ABSTRACT - escom.org€¦ · Web viewFormal piano education normally starts with lessons for...
Transcript of ABSTRACT - escom.org€¦ · Web viewFormal piano education normally starts with lessons for...
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A NEW THEORY OF ADULT MUSIC LEARNING FOCUSING ON THE
PIANO
Toshio IRITANI
CHÔFU WOMEN’S COLLEGE
Kawasaki-shi, Kanagawa-ken
Japan 215-8542
1. Introduction
The purpose of this paper is to argue that there is a different method for adults’
learning music (especially for piano playing) which is a much faster and more
practical way for getting acquainted with piano playing. Formal piano education
normally starts with lessons for learning simple melodies. Then students gradually go
on to learning more complex melodies using such traditional textbooks as the
“Beyer” which is written for beginners.
This method of learning is not necessary for adults and this author would like to
propose a more economical, practical, and efficient method of learning music. This is
especially true with respect to piano playing.
The structure of music is very similar to the structure of sentences written in a
foreign language. Adults who have experienced learning foreign languages or are
acquainted with different languages can probably learn the scores written in musical
notation faster. Written and spoken languages consist of sounds, rules for word
combinations and word order (grammar), stops, phrases, articulation, paragraphs, and
chapters. In the same way music consists of musical sounds (8 octaves) that go up or
down in steps from lower to higher pitches and vice versa. Music combines and
transforms sounds in harmony, forming parts and phrases. In addition, in contrast
with young children, adults have wide experience and knowledge of a good number
of melodies. Adults have memorized these melodies and can even sing them as old
memories can reactivate the melodies in their brains. The problem is how to read the
notes composed by composers in order to transform these melodies into musical
notation by playing on the piano keyboard. Even when adults know the melodies
they still must know the basic rules of musical notation and how it is expressed and
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understood. This is the same as how children and mature adults consciously and
unconsciously know the rules of grammar and how sentences and phrases are
composed before they start to speak.
My own experience is based on starting to play the piano after passing the age of
sixty. I learned to play the piano for five years and still have a piano teacher. I have
now reached the stage of playing Beethoven’s Opus 57 (Appassionata) including the
first and the second movements. I have successfully played in recitals for small
groups after learning some easy classical music such as Mozart’s Andante Cantabile
(Opus 545), Schumann’s Träumelei, Chopin’s Nocturn Opus 9- No.2 Etudes Opus
25-18 (the Prelude of “Rain-drops”), and Grande Valse Brilliante Opus 18 with a
great applause. I would like to explain how I succeeded in playing the piano so
quickly.
2. The Basic Theory of Adult Music Learning: The Cognition and
Comprehension of the Compositional Structure of Music
In order to understand a composition and to play it on the piano, one must grasp
the basic principles of the tonal notations that are comparable to learning the
pronunciation and grammatical rules for foreign languages. These rules consist of at
least the following eight principles.
(1) The time values (i.e., the kind of notes, semi-breve, minim, crotchet, quaver,
etc.) and their durations.
(2) Bar lines, i.e., single or double bar lines that are comparable to phrases and
sentences with commas, colons, and semi-colons.
(3) Time signatures (i.e., 4/4, 2/4, 3/4, 12/8 which are written on the top of the
start of music; the number of the numerator on top signifies the counts of
each tones based on the bottom time values.)
(4) The understanding of octaves (ascending and descending the 8 steps of
pitches on the white keys of the piano and the 5 black keys within each
octave (which lower or heighten half or semi-tones usually called sharps and
flats.)
(5) Clefs: the treble (G) clef and the bass (F) clef. The former signifies the
upper parts of the notes written on the stave and this part is usually played
by the right hand. The latter signifies the lower parts of the notes written on
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the stave and this part is usually played by the left hand.
(6) Also to be understand are the equivalent time values, e.g., x 2 = ,
= 2 1/2, or 6 s, etc., and the corresponding signature for the rests,
, , , etc.
(7) (7) Other special notations such as the slur, , crescendo,
and decrescendo, turn, etc.
