5 Responses

  1. Bunita Marcus 7 July 2011 at 6:06 am | | Reply

    I think you could learn a lot about this piece by looking at the work of the the person it is dedicated to. The dedication is not there just for decoration.

  2. Bunita Marcus 9 September 2011 at 6:14 am | | Reply

    I wouldn’t consider this material “phrases:” “This causes a fundamental change in the image, from a three-note phrase to a series of two note phrases:” They are really pitches stuck in a certain register. Follow the register and see what you get. Connect the pitches in a certain register together and maintain the registers, do not group the pitches into Images across registers. This is not what is happening here. Each register is a voice.
    Also later you change the counting but seem to ignore the barline. The barline is essential to the touch and interpretation of the pitch. Just count sixteenth notes in groups of 1s, 2s and 3s. And if you count it correctly you will get somewhere because the fundamental pitch shifts in these sections. It’s like a modulation that results from altering the downbeat. After you’ve counted the 16th notes throughout the piece a few hundred times with a metronome, then try it without counting, sort of by memory. Things will start falling in place.
    Somewhere you wonder what to do with your hands during the 2/2 rest. Always move immediately to the next chord and have your fingers in place long before you actually press the keys. This is also improve your touch. And touch is essential to interpreting Feldman.
    Good luck, no charge for the lesson, although I am available for coaching: http://www.bunitamarcus.com/teaching.html
    Also once you get the basic mechanics of the rhythm and pitches out of the way, I would encourage you to “orchestrate” the piano (especially by registers).
    Best of luck James, hope this helps.
    Bunita

  3. Bunita Marcus 13 September 2011 at 7:13 am | | Reply

    Yes it is a single sustained passage, I don’t know if I would call it a sonority, but maybe it is. Yet my point remains that you should play through each register by itself and listen only to a register at a time. You will see there are things happening in the registers on the horizontal. Then when you play the piece listen again to the registers and try to connect the notes in one register. So you would have three melodies, one in each register, going on at the same time. In order to bring this about you must listen to the registers separately and usually orchestrate the touch of each register differently. For example, I would always use two fingers on the highest note to bring it out, rather than trying to play it louder with one finger. The weight of the two fingers takes care of this problem.
    Then there are the barlines to consider . . . .

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