I’m the first to admit that not every learning journey through a particular composition will produce results we might have hoped for. After weeks or even months of methodical practicing in baby steps, we can find ourselves literally over a barrel, wading through ornaments, for example, that are crystal clear in slow tempo, but suffer paralysis otherwise.
I came up against this very wall of resistance when I dared to take on J.S. Bach’s Gigue from the composer’s C minor French Suite No.2, BWV 813. Mordants and trills permeate treble and bass, and these dare-devilish ornaments must often be executed simultaneously without taking an easy way out. In my case, after weeks of hand parceling, enlisting various articulations and rhythms in back tempo, I couldn’t clearly realize all the indicated ornaments within the ideal brisk, animated pace I’d internalized.
Immersed in a frustrating journey through a difficult dance movement, perhaps a maiden voyage at best, I refused to give up hope that in time I would integrate a plethora of ornaments into a resilient, energy-driven Gigue. Most importantly, it was during my period of introspective practicing, that I gained valuable insights about wrist spring forward motions that permitted trills and mordants to roll out without keyboard impact. Such suppleness of movement freed up energy in an uninterrupted flow down my arms. This particular insight, alone, could fuel further advances through this piece without a time deadline attached.
Because all piano study has a positive dimension regardless of short-term outcome, it’s valuable to record epiphanies as they unfold. These feed our future learning challenges and they trickle down to our students who share their individual awakenings with us.
Practicing the Gigue movement from J.S. Bach French Suite No. 2 in C minor, with a focus on wrist spring forward motions: