Phrasing at the piano: Listening to the ends of notes as they flow into others

I’ve chosen Burgmuller’s “Tender Flower” as the springboard to explore attentive listening and its relationship to phrasing.

At the outset, the right moment to begin a piece is a challenge. The player has to experience the whole dimension of silence before a first note is played. That silence is not dead, but alive with cues about the moment of a composition’s birth. (If I shared all my video retakes of piece openers, it would take far too much time to sit through them) yet it’s the very patient, focused care taken to nurse the first sound or tone that makes all the difference in the outflow of a composition. It may be the most important place in the music.

To continue a piece after its opening note or chord shimmers with tonal beauty or has a blossoming energy, is all about phrase-loving and listening to the ends of notes in preparation for others. It’s a given that to accomplish this, a pianist must be tension-free and open to temporal events as they unfold. A relaxed, physical and mental state of mind is needed. Breathing with the music and its undulations involves being in the moment without distraction.

But harmonic rhythm also influences the shape of notes and their resolution. If a player is prepared to repeat an opening phrase that ends on the Dominant, then the resolution to Tonic is curved down. Listening to the very end of the Dominant note or chord, and breathing through it, will help taper the line as imagined.

Imagination, relaxation, being in the here and now of creation are all ingredients of attentive listening that make piano playing a gratifying experience. A patient, non-judgmental approach along with self-prompts or mental images that promote a free-flowing sound space, allow for inspired music-making.

“Tender Flower” played through:

About attentive listening:

Recommended Reading:

Just Being at the Piano by Mildred Portney-Chase

About arioso7: Shirley Kirsten

International piano teacher by Skype, recording artist, composer, piano finder, freelance writer, film maker, story teller: Grad of the NYC HS of Performing Arts, Oberlin Conservatory, NYU (Master of Arts) Studies with Lillian Freundlich and Ena Bronstein; Master classes with Murray Perahia and Oxana Yablonskaya. Studios in BERKELEY and EL CERRITO, California; Member, Music Teachers Assoc. of California, MTAC; Distance learning and Skyped instruction with supplementary videos: SKYPE ID, shirleypiano1 Contact me at: shirley_kirsten@yahoo.com OR http://www.youtube.com/arioso7 or at FACEBOOK: Shirley Smith Kirsten, http://facebook.com /shirley.kirsten TWITTER: http://twitter.com/arioso7 Private fund-raising for non-profits as pianist--Public Speaking re: piano teaching and creative approaches
This entry was posted in attentive listening, Burgmuller Tender Flower, El Cerrito piano studio, Friedrich Burgmuller, Journal of a Piano Teacher from New York to California, Just Being at the Piano by Mildred Portney Chase, phrasing at the piano, pianist, piano, piano study, playing piano, Shirley Kirsten, Shirley Smith Kirsten, whole body listening, whole body music listening, word press, word press.com, wordpress, wordpress.com, you tube, you tube video, you tube.com, yout tube, youtube.com and tagged , , , , , , , , , , , . Bookmark the permalink.

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