Learning theory

Theory is a requirement for pianists who wish to get an ARCT diploma in piano performance. As a performer pianist who loves playing, learning theory has been the last thing I wish to do growing up. I studied them becuase I had to.

Not any more.

Now, nealy finishing all my theory requirement, I can not say enough how much I appreciate the requirement in the curriculum (of Royal Conservatory of Music) because the thorough knowledge just makes all your music journey complete and worthwhile. Not only you can play the instrument, but also your playing is convincing due to the understanding of music. Playing is about how; knowledge is about why.

Theory includes music history, rudiments and harmony. It is a big chunk of work, if you have never studied them. As a new composer I find the knowledge of harmony gives me all the tools and materials to construct a music work that makes sense. Relying on ears along in automatic writing only results in automatic work. Although automatic inspirations are vital in composing, structure and harmony strenghten, support, and solidify.

For pianists who wish to compose, lerning harmony is a must.

Pianists as athletes-My journey of injuries and healing

My Friday posts have been delayed for over a month, reluctantly. The fact is: I can not type for a month! The past four weeks was the darkest time of my entire piano life because I suffer from weakened hands, reduced mobility, hyper sensitivity, and extreme anxiety about the unknown future. Never had I experienced inability to press any key of the keyboard. My injuries started, officially in the end of July while I was in Toronto attending the summer music festival.

Bach Partita in C minor was the piece I was practicing daily. After a master lesson session playing the opening section, I returned to the practice room trying to remember what was suggested by the master, all of a sudden I found my right hand pinky hurts while pressing the top note E flat. After trying again a few times the pain did not go away. That evening I went back to my hotel early, wondering how and when I hurt my pinky. The pain got worse and worse until I could not even touch my hair or wash my face. The following day, my right hand ring finger started to hurt as well. It was Thursday morning and I was scheduled to perform Mozart Sonata in a masterclass. I walked ten minutes from my hotel to University of Toronto, keeping my right hand inside my pocket to avoid any kind of contact that may cause acute pain; for example, contact of wind, or any part of my backpack.

The Mozart sonata went well enough as I tried to play lightly overall. But my prospect about the solo performance on the upcoming Saturday was not very promising. I felt helpless. (part 1)

Dramatic element in Mozart's sonatas -let the melody sing

Operas was Mozart's true passion.

When Mozart's opera was playing in major opera houses in Milan, Italy, Mozart was only 14 years old. "I have only to hear an opera discussed, I have only to sit in a theater, hear the orchestra tuning their instruments;oh, I am quite beside myself at once." Mozart once wrote.

Mozart's greastest operas, to say the least, include Cosi fan Tutte, Don Giavanni, Marriage of Figaro, and the Magic Flute. Each of them is a masterpiece and each of them is genius work. I highly recommend seeing his operas; it will truly bring your playing to the next level. Med Opera in New York replays after live performanc in North American local theatres HD. I have smartly found the Magic Flute being replayed in December here in Calgary Canada. Check your local shows. Don't miss it. Make a trip to New York, if necessary. Mozart's popularity is universal. No matter where you reside, see his Magic Flute, please. Even on Youtube. Papageno is so cute. The lyriticism, orchestration, and harmony are just sublime. The Magic Flute is Mozart's last (and the best, in my humble opinion) opera.

Operatic style was found everywhere in his piano sonatas. Mood changes, dialogues between characters, multi-voiced melodies, accompanied recitatives, dramatic expressions, duets, trios are all found in his sonatas. Having this understanding in mind will greatly help you make right articulation decisions.

For example, when playing a multi-voiced passage, the clarity and independance of each voice/melody line should be maintained at all times. In order to achieve this, not only you should practice each voice well, you should also put them together to see if they sing together in good harmony. Again, hand separate then hand together. It is also essential to make good fingering decisions to make melodic line unbroken. As well, deciding on the breathing points! Music should sing like a singer and breathe like a singer.

Music is life; life is drama. As heavenly and divine as his music is, to me he is an earthy, honest human being who loves life.

"Neither a lofty degree of intelligence nor imagination nor both together go to the making of genius. Love, love, love, that is the soul of genius.” ― Wolfgang Amadeus Mozart