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op.23 Ballade No. 1 in G minor - F. Chopin

The Ballad op.23 No. 1 in G minor by F. Chopin was composed in 1835, although some sketches we received evidence that Chopin was working there since 1831.

Pezzo complex in structure, as all the ballads of the Polish composer, the first Ballade in G minor is a track divided into several sections and is definitely one of my favorite piano pieces.

The song begins with a Neapolitan sixth (in its conformation that is more typical in its first inversion of the harmony of the two lesser degree, in this case, therefore, built on the harmony of the major triad of b), which leads off at whole measure of dominant harmony. Until then, the introduction, a kind of recitative, almost mimicking a cello tone, does not seem to reveal the shades of belonging, playing with the flat tonal elements as perceived by the listener (on the b seems the root).

( Autograph of the first page, introduction and first theme )

Like many large pieces of the Romantic piano virtuoso, but this ballad seems to infuse musical ideas of different kinds among them: we could describe them as " lyrical expressiveness" on one side and " brilliance, power and passion rhetoric" on the other.

ideas are two main themes. The first emerges immediately after the introduction (ie bar 7 in G minor, about 30 "in the video) and a melody that appears only in a minor key with an accompanying "Snatched" which recalls the drama in the style of the ballad. The second, which appears to size 67, (2 minutes and 30 seconds in the video) is a musical idea passionate, heroic, so major (E flat), and initially characterized by a slight ambiguity in the key of E flat and B flat major, for the simple fact that it is introduced by a secondary dominant (more than 4 beats we focus on the F major). between these ideas will be subject to intersect at other times of transition such as this beautiful episode of the measure 36 and another measuring 138 (absent in the video). These are two episodes that possess such stability metric-harmonic now taking a clear identity and shall be subject to counter the main themes of the song that appear under the "guise changed" during the ballad. Beautiful reappearance, for example, the first theme in measure 94 (3.40 "in the video) in a completely different climate, suitable for the preparation of the central, heroic and among the most passionate of all romantic piano literature, which explodes in all its beauty measures 106 (4.05).

Damiano Franco plays the Ballade in G minor op.23

(F. Chopin)

But the real surprise of the song is yet another reappearance of the first subject to measure 194. This time is based on a long foot-Re (a feature absent in any of his previous releases) and connects to the "Presto con fuoco" final played by myself in the next video.

Robert Schumann said in a review of this composition to music by Chopin: "He (Chopin) said he had been inspired ballads from his poems of Adam Mickiewicz " we do not know exactly the meaning and value of word "inspired" (inspired by the literary content of the text of a particular ballad the poet? about it some believe that the song is inspired by the literary-narrative poem Konrad Wallenrod of 1828) but it is irrefutable the link between national epic works of two Polish artists.

Personally I do not care much. In fact, I probably should not know the content that inspired the musician is given more space and freedom to "contextualize" at will the thoughts of the listener and the performer.

Presto con fuoco ...

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around midnight ...

Keith Jarrett plays " Round About Midnight" (Thelonious Monk, Cootie Williams)

It begins to tell,

'round midnight, midnight.
I do pretty well, till after sundown,
Suppertime I'm feelin'sad;
But it really gets bad,
'round midnight.

Memories always start 'round midnight
Haven't got the heart to stand those memories,
When my heart is still with you,
And ol'midnight knows it, too.
When a quarrel we had needs mending,
Does it mean that our love is ending.
Darlin' I need you, lately I find
You're out of my heart,
And l'm out of my mind.

Let our hearts take wings'
'round midnight, midnight
Let the angels sing,
for your returning.
Till our love is safe and sound.
And old midnight comes around.
Feelin' sad,
really gets bad
Round, Round, Round Midnight

(Bernie Hanigen)

E questo è il solo del sassofonista Michael Brecker full of creativity as the video ...

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a post without words ...

Keith Jarrett - Somewhere Over the Rainbow

"Where words end , the music begins. "

Heinrich Heine

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"The quality of the study of the piano"

taught to play the piano is not easy, and not for various reasons.

