romantic structure

The Romantic era extended  sonata form, producing huge symphonies. 
But alongside this, there was an explosion in the composition of songs and songs without words.  Field and Chopin wrote many nocturnes for piano.  Many piano works also had narrative or pictorial structures, such as Liszt's "Années de pélérinage" or Grieg's Lyric pieces.  Composers such as Dvorak, Mahler and Arensky also became aware of their own national styles and brought folk songs and dances into 'art' music in new ways.  This was arguably the golden age for expressive pianistic writing, seen in the work of Chopin, Mendelssohn, Liszt and Grieg.       
The Romantic period also saw the rise of the virtuoso solo performer.  Liszt (above), in addition to his skills as a composer, was also a flamboyant and dazzling pianist and consummate showman.  

Romantic instruments
One of the most important features of the 18th century was the development of the piano from a wooden-framed instrument with leather-covered hammers to an instrument with an iron frame and felt-covered hammers much like the upright and grand pianos of today. The greater strength of the frame allowed for longer, thicker strings and as a result, a much warmer and richer sound.

Musical Style: Modern

Twentieth century music 1900 - 2000

2oth century style

  • Extremely diverse
  • Explorations of modality and the pentatonic scale
  • Expressionism
  • Minimalism
  • Atonality and serialism
  • Still a great deal of tonal, neo-romantic music being written - examples being Kabalevsky, Shostakovitch, Elgar

 

2oth century structures

Tone poems and descriptive pieces
Expressionist work
Modernist and minimalist
Dissonance and atonality


2oth century instruments

the prepared piano
Invention of the synthesiser in 1960s
MIDI sequencers used increasingly from 1990s


2oth century composers

  • George Gershwin
  • Arnold Schoenberg
  • Alban Berg
  • Ygor Stravinsky
  • Claude Debussy
  • Maurice Ravel
  • Bela Bartók
  • George Gershwin
  • John Cage
  • Philip Glass

     

A musical timeline

Musical Timeline

The history and context of music making and musicians from 1650 to the 21st century.

Each of the pages below will print out to produce two A4 landscape pages which can be displayed together as a music timeline.


The A List: Part 1 The A List: Part 2




The B List: part 1








The C List: part 1





The list letters refer to Trinity Guildhall and ABRSM exam board syllabi, where for the most part pieces need to be chosen from the Baroque and early Classical era(List A), the Late Classical and Romantic period (List B) and Modern (List C).

The Music Timeline forms the backbone of the piano4t Performance/ Exam Master Class.  The Master Class will have its next run at the studio  in Spring 2014.  Click here for the short programme.

Musical Style: Classical

Classical period  1730 - 1820

Structural clarity was sought in all fields of art, and in music this meant moving away from Baroque polyphony and towards melody with harmony.  As the musical technology advanced, musicians could play in more varied ensembles.  The size of the orchestra steadily grew, as did the range of sounds and effects composers could demand from their players.  Instrumental soloists such as violinists and pianists became more and more virtuosic performers.

Social factors

The economics of music changed, too.  Composers wrote for patrons and used local musicians known to the families concerned.  Parts for this type of music making had to become simpler - with occasional pieces for virtuosi on particular instruments.  Music could be copied and circulated more easily throughout Europe, feeding the growing cult of composer celebrities.

Notation

Melody lines were notated in increasing detail with phrasing and dynamics.  Gradually the signs used became standardised, although manuscripts from individual composers are still recognisable to experts.
Movements were unified with distinctive moods and rhythms or tempo.
The Baroque habit of making each movement devoted to a single "affect" or emotion faded away. Form as we know it was born - with contrasts between sections, managed with key changes, stridently rhythmic themes next to lyrical ones...
Earlier keyboard instruments such as the harpsichord and clavichord gave way to the fortepiano or 'square piano', which while offering much lesser volume and power than pianos today, nevertheless offered composers something entirely new - the ability to change the sounds produced with touch alone.  The sustain pedal brought still greater ranges of colour to the palette of the composer and performer.

Try to play a movement from a sonata by one of these great classical composers for the piano:


  •     Clementi
  •     Haydn
  •     Mozart
  •     Beethoven - possibly Farewell to the piano or Sonatina in G
  •     Schubert - possibly a transcription of Standchen or his Sonata for the Young
  •     Czerny, Diabelli and Kuhlau are less well known but have great things to offer at grade 3 level and beyond

Musical Style: the Baroque






 Baroque 1600 - 1760

Baroque music uses and perfects the art of counterpoint.  In the Renaissance, harmony happened as a side effect of polyphony.  In early Baroque music we start to hear chord progressions, a bass line, and more of a sense of all the voices working together to produce direction and structure. 

Baroque style

Baroque music uses more sustained themes and stronger rhythms.

Baroque structure

Instead of the ricercar, fantasia and canzona of the Renaissance it is the fugue that defines Baroque structure.
Baroque music has more emotional intensity than Renaissance music, and a Baroque piece often depicts a single emotion or affect (such as joy, grief, or piety...).
This period also sees a growing amount of music written for virtuoso singers and instrumentalists, so is harder to perform than Renaissance music.  There is more ornamentation, often improvised.

Baroque instruments

Instrumental pieces gradually became more important than a capella vocal music.  The harpsichord and the organ were the important keyboard instruments of the time.While much music was produced for church and court, the leisured classes also gathered to make music socially.
A Baroque English organ is played here: Play
A harpsichord is heard in this clip: Play

Here, Vladimir Horowitz, using all the tone colour of the piano, plays Domenico Scarlatti's Sonata in E K532: Play

Try to play a piece from one of these Baroque composers:
  •    Couperin
  •     Vivaldi
  •     Bach
  •     Handel
  •     Telemann
  •     Purcell
  •     Domenico Scarlatti

Wednesday, 10 April 2013

In between lessons

May 2013: In between lessons 


This term we will all be trying a new way to focus
our playing in between lessons.  Basically it's
a traffic light system.  In each lesson we work
out which are the red, amber and green pieces
that week, according to the table below. 

Traffic light success w/c 5.05.13



Just started, 
or  a tricky section
 
Getting there
  
Ready for a performance

Play 3 or 4 times a week

 Play 2 or 3 times a week
  
Play once or twice a week

Moving a piece from Red to Orange gains a student 1 point (a Bronze medal)

Moving a piece from Orange to Green gains a student 3 points (a Silver medal)

Moving a piece from Red to Green gains a student 4 points (a Gold medal)
This is not just about ‘grading’  the performance  on that day, or assessing the achievement within lessons. It gives students more awareness of progress, and an idea how much that piece – or section of a piece – should be worked on in between lessonsStudents can learn to balance their practice, playing a range of different colour pieces in the week, rather than just playing through familiar or favourite bits.   Scales  and sight-reading practice   also
have a colour.  So you can quickly see if you
are playing as much of a mixture of colours in between lessons.
Students can very quickly record their practice in their notebooks – a good mix of coloured dots means a good range of work has been done!
The idea of playing in between lessons in order  to move pieces from one colour to the next seems to be really appealing to the children who have been trialing this with me, so I am rolling it out to everyone this term.






Things to bear in mind:
- as long as some playing happens between
lessons then progress from red to orange
should happen in a week – otherwise I am
setting things that are too difficult
- it would be unusual – but not impossible –
to go from red to green in a week – otherwise
I am setting things that are too easy
- for more advanced players different sections
will be at different colours at the same time
- bringing a piece up to performance standard takes time - pieces may stay
orange for a while, but I will always try to
set a target for a single section which can go
green over a week
- there is a medals table to log your
achievements

    October 2012: 10, 000 hours 
    What is the significance of ten thousand hours?  Apparently that is the approximate amount of time it takes to achieve mastery in a complex undertaking such as playing an instrument.  That roughly equates to three hours a day for ten years - which corresponds to the amount of experience a young conservatoire graduate will have if they start playing at a young age.

    Really focused practising not only improves performance.  It produces a state of great happiness - what psychologists refer to as "flow".  Flow is the mental state of operation in which the person is fully immersed in what he or she is doing by a feeling of energized focus, full involvement, and success in the process of the activity.

    In English - the purest form of happiness there is!

    Positive psychlogist Csíkszentmihályi identifies the following as accompanying an experience of flow:

    • Clear attainable goals aligned with current skills

    • Deep concentration and close focus

    • A loss of the feeling of self-consciousness, in the merging of action and awareness

    • Distorted sense of time, in that the subjective experience of time is altered ("time flies when you're having fun!")

    • An effective feedback loop, mistakes are noticed and corrected

    • Balance between ability level and challenge

    • Sense of personal control

    • Intrinsically rewarding, music for music's sake

    September 2012: The days you don't feel like practising....
    Of course there will be days when you don't want to play.  After an exam or a concert you should rest.  And every now and then you may want to step away from Bach and play  Beatles instead.  But I hope that when you do sit down to work on something, you do usually find that you get so involved in it that you experience at least a little bit of this feeling every time.  If not, please find something that does give you that sense of 'flow', break the news gently to your teacher and sell the piano!
    Ideas to make practising more effective:
    • Keep a Practice Diary - its great to look back on your progress, and you can note down any problems you are having with your pieces to remind you for your next lesson with your teacher

    • Record your first attempts at a piece, then record your playing again when you have been studying the work for a while.  Celebrate your developing genius!

    • Check your notebook regularly for practice tips and advice from  your teacher

    • If your teacher's notes in your book are illegible, vague or just plain strange, take your own notes.  Or maybe ask your parents to sit in on the lesson and do this for you

    • Parents nagging at you to practice is really miserable - don't give them the opportunity!

    Pupil registration


    Pupil registration

    Name of pupil:
                ..............................................................................

     

    Date of birth:
                  ..............................................................................

    Parent(s) name(s)
           ...........................................................................

    Address: 
                         ............................................................................

                          .........................................................................

                         .............................................................................
    Post code:

    ............................................................

     

    Parents’ Telephone     ...................................................................................

    Parents’ mobile           ..................................................................................

    Parents’ email             .................................................................................

     

    I have taken note of Child Protection procedures above 

    Health issues the teacher should be aware of:
    ........................................................................

    ...........................................................................................................................................................

    Pupils will be collected by:
    ..................................................................................................................

    Pupils may go home unaccompanied Yes..............     No.................

    Emergency contact:    Name...........................................................................

                                        Contact details:............................................................

    Signed.................................................................................................

    Terms and conditions

    Updates to Terms and Conditions


     
    1.                    Lesson schedules will be issued in advance for each half term, usually in the last week of the current half term.  Students are expected to attend for a lesson each full week of the Buckinghamshire LEA school term, unless I am advised of any absences in advance of the schedule issue date.  All scheduled lessons must be paid for. In the case of accompanist services, a schedule of rehearsal times will be agreed at the first rehearsal lesson.  All scheduled rehearsals must be paid for.   
     
    2.                    Workshops, Master classes and extra lessons during the summer and other school holiday periods are also available, and students are encouraged to attend such of these as are appropriate to their level, and to perform at pupils’ concerts.
     
    3.                    Fees are payable half termly in advance and will be invoiced at the time of agreeing the lesson schedule.  Payment is due on the second Friday of each half term; fees unsettled at this date incur a 10% late payment charge added to the next invoice.
     
    4.                    Rates stand at £15.00 per half hour for individual lessons, rehearsals and accompanist services for exams, and £5.00 per half hour for group lessons, irrespective of grade.  Four weeks written notice will be given of an increase in rates, and rates will not increase more than once in an 18 month period.
     
    5.                    A sibling discount scheme is in operation; a 30-minute individual lesson for the second child will be charged at £10.00.  No reductions apply to group lessons attended by more than one sibling.
     
    6.                    If you need to cancel a planned individual lesson, please give as much notice as possible.  Where more than 48 hours notice is given, up to two alternative slots will be offered within a ten day period to make up the lesson.  If a re-scheduling is not possible then at the teacher’s discretion the lesson may be carried over to the next term.  Except in special circumstances, only one lesson per student per half term will be re-scheduled in this way. Additional rules, available on request, apply to cancellations due to extreme weather conditions.
     
    7.                    Late cancellations/ no shows will be charged at the full normal rate and no alternative times will be offered.  A late cancellation is one for which you give me less than 48 hours notice.  Naturally if it is I who needs to reschedule or cancel, your lesson fee will be refunded or carried over if no alternative time can be agreed.  If you cannot attend a group lesson, the fee will not be refunded.
     
    8.                    In the case of lessons in Ley Hill School, the student is responsible for remembering their lesson time and bringing their music into school on that day.   Please try to inform me if your child is away from school by 10am on the day of their lesson; the school office do not undertake to inform me of absences. 
     
    9.                    In the case of infectious illness, please keep your child away from lessons for the same period that they are excluded from school according to guidelines here: http://www.patient.co.uk/health/School-Exclusion-Times.htm
     
    10.                 I reserve the right to terminate this agreement without notice in the case of unreasonable behaviour from a student or those associated with them. 
     
    11.                 In the case of long term absences I reserve the right to request a retainer fee to keep the place.
     
    12.                 Recommended Tutor books or repertoire pieces will be purchased for you, and the cost added to the next invoice.  You are welcome to borrow material from me, but please respect copyright law and return promptly.
     
    13.                 Students will only be entered for examinations, competitions and festivals after discussion with them and, in the case of children, their parents; pupils or their parents should not enter themselves for piano performances without the teacher’s consent.  This includes the posting of recordings of performances on internet sites.
     
    14.                 Examination fees will be invoiced separately at time of entry (usually around 6 weeks in advance of the examination) and except in special circumstances are non refundable.  Specific weeks or days for examinations will be requested in consultation with you.
    15.                 It is important to note that whilst I will make every effort to ensure the student makes satisfactory progress, this cannot be guaranteed. In particular, careful regular practice as advised during lessons and as noted in workbooks is a prerequisite of success on a musical instrument.
    16.                  As a member of EPTA UK (European Piano Teachers Association) I am insured in respect of legal liability that may arise following injury or damage to members of the public.
    17.                 If you decide to discontinue lessons, or need to change your lesson times, please give four weeks notice in writing.  In the event that a student discontinues lessons with insufficient notice, the student/parent/guardian will be liable to pay fees for those lessons not taken during the notice period.