(8) Performance direction which is usually written at the start of classic music in
Italian such as allegro, adagio, andantino, and tempo. One must decide how to
follow the speed of play through this direction. (The above are based on E.
Taylor’s Music Theory in Practice, 1990, pp. 4-23.)
In addition, there are many more special signatures that are occasionally
encountered in many compositions such as the cancel, staccato, trill, and tremolo,
etc. Students should also be assisted in the fingering positions by a piano teacher.
The next step is how to transform the acquired musical notations into the
composed text written by the composer. This process occasionally helps to activate
the melody that was previously learned and experienced which is stored in the adult
memory.
3. Practice with Simple Melodies to Get Acquainted with the Above Notations
Here are two abbreviated musical melodies. The first was written by Beethoven
and is the last part of the Chorus in the 9th Symphony. The second was written by
Johannes Brahms and is the beginning of his Symphony No. 1. 1
Both melodies are heard quite often and everybody knows these melodies quite
well. If an adult tries to play these streams of notes while paying attention to their
basic time values, then the adult can play very easily and comfortably.
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< Beethoven’s 9th Symphony, Chorus D-minor >
< Symphony No.1 - Theme >
Even with the above simple melodies, we learn that each stream of melody is
made up, together with the upper and lower tones, of a stream of harmony in
succession of single time values for which the composers organized the tonal
elements into a beautiful structure of phrases and articulations.
4. Learning More Complex Phrases and Articulations by Some Noted
Composers
I would like to demonstrate in the following how I learned a series of sonatas and
compositions in other styles written by some noted composers such as those of
Mozart, Beethoven and Chopin, the most well-known Western classical composers
today. I did this by discovering some common principles that are hidden in their
compositions.
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The basic principles that I found, while learning the works of those great
composers, consist of the following.
(1) Each of the above composers, as well as all others, have invented their own
characteristic tonal harmonies and they have used them for the variation and
transformation in phrasing and articulation.
(2) Each work, especially sonatas, has its own repetition. This means that learners
must first understand the major tonal characteristics, main theme, or motif of a
composition and the succession and repetition of tones or the variations which
usually link the major themes. Then the learner will be able to relatively easily
play the parts of the bar lines contained in a phrase and can then move on to the
second phrase.
(3) The next phrase may be quite a new form of a phrase accompanied by a
modulation, but the point to note is the position or the role that this phrase
plays in the entire structure of the composition.
Generally speaking, each composition consists of (i) introduction of the theme
(or motif), (ii) response to the theme (motif), (iii) transposition or modulation
of the tonal phrases and (iv) conclusion of all the developments (coda). In this
way a composition very much resembles the characteristics of one’s speech
processing or a style.
(4) Each composition usually consists of the repetition of a phrase. The learner
must understand how and in what manner such a part must be played in both
style and speed (crescendo and decrescendo; louder and softer) in unison with
the upper tones or separately. This depends entirely upon the correct and
precise reading of the notations written by the composer.
(5) Piano players must be conscious of the complete tonal movements, followed by
the performance direction. Sometimes this is distinctively in a staccato fashion
and at other times in a legato fashion. The learner must grasp the whole stream
of musical events, parts and wholes, continuation and grouping, similarity, and
transposition as an organized experience of music as a whole. (cf. Köhler,
Gestalt Psychology, Liverlight Paper-bound edition, 1970, p. 236.)
A. Mozart’s Sonata
The following points may stand out for understanding Mozart’s sonata.
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(1) The repetition of accompanying notes (usually played by the left hand). The
following example is from Andante Cantabile (Opus 545). The lower tones
(with the left hand) start with: sol-re, si-re, and then la-re and do-re (first bar
line, in Italian notation), etc. In other words, one tone is replaced by another
tone. The upper tone played by the right hand takes only one minim out of 4
groups of semiquavers or a pair of crotchets in accordance with the lower tones
played by the left hand.
(2) There is always repetition of the group of harmonic melodies which are played
with the right and left hands either simultaneously or alternatively.
(3) Many of Mozart’s sonatas accompany alternatively bright melodies (expressed
by sharp notes of do- fa-sol) and sad melodies (expressed by flat notes of la-mi-
sol-mi-re ).
Some of the easiest parts of Mozart’s music are reproduced here.2
< Eine kleine Nachtmusik >
B. Chopin’s Example
Some of Chopin’s earlier and simpler work can also be analyzed in the following
way. This does not always include Chopin’s difficult piano music in different genres
such as Mazurkas, Polonaises, Waltzes, Ballads, and Nocturnes which liberalized the
tonal structures, combined the elements of Polish dancing, used bright tones, and
expressed his delicate moods and sentiments in sublimated forms. The latter is
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especially expressed in his Nocturnes, Etudes, and Waltzes which use a number of
alternations of sharps and flats in staves.
(1) There is continuation of the same tones (cf. the beginnings and the middle of
the Etude “Raindrops”, and also at the start of the Grand Valse Brilliante,
Opus 18. See the beginning parts of both compositions.
(2) There is also repetition of a group of harmonic melodies.
(3) In these two compositions, there is no major modulation of the tonal
structures compared with his other difficult pieces. Inexperienced pianists
can follow the stream of melodies in such phrases after understanding the
structure of the above examples. Here are two relatively simple examples of
Chopin’s work that are mentioned above.
(cf. Chopin’s Etudes 28-15 (the Prelude of “Rain-drops”) in the opening
phrase and the middle parts (depicting the rainfall) and the opening
paragraph of the Grand Valse Brilliante Opus 18.)
< Grande Valse Brillante >
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C. Beethoven’s Sonata
While Beethoven composed 32 different sonatas in his life, the style and the
contents of his works are quite different from his earlier stage. The characteristic
tonal elements of his phrases (mostly melancholic and suddenly bursting out in
tones), however, can be traced in each of his compositions.
His most well-known sonatas were composed in the accomplished period when
Beethoven was in his late twenties and early thirties. These sonatas are his Opus No.
13 (Pathetic), Opus No. 27-2 (Moonlight), and Opus No. 57 (Appassionata).
In the latter two sonatas, some of the easy parts are found as follows. The
moonlight starts with the four groups of sol-do-mi in the first bar line of the treble-
clef and changes gradually like la-do-mi, la-do-mi, la-re-fa, and la-re-fa in the next
bar line in the performance direction of adagio sostenuto.
While the opening paragraph of the Opus 57 (Appassionata) is very fast (in
allegro assai), followed by slow and fast bursting phrases alternatively in 12/8 time
signature, the second part consists of harmonic melodies written in both treble clefs.
The melodies are la-do la-do-fa sol-si-mi, 3 sol-sis, la-do sol-si (upper tones) sol-si
(middle), and sol-si (lower tones) and the second tones written in the treble-clef
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consist of the repetition of mi (upper tones).
The second part starts with a bass clef la-do - mi - la , la-do - mi - la , la-do - mi - la , and
la-do - mi - la and goes up to a series written in treble clef. This series is do-mi la - la
(combination of upper and a lower tones), do - do , la - la , so l- so l , si-si, so l- so l , la - la , mi,
fa - re , do-mi, do-si, and mi-re-do-mi, etc., which constitute a song of praise for a
lover who may have been one of Beethoven’s sweethearts.
(cf. The beginning of Beethoven’s Moon Light and Opus 57 (Appassionata).
< Moon Light Sonata (Sonata quasi Fantasia) >
< Beethoven’s Opus 57, First Movement >
(second paragraph and the following)
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The first part of his Opus 57 consists of a long phrasing with a theme (motif)
followed by the second and the third part with different tonal styles which use
transpositions. The fourth part consists of a large variation of up and down
movements ending with a small adagio. The coda of the fifth part starts with piu
allegro and ends with rather a calm phrasing.
