piano, piano instruction

Repeated groups of notes, metrical framing, and phrase contouring

With one big eyeful of Friedrich Burgmuller’s “La Candeur” (Frankness), one observes repetitious strands of melody that can be stultified by a rigid 4/4 framing. The erroneous “study” or etude effect, furthered by a beat-hammering mentor, can thrust a struggling player into an inescapable auto-pilot zone Yet, the opening measures, with twin note groupings, can be magically transformed from a dreaded “exercise” into a mellifluous, Romantic era outpouring by tweaking metrical consciousness.

Four notes, copied again in one measure, can introduce waves of two that lighten the load, lifting the second beat to buoyant levels of aesthetic pleasure. In the same cosmos, dual measures bonding together as identical twins, invite an “echo” effect, adding an expressive, nuanced topping. (This is where arm weight application and adjustments are pivotal to dynamic variation.)

Beyond an organic flow of TWO where one group four notes feeds into another giving a rise and fall effect, there are necessary rotations that will cushion and “round out” top heavy soprano range G’s, C’s and F’s in the treble line.

In one particular measure, where the hands are in contrary motion, the Right moves in counter-clockwise circles, while the Left does the opposite. These motions, wedded as well to harmonic rhythm, insure that Dominants smoothly resolve into Tonics. (Forward arm rolls also apply at these junctures)

Finally, supple wrists, relaxed arms, and an awareness of the breath, synthesize in a ONE-ness of mind, body, and emotion as La Candeur expressively meanders to final cadence.


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