Practising Piano Waves

Piano Waves consists of 5 little pieces for the intermediate pianist (approximately Grade 4 – 6 level ABRSM). They were written in 2016 (published by EVC Music Publications), and have proved popular with all ages, but particularly with teenagers. This year, two pieces from the collection are set works on the Around The Globe Piano Festival syllabus (to be held in London during November).

I was inspired to write this volume after many years giving solo piano recitals on cruise ships around the world. This provided ample opportunity to observe the sea in all its forms; from beautiful calm sunsets to ferocious hurricanes and storms. Each piece depicts a different side of sea life; I hope they are fun to play and make for intuitive study.

In this post I offer five tips for each piece, which will hopefully be helpful for those considering learning them, whether for a recital, music festival or school performance.

Seahorse Dream

The first of the set dwells in the melancholic key of A minor. The seahorse briefly enjoys its peaceful slumber before being lulled into a progressively frenetic nightmare. Peace triumphs at the conclusion.

  1. The melody requires a very legato (smooth) line; the thumb turns under the hand at bar 3 beat 1, so ensure evenly placed quavers and a matching tone. Each note becomes gradually louder, the phrase crescendoing up to the end of bar 4. Aim to voice the A (beginning of bar 5) with care, as this is the top of the phrase.
  2. Every phrase (and they are mostly four bars in length), will benefit from a slightly different timbre and emphasis, as the shifting seahorse moves around in its sleep. Bar 10 should ideally tail off to nothing (or pianissimo).
  3. The left hand features a recurring figure: two quavers followed by a crotchet. Try to play the second quaver and crotchet beat lightly with the thumb, giving extra colour and sound to the first and third beats of the bar (as indicated by the tenuto marking) – they actually provide a counter melody. The fingers should brush over the notes lightly with a fluidity, offering an almost ostinato accompaniment to the cantabile melody.
  4. The middle section can be practised as a sequence of chords; start by playing each minim beat from bars 11 – 16, learning the shape and fingering of each chord, before playing as written. Give an emphasis on the top note of each broken chord from bars 13 – 16, adjusting the colour to suit each chromatic shift.
  5. Aim to quell any temptation to rush by counting vociferously, and listening to each note – especially the fourth semiquaver of each group. The sustaining pedal will add an atmospheric resonance.

Waltz on a Sunken Ship

A rather sombre piece with a slow waltz tempo and a reflective ambience. This work was inspired by French composer Eric Satie, and it’s on the syllabus of the Elena Cobb Star Prize at the British and International Federation of Music Festivals this year.

  1. The left hand moves considerably during virtually every bar and might benefit from slow, sustained practice. Find the note patterns and fingering for each chord and work slowly at the leap from beat 1 to beat 2 (or beat 3 from bars 17 – 24). As always when practising larger movements, practice playing much quicker than necessary, so when the tempo assumes its original, slower speed, the jumps feel comfortable.
  2. In keeping with the waltz style, aim to play the first beat of the bar with more sound and colour (or a decisive touch); the subsequent beats need a lighter, softer approach. This will bestow the necessary dance-like lilt.
  3. The right hand can also be practised in groups; ‘block out’ or try to play each bar altogether, at the same moment. This will allow you to become familiar with fingerings, note patterns and movement from one bar to the next (especially if you can play several bars (perhaps each four bar phrase) at once).
  4. When playing the right hand as written, ensure the top note in each bar is given its full value (i.e. resist any urge to rush), and add a richer timbre on the tied quaver (to a minim) beat (especially from bars 1 – 16).
  5. The sustaining pedal will enhance the melodic line, imparting the appropriate watery demeanour; observe the (8va) from bar 17 (playing an octave higher than written), and ensure the music floats off into oblivion at the end!

Ocean Surge

The name of this piece gives away its character! The surge come from the distinctly Minimalist flavour; with a turbulent climax, the outer sections meander around the C minor triad and offer a simple theme.

  1. Begin working from bar 17 – 28. Try to find the shape of each bar and therefore, each chord. Playing all the notes in each bar at once (as mentioned before) allows you to learn quickly, with fingers and chords comfortably under the hands. When practising bar 17 – 20, work slowly, counting every semiquaver; there can be a tendency to rush this type of note pattern, therefore placing accents on beats 2 and 4 (particularly beat 4) can help keep a steady pace.
  2. The chord patterns from bar 21 – 28 are effective if given accents or a ‘push’ on the first semiquaver of every crotchet beat. Ensure total fluency and evenness here, both in sound quality and rhythmic accuracy. Don’t be tempted to miss the pause at the end of bar 28! This is gives the music a chance to breathe.
  3. The opening has an improvisatory character. The third crotchet beat of each bar (from 1 – 8) is more effective with a slight ‘leaning’ into the note (almost akin to a tenuto), which helps convey the yearning quality.
  4. In the second line, the motif moves down to include the left hand, this can be thought off as an extension of the melodic line, and you could even give this ‘upbeat’ motif more colour here.
  5. The melody develops from bars 9 – 16 and is accompanied by a light, Alberti bass-like left hand. Keep this even, rotating the hand a little as you play; try to resist accenting or sudden sound surges in the left hand here, a neat, soft, flowing accompaniment is what’s needed.

Asilomar

The title for this piece comes from Dr Wayne Dyer’s film, The Shift, which is set on an Asilomar or a refuge by the sea. The thematic material is in the left hand; although it’s not really a theme, more a melodic movement, complimenting the right hand’s continuous accompaniment.

