Learn to improvise. 2003-2004. Lesson 24: articulation.

It is a pity so many people spoil their playing by something which can be avoided so easily.

1) They leave their pedal too long down. They are so absorbed by their fingering that they don't listen enough to the music in total. They pay too much attention to the keys, the notes, the melody, the chords and the counting.
E.g. when playing with your left hand a bass note at the 1st and 3rd beat of a 4/4 measure and a chord at the 2nd and 4th beat, you have to push the pedal downward at the 1st and 3rd beat ánd to release(!) at the 2nd and 4th beat.

2) They beat a key too firmly, because they want to express more than a piano is suitable for. They feel the need for an expression a trumpet can do. If you want such an expression, it requires a study to figure out how you can do that with a piano. Perhaps you may find a solution in a chord in stead of a tone. In any case a chord is louder than a note and moreover the sound is more complex, so is more dissonant.

3) They play counting in stead dancing (with their fingers on the keys). Their rhythm is woodenly, because they pay attention to counting the beat rather than playing lively.

4) Their playing is not flowing as they have their hands, pulses, arms and shoulders too tense tightened. They use the wrong muscles.

5) They don't think of a telling path. They rattle off. They are boring. Their play is not living. It seems they want to get rid of it, or otherwise they keep on going too long in the same way.

6) They choose to do more than they can handle. They choose a piece of music which is too complex or they try to play it faster than they can. My advice is to simplify the original piece rather than playing it clumsy.

7) When they hit a note they consider to be wrong, they jump back a measure to do it again. This results in an unbearable stammering.

One might compare the quality of piano playing with the civilization of speech. In both cases the articulation is a criterion. Even in a language you don't understand, you can hear if the person is well educated and has a clear way to express himself by the tempo he speaks, his awareness of the surroundings, the bending of his voice, hoarseness or exaggerated motions of his mouth. These things make if the argument will be a success or a failure. Someone who wants his words to be understood will take care of a good articulation. Also for piano playing one may distinguish between the ones who really have to say something and the ones who just rattle off their lesson. The latter stare at their paper and pay more attention to what they think they are obliged to that to what they really hear and feel.

The value of articulation often is underestimated. It can make all the difference between success and failure. The cause of poor articulation often is the good name a piece of music has. One rather might sell a simple piece of music well than to rattle off a complex one

The one, who plays listening, automatically will articulate well. He also will not play faster than he can handle. And the one, who improvises honestly from out of his hart and musical needs, obviously will meet a good articulation.
HOMEWORK: Choose simple music, but 'sell' this well. Make it alive by putting in it what lives in you. Tell what you have to say with a clear articulation. Don't play too fast, listen, don't press the pedal if you are not alert to release it.
<< Homepage / Index of the course / Next page >