I am bringing up this discussion since, for some time now in my Bach studies, I haven't quite understood what makes him enter the hands slowly. I study, and have always studied, using the method of variations with rhythmic variations, but are they really that useful? Does memorizing the entries and exits of the voices yield more results? I would like advice on how it would be best to approach Bach's music... or rather... how to succeed in studying it by learning more quickly.
Hi, diapasuono. I too used to use rhythmic variations often. Now, I don't want to trigger a revolution regarding which method is right and which is wrong with what I am about to say, but I simply believe that everyone knows for themselves which method yields results and which does not. For this reason, I believe it is a subjective matter. Personally, studying with rhythmic variations has never brought me any benefit. Surely there will be people who have benefited greatly from this method instead, so I can only be happy for them. In Bach, I believe that studying the technique of the parts is of fundamental importance. Often a theme is accompanied by a harmony that is played with the same hand that must play the theme; one must know how to distinguish and make emerge what constitutes the main voice, the subject, the countersubject, etc., etc., from what is instead essentially filler. The ability to distinguish does not mean playing loudly what is the theme and softly what is not, also because even what is not a theme in Bach represents a melodic line that is anything but superfluous... This is precisely the difficulty in Bach. The theme is a song that is then re-proposed in the other voices; one must therefore sing the theme without giving those listening the impression that it is intentional. To do this, one must have great technical capacity in the distribution of weight in the fingers and, above all, one must think through the themes. It sounds strange, but by singing the themes in your head, the voice in the piano comes out as it should. To think through the themes, one obviously needs to know the piece very well from a harmonic point of view (vertical line) and melodic point of view (horizontal line), observing how the voices move and where the themes are. Rather than memorizing the entries and exits of the voices, I feel like telling you to mentally sing the themes; if all the melodic lines and theme entries are known, by singing mentally, everything results in being balanced and correct.
People often think that reading the notes is enough. Okay, it's quick to read the notes, but then you realize something is missing. So perhaps it is better to start properly, following the right steps with extreme patience to obtain the right result; in the end, we will realize that we have saved a huge amount of time.
I also use variations and to tell the truth they help me memorize the passages, although I notice that by applying them I only focus on memorizing the technical gesture and do not make my ear work. Lately I have been using the method indicated by Simone and to tell the truth it is something else entirely!! I think that you approach the piece more as a musician (personally in slightly more difficult passages I still use variations as an intermediate step)
Since I no longer study music with a teacher, I am rediscovering the pleasure of experimenting and not following dogmatic rules. (probably it wasn't the right teaching for me)
Not all Masters, however, are right. The Master is fundamentally useful and can be fundamentally harmful. Personal experience is precious, and the fundamentally useful Master transmits it in "small doses" to their pupil. Any book or personal experience does not replace a lesson, a good one. A good Master must tell the pupil first of all what they must NOT do and leave their personality free, but controlled. It is a very complex relationship that sometimes goes beyond the pure preparation of the Master. