Wishing all my readers a very happy and restful Bank Holiday weekend!
In Part 1 of today’s post (which you can read here), I suggested some warm-up and practice exercises for students prior to working on repertoire. This post offers various practice ideas for duos. These are described via my collection of little duets, SNAPCHATS.
SNAPCHATS are a useful teaching resource for pupils between Grades 1 – 4 (ABRSM). They consist of 11 extremely short works (8 – 10 bars in length), which can be easily negotiated by less experienced players. They might be a good choice for festivals or recitals; pairing two of them together also works well. One aspect I was keen to explore when writing, was to include several different techniques and piano sonorities, which may be new to players of this level.
The title Snapchats was derived from the social media platform, but the pieces are not specifically related to each other and have eclectic titles. I love harmony, and this is often my primary focus, however, there are a few tunes, with a nod to Minimalism too!
I’m going to do a quick ‘tour’ of each piece, exploring a few of the piano techniques employed, with two or three suggested practice tips. I’ve included a video of each work, some performed by myself and British pianist Nick van Bloss, with two duets played by young students Arthur and Alex Anderson (who performed them at a recent concert).
The first piece (which is around Grade 2 ABRSM level) is calm and tranquil, as the name suggests, yet it must be precise rhythmically or the meditational (or chanting) character will be lost. Chords in the secondo (lower part) are answered with notes ‘ringing’ out above, in the primo. There are several technical aspects here:
- Once chords have been negotiated in the secondo part (this could be a new challenge for the inexperienced), experiment by playing them legato (i.e. going from one chord to the next, without any gaps in the sound), voicing the top note. The primo octave pattern, meanwhile, must be placed very rhythmically on the 2nd and 3rd beats of the bar, with a tenuto touch (first line) yet slightly staccato touch (second line), and with some directional colour, precipitating the musical line and how it develops in subsequent bars.
- I would encourage players, to count in quavers throughout until they can convey the chanting successfully.
- The repeat can be played pianissimo, dying away at the end. It might be fun to add Sustaining pedal too – one pedal per bar encapsulating all the harmonies.
DATE IN MIND
This Minimalist inspired piece (which is around Grade 3 level) focuses on an Alberti Bass secondo accompaniment with a chordal primo (often in intervals of 3rds & 6ths).
- The secondo part weaves its way through various chordal patterns and should ideally be light, yet appropriately colouring (or emphasising) various points in the score, particularly in the bass, which provides the all-important bottom of the harmony. Examine the bass line alone, and focus on incorporating it with the primo (i.e. practice the secondo left hand with both hands in the primo part).
- Primo players might like to highlight the top line, separating it (tonally) from the other notes in each chord. To do this, weight the hand towards the right or weaker side (that of the 4th & 5th fingers), moving the arm and wrist accordingly.
- I would work very slowly with young players, taking a bar at a time, ‘fitting’ each beat together (rather like a jigsaw puzzle), ensuring each quaver in the secondo is exactly ‘placed’ with the melody in the primo).
Probably amongst the simplest of all the pieces in Snapchats (Grade 1 level), Light would be suitable for those who have less experience playing duets. A simplistic tune is accompanied by chords.
- Chords must all be placed together which is quite challenging here, as they occur on the second (or weaker) beat of the bar. Therefore, it might be an idea to work at the accompaniment first. Take the chords in the primo’s left hand and the secondo’s right hand; play them with a metronome set on a slow tempo, or count carefully.
- Add the bass note on the first beat of the bar (secondo, left hand), practising until all notes have been thoroughly digested and can be played without hesitation.
- Finally, add the melody, which may need some attention where fingering is concerned as the tune doesn’t always move in stepwise motion. Highlight the counter-melody in the secondo part too.
This duet can be played without any pedal, but will need plenty of colour and sound variation.
One of the more difficult of the set (around Grade 4), this can be played at any speed, from Moderato to Presto. The secondo’s accompanying Alberti Bass must be light but very rhythmical, and this is combined with the primo’s rapid melodic passagework.
- Ensure the secondo’s lower part provides a firm first beat, after which the remaining quavers can be light, skimming the keys for a soft, even sound. The primo player will need to know the notes well in advance, as there are some tricky turns, particularly in the last bars. As always, practice bar by bar.
- For two players to learn to ‘place’ beats at speed, the metronome might provide the perfect aid. Start under tempo, listening to where the beat falls, gradually learning to observe your duet partner and keep time (which is usually a slow process). Physical gestures will also help. Keep pedal to a minimum here (you actually don’t need any), and end with a full sound.
Another Minimalist inspired piece (around Grade 3 level). The harmony in this piece provides its wistful quality, so to begin with, I would examine the chord structure.
- Aim to play the chords altogether in minim beats (blocking them out), therefore two chords per bar (incorporating the accompaniment and the tune).
- Once the outer structure has been assimilated (this will help with fingering, and learning where to move), work at the accompaniment, ensuring all the quavers sound together; i.e. primo’s right hand & secondo’s left hand.
- Then add the tune, allowing it to float above other texture. Some arm weight will be necessary in order for the melody to sing above the texture; practise by employing a free, flexible wrist, and use the finger-tip, weighting the key with your wrist, arm and elbow behind the note as you play it. This take practice (and a good teacher who will show you what to do), but will be worth it in terms of sound quality.
One of the more unusual of the set (probably around Grade 3), it requires use of harmonics to capture the misty effects of the rain.
- The opening chords (in both parts) must be played ‘silently’ to start with (and then held in place), so they unleash the full ‘resonance’ of the piano strings as other notes are played. Practice balancing your hand and fingers first; hover over the keys and take all the notes down, finding the ‘biting point’ or the double escapement where the sound begins. Then take notes carefully past the escapement without sounding them at all. This might need some practice. When both pianists can do this, keep the chord in place until the end of the piece (it only needs ‘playing’ once).