    Snow days


     

    I thought it worthwhile to remind you of my cancellation policy in the event of adverse weather conditions. In general, any lesson cancelled by you with fewer than 48 hours notice must be paid for except in exceptional circumstances. In past years I have considered serious snowfall to constitute ‘exceptional circumstances’ but I thought it would be helpful to provide a little more clarity as to how this might apply in practice.

     

    • If schools local to the teacher or to the student are closed, the lesson will be cancelled and a replacement lesson time will be offered to take place during the current term.
    • If schools local to both parties remain open, and the student cancels, the lesson will be charged for and no replacement time will be offered.
    • In the case of Saturday lessons the above will take account of whether Amersham Music Centre is open or closed.
    • If students live within reasonable walking distance then they should make every effort to get to the scheduled lesson; if students cancel in these conditions then an offer to make up the lesson will be at the teacher’s discretion.
    • In all cases you also have the option of taking your lesson at the normal time via skype if you prefer.

     

    Illness and infection


     

    Sharing a piano keyboard is an excellent means of passing round germs!  In general, thorough hand washing before and after each lesson is enough protection for us all.  But in the case of some infectious illness, such as those for which the schools issue exclusion guidelines, I would ask that you please keep your child away from piano lessons for the same time period.  These include gastric ailments, certain skin and eye infections, and chickenpox.  There are some helpful guidelines here:  http://www.patient.co.uk/health/School-Exclusion-Times.htm

    Child protection policy

    Child Protection Policy

    This policy is specifically focused on children but I have also given consideration to the protection of vulnerable adults. I am committed to practices which protect children from harm. In particular:
    1. I recognise that good child protection policies and procedures are of benefit to everyone involved in teaching and learning.
    2. I have enhanced disclosure (CRB) clearance which I undertake to keep updated.
    3. I have undergone training in good practice in Child Protection for Instrumental Teaching provided by specialist consultants with Buckinghamshire LEA.
    4. I have put in place Child Protection Procedures which will be regularly reviewed and I undertake to adhere to these.
    5. It will be necessary for me to document any allegation or disclosure regarding possible risk to children and where appropriate I may be required to report concerns to the authorities in accordance with child protection procedures and current legal requirements.

    Procedures

    1. I will always favour teaching strategies such as demonstrating for the student to copy or using a mirror rather than using physical touch. However it is occasionally simpler and more effective to use physical contact such as manipulating the student’s hand, arm or wrist. I will always make sure the pupil is comfortable with this and aware of the reason for such contact.
    2. It is always possible for parents/carers to view the lesson from outside the room, or for them to sit in on lessons.
    3. Other adults who may be in the house during lessons (my daughter and husband) have also been CRB checked.
    4. I will not provide car transport for child pupils without separate consent from parents/carers.
    5. I will not communicate privately with pupils under the age of 18 via social networking sites, email or SMS.
    6. I will treat all personal information acquired in the course of teaching children as confidential, unless there are concerns that a child may be at risk.
    7. I will only keep data on pupils for as long as the pupil is receiving tuition; after that it will be securely destroyed
    8. Parents should advise me on any health needs and allergies the pupil may have that may require physical attention.
    9. Parents should be clear about who is collecting pupils and I will not allow pupils to leave by themselves without written permission.
    10. Parents should ensure the teacher has their emergency contact details.

    Tuesday, 9 April 2013

    Raymond Banning


    "Raymond Banning is a very special and distinguished pianist, whose values reflect the very best qualities of the Golden Era of pianism." Yonty Solomon

    Sad news this year with the premature death of Ray Banning, who was my mentor and teacher.

    He produced the sort of warm and sensitive piano sound that is only rarely heard these days.

    From an unconventional background, working his way from a council estate, practising on a battered upright in the cupboard under the stairs, to the main concert platforms of this country, and becoming Professor of Pianoforte at Trinity College of Music.

    In the 1980s Raymond Banning left teaching and relinquished all other musical pursuits to dedicate himself to becoming a solo pianist on a national level. This brought him to the attention of John Bingham, then Head of Keyboard at Trinity College of Music, and in 1990 he invited Raymond to join the professorial staff at Trinity, where he soon established himself as a distinguished teacher and director of teachers’ courses.

    After a cruel illness and a determined fight, Raymond passed away late in 2012. I know that I and other teachers will remember him in gratitude every time we touch the piano.