In my experience, gained in recent years of private teaching, I have often been faced with unmotivated students, conducted a lesson plan for a passion more "parental" that authentic, sometimes because "it is right that the boys keep busy "and, at worst, only to costume. For many, sending his son to piano lessons, have a nice piano in the house, is " chic", so the lesson plan, disguised as student interest, it becomes shared (by the adult- parent) of an attitude socio-cultural niche.

so doing, we overlook and forget the hopelessly main reasons that should guide a Boys in the study of the instrument:

1) the passion for music;

2) the awareness on the part of parents, who is studying piano for a boy, learning at least as it is the study of Italian, mathematics, history, science, etc. ... if not more;

The other age-old problem of who teaches piano (or music in general) is that you have to deal with volleyball, basketball, football, swimming pool, a project to school, computer classes and English, dance ... classical, modern, funky ... and the chess tournament, one of the neighborhoods ... and a whole series of commitments that make the life of a teenager (and very often pre-teen) agenda a bit 'too full, perhaps so full that you can see the first signs of stress in children 10 years already!

If all this we add that some student at some point, without notice, may get up one morning convinced that the most suitable to itself but not the piano or the trumpet, accordion,

(or all 'and two) but also the guitar, saxophone, clarinet and so on and so forth, you'd think:

"Ok, ok ... change job!"

these problems aside for a moment we can say a few words on this preliminary study, which is the real purpose of my post. The argument

-study is important for a musician more than for any other professional. The study is the daily practice that will accompany him, from the beginning to the end of his eventual career as a concert or teaching, I love the study compared the performance of an instrument of the athlete who trains his body always in a spirit of sacrifice and dedication. It is for this reason that on this same issue could spill rivers of words without exhausting the content and pedagogical meanings, related to them, the teaching proposal.

We begin by saying that the student must study trying to achieve the best result, optimizing the time above, then learning to work with continuity and awareness without wasting time in vain.

for "awareness" is the ability to study increasingly being "enlightened" by the logic and rationality, preferring quality to the detriment of the amount of study. As Sandor says G.

in "The Art of playing ," the study - " should not be automatic and mechanical activity, and should take place instead under the effective control of the brain " - even if you are simply exercising exercises in pure technique - I would add - though not require a particular intellectual effort. (I highly recommend the study of technology pure only after one of the pieces of footage, just because the exercises are reduced to simple rhythmic and melodic formulas or other physical-mechanical digital).

Asked how long does it take to study a day to learn to play the piano well there is no answer. There are too many variables that go to influence the amount of study required, and include the pupil's motivation, the objectives to be achieved, not forgetting of course the actual potential of the small piano. Studying well is difficult, effortless, and above all attention by supervisors. The teacher's task is to facilitate learning and "teaching to learn ".

greater the presence of supervisors in the daily work of the pupil, and the greater the results. Various statistics have shown that cases of" enfants prodiges "develop in situations cognitive-motivational and cultural fit, then, wanting to make an example, a father / mother / teacher in the house that constantly supervises the study of his son, may be a factor of great advantage (though not a rule), as it helps the student to remove from their practice everything that there can be unnecessary and ineffective.

A true case of child prodigy, Beatrice Rana, 15 years old Lecce live in Flaiano Auditorium in Pescara, playing the Concerto for Piano and Orchestra No. 1 Tchaikovsky Op.23 (Fragment) - Dir Dario Lucantoni (Orchestra Sinfonica di Pescara)

The most common mistake for an inexperienced student is to repeat the same song several times without stopping on the sections and problems more difficult.

In this way you risk losing hours on the meter with the results, most times, frustrating.

And this is precisely why a student can practice the piano every day without fail to make satisfactory progress, while another shows improvement every day studying maybe less but with knowledge of the facts.

E 'this talent more important, in my opinion, for a student: the ability to observe what he does while playing the "let alone " or becoming a true "master of himself "These are habits that will bring only benefits, unlike those who, while putting so much effort, do not realize that to memorize and repeat a hundred times a bad performance will never lead to not better, not reaching the much sought after perfection Music (somewhat relative concept).

Unfortunately, as always, what is more useful it is increasingly difficult to obtain, and in fact rational study is one that requires greater marketability in terms of energy and mental resources, and above all, more reasons to be dealt with seriously.

comforted guys, when you consider that they are not rare cases where less gifted and less gifted students from a purely musical point of view, they sound better than other "geniuses " lazy and listless.

It is not the one who said that at an early age is considered a "young promise" become a great performer.

Damiano Franco