  1. The melodic strands in the left hand (during first two and last two lines) contain a dynamic ‘arch’, or a point at which the sound must slightly crescendo, only to decrescendo quickly afterwards. It can help to mark in which notes you consider most important tonally, and then decide how much tone variation is appropriate
  2. The right hand chordal pattern can be practised as one chord per bar, assimilating the note shapes, fingerings and patterns, as well as the movement needed from bar to bar as the patterns change.
  3. Ensure a very smooth legato for each phrase; both hands must ideally sound fluid, effortless and tranquil, and as though the fingers are brushing or ‘stroking’ the notes or chord patterns. Aim to banish any jerky sounds or tonal unevenness by listening very carefully to the ends of each note, matching them to the beginning of the next.
  4. The piece will benefit from careful counting as, rather like the evenness in sound, each note and phrase must be exactly placed on the beat for precision. Whilst this appears to be in an almost ‘slushy’ almost Romantic style, only a small amount of rubato is necessary.
  5. Practice the left hand alone with and without the sustaining pedal, so you become aware of the resonance required to highlight the melody.

Flying Dutchman

The Flying Dutchman is the mythical ghost ship, which sails the seas, never quite reaching port and bearing bad news for those who are unfortunate enough to catch a glimpse.

  1. The opening and closing phrases are merely signalling the arrival and departure of the vessel. They require a distant quality, and a smooth legato line, fading off into the distance. Aim to use a light, but firm touch, and keep the sustaining pedal down as long as you dare (right to the end of the phrase is ideal!).
  2. The oscillating figurations from bar 6 onwards move through a series of sometimes quite chromatic harmonic progressions; aim to find the progressions easily by playing each half bar as a chord, moving quickly to the next beat, so as to become comfortable with the patterns.
  3. An easy, rotating wrist motion will help achieve the accents and changing metre within the semiquaver note patterns. Keep your wrist flexible and your arm and elbow ‘light’ so movement isn’t an issue.
  4. An even, smooth tone is important so try to select legato fingering as much as possible, joining the sound from one figuration to the next; this can be practised without the pedal to begin with, and when secure add in the sustaining pedal for a more sonorous timbre.
  5. It can help to focus on particular chromaticisms (such as those at bar 22 and 24), giving them extra colour and perhaps a slight tenuto too.

You can find out more about Piano Waves and purchase your copy from EVC Music Publications, here.


My Books:

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.

My Compositions:

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.

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Contemporary Educational Piano Music

Over the past few months, my piano compositions have been making a few appearances; at the Music Education Expo here in London (alongside several composer’s piano works at EVC Music Publications), on various festival and competition syllabuses, and Karma (from Digressions) has been featured (printed and recorded) in Pianist magazine (Issue 89).

For those who love to play or teach Contemporary music (and by Contemporary, I mean written in the last five years), you might be interested in joining the EVC Music Publications Publishing Discussion forum on Facebook. This large group, run by publishing company owner and director Elena Cobb, regularly offers discounts on music, freebies, competitions, and all sorts of interesting updates regarding piano music and various composers.

The forum is also a useful vehicle for teachers to chat to composers, discuss teaching methods (all the music featured on this forum is educational) and share pupil’s achievements and performances. Several teachers have been kindly using my scores in their studios, and it’s wonderful to hear the fruits of their work. This is surely one of the marvels of social media? The immediacy of filming a performance and sharing it instantaneously is something our predecessors would have simply not believed.

Pianist and piano teacher Ada Kan lives in London, where she runs a busy piano teaching practice. She has been using my pieces in her studio for a while and has recently uploaded a couple of excellent performances, which I am now going to share!

In the first video, Elena plays Ocean Surge (which is from Piano Waves), and in the second link, Jon plays Chasing (from Digressions). Jon’s video was a rehearsal for a competition performance he gave at Blackheath Music Festival last week, where he was commended in his class. Both pieces are for intermediate level (Grade 5 or 6). I hope these pieces are fun for students to learn and play, providing accessible, tuneful music, which is also helpful and conducive for technical development too.

For those who teach beginners or elementary players, a new book, Piano Magic, is being released later this week containing ten little pieces for those of Grade 1 or 2 level. You can pre-order it here.


Piano Waves: 5 Piano Pieces

Piano WavesMy new piano pieces are now available, both in hard copy and digital format. Piano Waves consists of 5 pieces intended for intermediate level, which is around Grades 4-6 of ABRSM, Trinity College, AMEB, or RCM examination board levels. They  are published by EVC Music Publications, and are part of a group of books entitled Piano for Fun Series. Four publications are included in the series written by composers Olly Wedgwood, Heather Hammond, Alison Mathews and myself.

With a hint of minimalism, Piano Waves lie comfortably under the hands for pupils. Inspired by my adventures at sea, when I spent many years giving piano recitals on ships, I hope these pieces provide food for thought musically, as well as developing certain technical aspects of a student’s playing.

The first of the set, Seahorse Dream, portrays the Seahorse’s initially peaceful slumber, but after a while, the creature is suddenly awoken by a vivid memory, before dozing off again. Waltz on a Sunken Ship is an eerie, underwater peek at a handsome passenger ship at the bottom of the sea, complete with faded yet elegant dining rooms and dance halls, depicting scenes of yesteryear. Ocean Surge reveals the power and beauty of the sea; the climactic cascades characterize the colossal swell of the waves. Asilomar is a ‘refuge by the sea’; the overall calm, joyous feel of this work, might suggest a leisurely hot afternoon admiring the ocean from the shore. The Flying Dutchman represents a mythical ghost ship, always sailing but never quite reaching land; a shadowy, apparition of a ship, continuously moving on in the distance.

Piano For Fun Series LaunchYou can listen to each piece by clicking on the links below, and can purchase in either format here. Alternatively, do come along to the Music Education Expo Event being held at Olympia in London next week (25th & 26th February 2016), and enjoy an informal presentation given by all four composers (taking place on Friday 26th February at stand 119 at 12 noon).

 




 

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