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Kant's Music Tuition
Tuition in Pianoforte, Theory & Musicianship A.B.N. 36 196 866 372 4/22 Chandler Road Noble Park VIC 3174


June 18th 2010

A Story About Time


A physics professor arrived at his lesson one day carrying a large cylindrical glass bowl and three cloth bags. This immediately aroused the curiosity of the students.

The professor then announced to the class: Today we will be examining space and time.

He put the cylindrical bowl on his desk, and proceeded to fill it with large rocks from one of the cloth bags. When it was filled to the brim, he turned to the class and asked:

Is the bowl totally full?

The class agreed that the bowl had been filled to the brim.

The professor then reached for the second cloth back and emptied its contents on the rock-full bowl. It was gravel, which slipped through the spaces in between the rocks and filled it all.

Is the bowl full now? He again enquired from the class. Most agreed it was, although a few were not so sure anymore, after all there was still a cloth bag the professor had not used. And right they were, for the professor reached for the third cloth bag, which was full of sand and emptied into the bowl. And again, the dry sand easily slipped in between the rocks and gravel to fill every available space.

What about now?

This time and considering that there were no more bags left, the whole class unanimously agreed the bowl must be full.

The professor then, reached for his briefcase and produced six bottles of beer, which (to some of the students horror) he proceeded to empty on the glass bowl. And of course the beer easily accommodated itself in the spaces amongst the rocks, the gravel, and the sand.

The professor then turned to the class and concluded:

As you can see, no matter how full your life might be, there is always space for some beer.

Ah! Yes, one more thing. Our time in this life is limited, as is the space in this bowl. So make sure you put the rocks first.

I have four big rocks in my life, and music is one of them. Finally consider this thought:

By taking piano lessons for the first time we are registering within ourselves a desire to make progress. We must always take responsibility for that progress, for that which we seek lies not in the music school. Nor can it be found in Vienna or Julliard. Your teachers do not own it, nor can they give it to you. You cannot buy it or take it from someone else. What we are searching for when we sit at the piano in the heat of the summer or the frost of the winter is within us all the time. What is missing for most is the ability to appreciate it.

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June 18th 2010

3 Important Practice Tips
I have, over the years made many dramatic changes to the ways I was taught to practise. In most occasions the changes came about due to external circumstances that had nothing to do with the piano, and which forced me to practise in a different way.

In a few cases they came about because I heard about them (either from other pianists or from reading), I tried them out, found out that they worked better and adopted them.

If I had to select the three most important in terms of their staggering consequences, these would be the ones I would choose:

1.   Practise in small segments, sometimes as short as 10 to 15 minutes. I used to practise for hours on end. Yet my playing was completely mediocre in spite of the heavy investment in time. Then, due to some unforeseen events, I was not able to practise for more than a few minutes uninterrupted. So instead of practising for three-four hours solid, now I was forced to do several 10 to 15 minute sessions a day. In the beginning I panicked and fretted. And yet, as the weeks passed, something remarkable happened: not only such small sessions were not having any of the devastating effects I believed they would, as my playing started to improve perceptibly. This was many, many years ago. Since then I have never put more than 30 to 40 minutes of practice (at the piano) in one single session. My playing, rather than suffering improved enormously. And there are days in which I do not play at all, without any perceivable consequences.

2.   Practise the music, not the playing. The obsession with speed, bravura feats of piano athleticism and so on are well known within the forum. However if you let your technique be dictated by the musical requirements of the piece, you will find out (like I did) that the playing improves astonishingly.

3.   Do not skip steps, do not look for shortcuts. I really got to grips with this one as a result of teaching. Teaching forces you to go step-by-step over the same piece repeatedly with each student. I started noticing that the pieces I taught were the ones I really excelled at. An honest comparison between these pieces and the ones I was working on by myself showed that I was skipping a lot of steps and cutting a lot of corners on my pieces, while with the ones I was teaching, the teaching situation basically forced me into the proper discipline. Since this realization (many years ago), I have incorporated this into my practice routine, which basically means that after learning a piece, I learn it again from scratch step by step. By the third-fourth learning, the piece is so thoroughly ingrained that even if I stop playing it for a couple of years I can still play it perfectly.

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October 24th 2007

Baroque Suite - Gigue


Fast dance
Compound duple time
Usually a short anacrusis
Often contrapunctal
Last movement of a suite

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October 24th 2007

Baroque Suite - Gavotte


Moderately fast dance
Simple duple or simple quadruple time
Half-bar anacrusis
Rhythmic and sprightly

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October 24th 2007

Baroque Suite - Sarabande


Slow dance
Simple Triple
No anacrusis
Stately, often ornamented with 2nd
beat accented

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October 24th 2007

Baroque Suite - Minuet


Moderate
Simple triple
No anacrusis
Graceful

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October 24th 2007

Baroque Suite - Courante


Fast
Simple Triple
Short anacrusis
Italian style has continuous movement
French style has varied rhythm, sometimes
changing from 3/2 to 6/4 at the cadence
point in each half

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October 24th 2007

Baroque Suite - Allemande

Moderately Fast
Simple Quadruple
Short anacrusis
Continuous movement
Opening movement of a suite


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October 12th 2007

State of Mind


Time is relative to the state of mind you occupy.

If you have to think about being successful
than you are not successful.

As long as you are thinking about being something,
than you are not that something now.

To be successful is to simple exist
in that state.  Nothing more and nothing less.
You should only think and act from that state.
 

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October 12th 2007

Leverage


Leverage of time is getting other people
to do activities that you don't want to do.

Leverage of money is using other peoples money
to get what you want (Eg. Home Loan).

Leverage of applied knowledge is using other
people's knowledge to get what you want.

Knowledge is wasteful in itself but if you apply the knowledge
that you have learnt, this is what will help you move forward. 

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