I. Developing the basics through careful teaching of beginning repertoire:

Transcription

1 Basics of Contrapuntal Playing on the Keyboard Kiyoshi Tamagawa, D.M.A. Professor of Music, Southwestern University Oregon Music Teachers Association Friday, July 14, 2017 I. Developing the basics through careful teaching of beginning repertoire: A. Independence of articulation between hands repeating a note or chord in one hand, maintaining legato in the other (Example 1: Suzuki Piano School, Book One: Cuckoo) B. Independence of rhythm and agility of LH: assign pieces with patterned accompaniments such as broken chords and Alberti basses as soon as technique is sufficiently developed. Also, use practice methods that develop independence C. Awareness of part-playing and independence of fingers within a single hand: finger legato (Example 2: Söchting: To a Child) D. Beginning gymnastics: making contrapuntal exercises out of non-contrapuntal shapes (Example 3: from Lichner: A Short Story)

2 II. Beginning contrapuntal repertoire entirely within five-finger position, both hands Repertoire lists are given in approximate order of increasing difficulty. Gurlitt: At Play (various collections) Very simple, mostly one hand at a time in fivefinger position; imitative only on last line Bartók: Dialogue (Two Conversations, Sz. 52; in Masters of Polyphonic Piano Music, ed. Maurice Hinson, Alfred) A minor, uses melodic minor scale (see example below) Beyer: from Elementary Instruction Book for the Pianoforte, G. Schirmer: No. 16, No. 29, No. 60 (titled Clouds and Sunshine in Joy of First Classics (JFC), Vol. 2, ed. Denes Agay, Yorktown). Other quasi-contrapuntal examples can also be found in this method book Spindler: Little Canon in C (various collections, including JFC Vol. 2) RH changes position one note down in the last few bars Chován: Follow Me! (JFC Vol. 1) (G major, but no F#s) Praetorius: Old German Dance (JFC Vol. 1) Wilton: Little Sonatina (JFC Vol. 1), especially the second movement Kuhl, Gottfried: Theme with Variations (in G major, both F# and F-natural used; see example below)!

3 III. More advanced repertoire useful transition pieces to familiar AMB Minuets and other dance movements Türk: Carefree (various collections, incl. JFC Vol.1) mixed staccato and legato articulations in RH, which must find octave interval halfway through. LH leaves fivefinger position in last two bars (see example below) Handel: Gavotte in C major (JFC Vol. 1) LH must find octave interval after being mostly in five-finger position. Lots of internal repetition (see example below) Duncombe: Fanfare [or Trumpet ] Minuet (various collections) Basic triad shapes in both hands and short segments of two-part writing in the right hand very useful for introducing this texture. Rameau: Rondino or Menuet en Rondeau (various collections) LH ranges widely, while RH stays mostly in conjunct motion. Simple eighth against quarter rhythmic relationship between the hands. Can be a useful legato vs. staccato study. Clarke: King William s March (various collections). Small segments of actual two-part writing. s!

4 IV. From AMB Minuets to the Two-Part Inventions Telemann: Rigaudon in A minor (JFC Vol. 1) pure two-part writing, mixed articulations in both hands. Strong emphasis on basic shapes: five-finger patterns, octave leaps in LH C.P.E. Bach: Solfeggio or Solfeggietto not truly contrapuntal, but useful for developing agility and evenness in characteristic Baroque shapes (scalar passages, broken chords). Fun to play Bach: Little Prelude in C major, BWV 933 each half ends with two-part writing (see example below). Other of these Little Preludes resemble short two-part Inventions Bach: Minuet in C minor from Second French Suite pure two-part writing Bach: Minuet I in B minor from Third French Suite pure two-part writing Bach: Prelude in B-flat major, WTC I: 21 see comments to C.P.E. Bach; same virtues, but more musically advanced. Pedal required Bach: Prelude in C minor, WTC I: 2!