In this way, most of the Beethoven’s sonatas consist of a long series of phrases
divided by first, second, and third movements. The first and the third movements are
very quick and involve bursting tones, while the middle, or second movement,
usually is constituted of a rather calm, comfortable phrasing. It is rather difficult in
this context to play all the parts smoothly as indicated by his performance direction.
One can still find the simple and very characteristic tones of Beethoven even in these
difficult phrases such as fa-la-do-fa, mi-do-mi-so-do or the same repetition of tones
like mi, la-do, and do-mi-la as is exemplified in the parts of Opus 57 above.
5. Conclusion
I can make the following conclusions about the present stage that I have reached
after five years of learning as a late beginner.
(1) An increase in the skills of reading and understanding musical notes and
scores, as well as an increase in the skills of finger movements.
The latter skills can further be improved through practice with the assistance
of a piano teacher, and listening to CDs and the performances of good
pianists.
(2) Piano playing is analogous to the mechanical learning of other skills such as
using computer key boards, word processors, E-mail, and the Internet which
are all recently developed technological innovations. The only difference
between music and these other techniques exists in the skill of hearing
musical sounds and of memorizing them distinctively. The mimicry of motor
movements after piano teachers seems to be very important with regard to
the finger movements.
(3) The problem of the speed as written at the head of each composition
(performance direction, such as allegro, presto, largo, etc.) and the problem
of coordination of the left and right hands still exists. This will be improved
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by further practice and by listening to many performances of experienced
pianists.
(4) (4) Looking back I can see that it was rather slow when I first learned the
understanding of the music fundamentals. I had skill from the beginning,
however, concerning expressing the melodies that I have heard since my
childhood. I also had strong motivation to become a good piano player and
musician. I have not forgotten to practice and what seemed to be difficult at
the beginning some time ago could be overcome by rest and practice. In this
context, I think what Professor Bartlett called “effort after meaning” was
activated in my mind concerning the memorization of melodies. That is to
say that a schemata of tonal elements was enlivened unconsciously in my
brain (Bartlett, 1932, 1995).
Now I have had good experience in the deep feeling and delicate emotions of
composers as to how they expressed themselves in their compositions.
I can now identify with them in the expression of melodies, harmonies, and
rhythms with certain forms of musical notation, phrasing and articulation,
modulation, ornamentation, and pauses.
Notes
1. 1)Beethoven’s Symphony No.9 adapted from Tomoe Kitamura (1994). Piano
Lessons for Adult Beginners , Ongaku-no-tomosha, p. 19.
2)Brahms Symphony No. 1 from James Bastien (1981), Favorite Classic
Melodies , Kjes, West, San Diego, California, p. 9.
2. 1)Mozart, KV. 545 Zen-on Piano Library (1956), Mozart Sonaten 2.
P. 236.
2)Mozart, KV. 525 Eine Kleine Nachtmusik, Zen-on Piano Library (1988) p. 4.
3. 1)Chopin, Opus 28-15, Zen-on Piano Library (1955) pp. 29-30.
2)Chopin, Grand Valse Brilliante Opus 18, Zen-on Music for Piano, No. 128, p.
1.
4. 1)Beethoven, Moonlight Sonata, Zen-on Music, Music for Piano, No. 1. P. 1.
Beethoven, Opus 57 (Appassionata) G. Henle Verlag, p.4.
References
1. Taylor, E. (1990). Music Theory in Practice, London, The Associated Board of
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the Royal School of Music.
2. Baxter, H. and M. (1993). The Right Way to Read Music, U.K. Right Way.
3. Keller, H. (1955). Phrasierung und Artikulation. Translated by Uemura, K. and
Fukuda, T. (1969), Tokyo, Ongaku-no-tomo-sha.
4. Köhler, W. (1947). Gestalt Psychology: An Introduction to New Concepts in
Modern Psychology , New York, Liverlight, reprinted in 1970.
5. 5. Bartlett, F.C. (1932). Remembering: An Experimental and Social Study.
Cambridge, Cambridge University Press, reprinted in 1995.