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A deep immersion in Schumann’s Wiegenliedchen, Cradle Song No. 6, Op. 124

Who would have thought that a Romantic era character piece of short length could have so much to savor on multi-tiered levels? Relentless triplets with double stemmed quarters, seemed at first glance to direct the player toward a horizontal rendering of a conspicuous melodic thread that’s reinforced by the highest notes in the Right Hand. It’s clearly a vocal line that requires a singing tone wedded to a seamless legato.

But the more one delves into the score, an awareness of note groupings, within phrases, requires the player to breathe as a vocalist would, with an attendant understanding of how fingering, harmonic analysis, rotational motions, and exploration of the bass line all factor into a deeper rendering of the composition.

While the piece only landed in Berkeley just two short days ago, having been emailed in attachment form from a Scottish Isle, it was “cradled” with great care upon its arrival in the Berkeley flats–having passed through an embryonic stage of discovery to a more heightened level of understanding.

Since a tutorial is like a diary of epiphanies, the one I’ve included below, is a springboard to further learning discoveries that grow from repeated exposures and more intense scrutiny of what the composer, Robert Schumann, intended.

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J.S. Bach Prelude in Ab, BWV 862: A Fresh Start for Student and Teacher

In the course of teaching, a situation may arise where a particular favored piece is requested by a student that I’ve never studied–which means a deep-layered journey is ahead of two learning partners.

And given that J.S. Bach’s Prelude and Fugue in Ab, (Well-Tempered Clavier Book 1) requires thoughtful fingering choices; an awareness of Baroque era ornamentation, phrasing/articulation/voicing, and a knowledge of counterpoint/harmonic movement/structure, the undertaking requires a baby-step advance.

Therefore, one of my learning reinforcers is to create a self-made tutorial early in the assimilation process, well before I’ve had significant exposure to a composition. The goal is to exemplify a parceled practicing approach that is stacked heavily in the direction of gaining mastery, or relative fluidity when the piece ripens to tempo.

The big embracing mantra, however, is Patience un-enslaved to any Deadline because learning and growing into a desired tempo has no marked out notches of predictable progress. Yet one has to have a heap of confidence on credit to keep optimism in high gear.

With that said, one pivotal aspect of the learning journey is setting a good fingering and in the case of Bach’s Prelude in Ab, a separate hand approach becomes only one dimension of the undertaking. In truth, there are more than two steps to be taken in determining a workable fingering.

1) I assigned what I thought were reasonable choices for the Right Hand in a slow tempo frame.

2) I did the same for the Left hand.

3) The above first and second steps had to be refined if not revised significantly in certain measures, when hands were played simultaneously.

And this is an epiphany that most students will have as they explore a new score. Where fingering might work separately for each hand, it will not necessarily comport for both. (This explains the current adjustments I’ve made since I last e-mailed my student)

Naturally, the Baroque style of phrasing is the other important universe of decision-making, and all that follows in relation to harmonic rhythm, modulation, and the contrapuntal cosmos must be part of a nit-picking, ground-up exploration.

So in the spirit of step-by-step learning, the video below should be foundational and of particular assistance to my student and others taking this common journey.

Bach Prelude in Ab WTC revised p. 1 revised

Bach Prelude in Ab WTC revised p.2