5 V. Beginning three-part pieces (not all Baroque!) Tchaikovsky: Old French Song from Album for the Young, Op. 39 Bach: Musette in G major from Third English Suite Bach: Minuet in E major from Sixth French Suite Bach: Gavotte in G major from Fifth French Suite Bach: Minuet II in B minor from Third French Suite meant to be paired with Minuet I in previous list Bach: Trio in G minor to a Minuet by Stölzel (from Notebook for W.F. Bach. Contained in Classics to Moderns in the Intermediate Grades, ed. Denes Agay, Amsco) Quite difficult, but short a good contrapuntal etude Handel: Fughetta in C major (The Baroque Era, ed. Neely and Walters, Hal Leonard) (see example below) Bach: Little Prelude and Fughetta in G major, BWV 902 (the fugue is an earlier version of the G major Fugue, WTC II: 15) Bach: Three-Part Invention (Sinfonia) No. 15 in B minor requires considerable digital dexterity, including crossing hands, but purely as a three-part contrapuntal composition is not nearly as difficult as most of the other Sinfonias or WTC Fugues VI. Small doses: incorporating contrapuntal technique into the lesson apart from repertoire Gymnastics: technique, finger exercises (some examples: Schmitt, Dohnanyi) Contrapuntal etudes not necessarily actual etudes but can be other short pieces!

6 VI. Conclusion Some principles to keep in mind (none of this will be new to you) Teach the basics well it will pay off later Introduce new techniques in small doses gymnastics (finger exercises) or etudes. Watch closely and encourage a relaxed approach, no pressure or tension Read through and analyze repertoire yourself think about what a particular student needs and what piece can give it to him or her is the timing right? A piece doesn t have to be a fugue or invention to be contrapuntal A piece doesn t have to be Baroque to be contrapuntal A Baroque piece doesn t have to be composed by J.S. Bach to be worthwhile VII. Select bibliography of repertoire collections Not all of these were cited in the above repertoire lists. The Baroque Era, ed. Blake Neely and Richard Walters. Hal Leonard The Baroque Piano, ed. Nancy Bachus. Alfred Beyer, Ferdinand. Elementary Instruction Book for the Pianoforte, rev. William Scharfenburg. G. Schirmer Classics to Moderns in the Intermediate Grades, ed. Denes Agay. Amsco Easy Classics to Moderns, ed. Denes Agay. Amsco The Joy of Baroque, ed. Denes Agay. Yorktown (out of print) The Joy of First Classics, Vols. 1 and 2, ed. Denes Agay. Yorktown Masters of Polyphonic Music, ed. Maurice Hinson. Alfred APPENDIX: Comments about selected Two-Part Inventions and Preludes and Fugues from the Well-Tempered Clavier of J.S. Bach Invention No. 1 in C major in my opinion the easiest, best to teach first. Rhythmic relationship between the hands is straightforward. More difficult on second page when it modulates to A minor. This is also the only passage where both hands move in sixteenth notes this usually needs to be taken apart and carefully practiced

7 Invention No. 3 in D major a somewhat overlooked choice. Similar in texture and tempo to the following, very popular D minor Invention but a bit easier no long trills, for example! Not all of the sometimes tricky ornaments have to be played. Invention No. 4 in D minor very often studied and anthologized, but not so easy! The student who plays this should be comfortable with long trills, in the left as well as the right hand. Invention No. 2 in C minor another possible alternative to the familiar no. 4. Strictly canonic, unlike most of the Inventions, and demands sensitive inflection and phrasing Invention No. 6 in E major polyphony is not too complex in this one, but the key means there are many accidentals that have to be read carefully. Invention No. 14 in B-flat major begins with straightforward textures that make the first page not so difficult, but the second page is much more complex with close imitation and many quick position changes. Some awkward fingering problems because of the key. Invention No. 8 in F major very popular and familiar, but difficult if played at the quick tempo demanded. Some demanding work for the outside fingers of the left hand. Invention No. 13 in A minor one of the most demanding for the left hand with its many broken-chord shapes and position changes. Fugue in E minor, WTC I: 10 The only two-part fugue in the WTC. Similar in texture to the Inventions, but more difficult due to continuous motion, quick tempo, and frequent chromatic notes. The preceding Prelude likewise is musically and technically challenging, more so than the Fugue. Prelude and Fugue in C minor, WTC I: 2 Prelude and Fugue in B-flat major, WTC I: 21 Prelude and Fugue in D minor, WTC II: 6 Prelude and Fugue in G major, WTC II: 15 These pairs are frequently played. Each fugue is in three voices, with the D minor probably the most technically and musically complex. The C minor and B-flat major Preludes have already been cited above; the D minor Prelude is of the Invention type, with the same triple meter, running sixteenths and staccato eighths as the F major Invention, but longer and more difficult. The G major Prelude has less emphasis on hand independence, but is a test for the student to maintain a steady tempo when the faster moving notes switch hands. The Fugue has some trills on top of held notes. Prelude and Fugue in E-flat major, WTC II: 7--The prelude is mostly in two parts. The fugue is a good introduction to four-voiced texture, since the relationships between the voices are not too complex (few ties, syncopations, etc.).

