Analysis. Theory. Artistry. These words all sound so serious. But Caroline learns how easy and fun it can be to "analyze" and understand harmonic rhythm. That, of course, means she can "chunk" this information away and play the piece with greater appreciation of its structure. "Theory" becomes real and tactile.

Caroline's right hand is free to dance and shape the phrases because the teacher plays the left hand. This is both a support and a model. She now hears how the music should sound even as she joins in to make it happen. She can put her entire brain behind one hand. Playing with "artistry" begins with simple steps.

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» Read the Press Release for more from the Korean workshop tour.

Many teachers have asked for a copy of Randall's paper on Motivational and Developmental Stages in Music Study. It is available for download here:

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Hello friends,

My last message came en route to sunny Dallas. But snow has still been falling in Michigan and Utah for the Gilmore Festival, Wasserman Festival, and the recent Faber Institute faculty recital. In fact, a blizzard was brewing as I played my afternoon recital in Logan, Utah. I left the hall immediately after the performance to drive through the mountain pass before it could be blocked by the accumulating snow. With white mountains towering on both sides, storm clouds looming above, snow flying ahead and accumulating below, the only way out was to keep an eye on the occasionally visible painted lines that marked the lane ahead.

It may be a stretch of metaphor, but this somewhat describes the process of performing by memory during non-optimum conditions. Just as the lane markers ahead led me out of the mountains, an eye on the harmonic markers—stepwise motion in the bass, motion to the dominant (V), resolution to the tonic, etc.—leads us steadily and confidently through the piece. Not just occasionally, but in Mozart, Beethoven, Chopin, and often even in Debussy, the harmonic direction provides a steady guidance that prevents us from becoming lost in a swirl of notes. Musical memory may be vulnerable under stress, but the harmonic map offers robust guidance through most any storm.

Here is a tip: On the student's score, draw two intersecting lines to form a quadrant. In the top row, the student writes the I and V7 chords in major. On the lower row, the student writes the I and V7 chords of the relative minor. Now relate these four chords to the harmonic structure of the piece. Next, practice arpeggios on each. The goal is to be secure in the tonality of the piece.

Dominant leads to tonic. It can also lead us out of trouble territory.

Happy practicing,
Randy
March 2008

P.S. Watch Randall Faber on the television talk show "Heart to Heart," airing Monday March 31 and Tuesday April 1, broadcast around the world by Arirang TV (South Korea). Also available after April 1st for on-demand viewing on the Arirang TV website.

Share your response in our "Faber Thoughts from the Road" forum.

Where will Randy travel next?
:: View Calendar of Faber Events and Appearances ::

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