- The melodic material must be crisp, detached and light. Work at both right hand parts, playing with a legato touch at first. When notes and fingerings are secure, change to staccato. It’s easier to play if the wrist is flexible, combined with finger staccato (i.e. using finger-tips in a quick, tapping motion, keeping close to the keys). The effect of the quick staccato with the harmonic series behind it will create the misty vibe.
My favourite of the set! Around Grade 3 level, melodies intertwine here with a strong harmonic pattern. The melody, which is essentially in the left hand of the primo part (as well as a counter-melody in the right hand primo), requires a full sound and careful shaping.
- Again, focus on flexibility in the wrist so that the fingertips delve deeply into the key in combination with weight from the arm, encouraging the melody to sing through the texture. The top line is merely delicate filigree and can be played lightly.
- The accompaniment should ideally be rich with minimal pedal. Aim to hold notes for their full value in the secondo (particularly when playing chords, such as at the opening), joining chords with a legato, smooth evenness. Hold notes in position until the very last millisecond, then quickly raise them all and move to the next note position (if different), and depress softly as the sound from the previous chord dies away, so as to match the sound. The join should almost be seamless, and the sound, ongoing, acting as a foil for the primo
- Plenty of ensemble work will need to be done in order to play beats exactly together.
Another interweaving melody which moves between the parts (and is around Grade 2 level). The offbeat tune is present in the secondo right hand and primo left hand, the colouring of each part must be such that the listener is immediately aware of the syncopation.
- With this in mind, work at the melody lines first, counting precisely, taking them out of context and playing around with them: experiment with different touches (non-legato, staccato), followed by various accents, which should help to ‘feel’ the slightly off-beat character.
- The final two bars (suddenly in a new time signature: 4/4 after 3/4), contain rather unexpected note patterns which might require separate hand practice (primo & secondo right hands alone). Be sure to observe the tenuto markings.
The first of two energetic, zippy pieces, calling for sharp articulation and tight ensemble playing. The overriding feature in this little piece (which is about Grade 2 standard) are the glissandi. They feature in the second line only.
- In order to grasp the feel of sliding the back of your hand across the keyboard in time (for the glissandi), start by practising running your hand (which is turned, with nails facing down on the keyboard) over the keys (using the nails to touch the keyboard, otherwise you will break your skin and bleed), and skim over two octaves at a time within the 2/4 framework. You might choose to play the intended note at the end (and F in the final bars) or leave the glissandi ‘open ended’! Either option works. Avoid ‘digging’ into the keyboard too much when skimming over the keys.
- Once you can glissando effectively, learn each phrase, using an extremely short, spikey touch for the staccato melody, phrasing each note so that whilst you are playing the notes in a short detached manner, fingers are not ‘rushing’ to the next beat. In other words, space rhythmically. Each two bar motif (or theme) must ‘answer’ the other.
This is a fun piece for learning how to play as a duo in a fast tempo. As quaver passages are often played together by both primo and secondo parts, the notes must be played as if by one person.
- Start by playing legato, and slowly, only building speed when confident and when the parts can be securely played simultaneously. Set the metronome on a quaver beat and play with every beat, listening for where the beat falls.
- For staccato, practise lifting fingers cleanly off the notes, picking them up, using a combination of wrist and finger staccato.
- The difficulty here is playing in the same staccato manner; one pianist’s short and detached is not necessarily the same as another’s; aim to play them with identical shortness and crispness, and with a sharp attack. I find it best to play on the tips and use the top half of the finger to rapidly ‘tap’ or ‘scratch’ the key, softening the wrists after each group of four to counteract any tension.
- The glissandi at the end requires pizzazz and intuitive playing; work slowly only increasing tempo when quavers are aligned and the glissandi can be played quickly.
A zen-inspired title and Chinese melody, this little piece is around Grade 1 level and is ideal for those starting out.
- The chords in both left hand parts must be soft and languid; work at taking the notes down slowly, for a shady, soft colour.
- The melody needs a brighter, deeper sound and must be absolutely together (it’s played by both right hands), so working at them alone will help alignment and, counting aloud will keep the rhythm precise. It can be helpful to count in ‘double’ beats when placing notes: if the melody is in crotchets (as here), then count in quavers, or even semi-quavers, for precise placing and voicing.
- As with all the duets, I advise working with a metronome, starting out at slow speeds, raising the tempo only when secure and reliable (and without hesitations).
The techniques suggested can be applied to many four hand (and six hand) pieces. Enjoy practising duets and relish the opportunity to work with another like-minded pianist.
SNAPCHATS was recently highly recommended by Spanish pianist, teacher and blogger Juan Cabeza Hernández, as extremely beneficial teaching material. You can read his blog post here; Best 10 Piano Teaching Resources 2016
You can find out more and purchase the SNAPCHATS score here.
For much more information about practising repertoire, take a look at my two-book piano course, Play it again: PIANO (Schott). Covering a huge array of styles and genres, 49 progressive pieces from approximately Grade 1 – 8 are featured, with at least two pages of practice tips for every piece.
If you’re thinking about learning to play the piano, my guide-book, So You Want To Play The Piano? (Alfred) is full of useful help and support.
The Faber Music Piano Anthology (Faber) is also a valuable resource for those who desire a collection of standard repertoire from Grades 2 – 8, featuring 78 pieces in total.
I have written a selection of educational piano music (both solo and duet) and you can hear it and find out much more here: EVC Music Publications.