8 OMTA State Conference July 15, 2017 Points to Consider when Evaluating Musical Literacy Technique: Musicianship Practice Habits Notes Rhythm Fingering Articulation (non-legato, legato, staccato) Sitting position Posture Hand Position Alignment Sound Articulation Phrasing Attention to harmony Terminology Style and historical understanding Articulation How many times a week the student practices? How long are the practice sessions? How does the student divide his practice sessions? What is the student s practice environment? How does the student approach a new piece? Terminology Theory/Harmony Aural Training Form Voicing Velocity Scales Etudes Sound Attention to the score Timing Balance How does the student practice a difficult spot or a passage? Does the student use the metronome? When and how? Does the student use recording device for their practice sessions? How involved are the parents in the practice routine? Margarita Denenburg All Rights Reserved

9 Square-One Assessment Form OMTA State Conference July 15, 2017 Student Name: School Grade Date of Birth Years of Piano Lessons Musical Literacy 3 Exceeds expectations 2 Proficient 1 Not proficient Technique 4 Healthy technique in your style 3 Healthy technique not in your style 2 Unhealthy technique in your style Musicianship 1 Unhealthy technique not in your style 4 Above average musicianship 3 Basic musicianship 2 Underdeveloped musicianship 1 Developed musicianship in a different style Practice Habits 3 Aligned with your studio s policies 2 Exists but differs from your studio policies 1 Practice routine is lacking Total: Margarita Denenburg All Rights Reserved

10 ECHOES FROM THE EAST: THE INFLUENCE OF THE JAVANESE GAMELAN ON THE MUSIC OF CLAUDE DEBUSSY Kiyoshi Tamagawa, D.M.A. Professor of Music, Southwestern University Oregon Music Teachers Association Sunday, July 16, 2017 INTRODUCTION Can we really say any more about Debussy and the gamelan? I. How Debussy encountered the gamelan and the music of Java II. Accounts of contemporary musicians and scholars; attempts to transcribe gamelan music III. A list of criteria for possible gamelan influence in the music of Debussy (not in a particular order) A. Asian references in titles of compositions B. Large sections or entire formal structures built around ostinato patterns, static harmony, and large-scale repetition C. Use of pitch material, melodies and motives reminiscent of those used in gamelan compositions D. Use of instrumental timbres and tone colors that evoke the sound of the gamelan E. Musical textures that reproduce the stratified structure of gamelan gendings IV. Applications to particular works of Debussy A. Pour le piano (1901), Prélude B. Nocturnes (1899), Sirènes C. Estampes (1903), Pagodes D. Le martyre de St. Sébastien (1913), Prélude and Erigone s aria V. Conclusion

11 APPENDIX: Gamelan references in selected piano works of Debussy Asian/nature images Ostinato/ harmonic stasis/ repetitive forms Pentatonic or whole-tone pitch materials Timbres and tone colors, including parallel intervals Layered or stratified textures Pour le piano, Prélude (1901) Estampes, Pagodes (1903) Estampes, Jardins sous la pluie (1903) Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Prélude: Voiles Yes (possibly) Yes Yes Yes Prélude: La cathédrale engloutie L isle joyeuse (1904) Images: Reflets dans l eau Images: Mouvement Images: Cloches à travers les feuilles Images: Et la lune descend Yes In part Yes Yes In part Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Children s Corner: Jimbo s Lullaby Yes Yes Children s Corner: Serenade of the doll Yes Yes Children s Corner: The Snow is Dancing Yes Yes In part Yes Yes