Often a posted comment about a You Tube video inspires a blog topic that is of interest to pianists and teachers. One such public addition to my Channel quickly streamed into a comparison between two well-known compositions in the piano repertoire.
The commenter was asking about the grade “level” of Debussy’s The Girl with the Flaxen Hair as compared to Schumann’s Traumerei from Kinderszenen. She asserted that it was “easier” to read through the Romantic era character piece based on her supportive reasons.
“Would you recommend this piece for an Intermediate student (grade 4-5)? I had a very hard time even reading through it! (The Debussy) I learned Schumann’s Traumerei pretty quickly to a decent level, so I thought La Fille aux Cheveux de Lin was going to be feasible too, since the difficulties are more musical than technical. But just figuring out the fingering is proving more challenging than I thought.”
Initially, I’d planned to underscore my reluctance to comparatively “level” the pieces, having to spell out too many variables bundled into an assessment of each composition from distinctly different eras. (Romantic and Impressionist) In addition, by enlisting a narrow focus, I would pin myself into a rigid pedagogical corner.
Instead, I set out to explore the separate challenges of each work, fleshing out the expressive vocabulary that best realized each individual period of composition in partnership with its composer. My demonstration would incorporate a desired tonal palette that called for an imbued physical approach at the inception of study. It would encompass sound imaging springing from the imagination, reinforced by physical suppleness and weight transfer. Qualitative differences unique to the cosmos of each piece would be a pivotal dimension of my recorded reply.
While teachers can take a circuitous route in their mentoring, drawing on mental prompts to engage an internal representation of sound or tone, they must naturally be equipped to demonstrate what works choreographically, if you will– not proposing fixed motions in musical space, but engaging the student in what physically advances various forms of musical expression. (Naturally, fingering decisions are part and parcel of the journey.)
Mood sets, internal harmonic shifts, and structural considerations unique to each composition, must be at the fore in the developmental learning process regardless of suggested leveling. (And it’s a given that a mentor should not recommend pieces that he/she deems significantly out of reach for a particular pupil.)
Finally, in the attached video below, I synthesized in physical and musical terms, what words alone could not amply express.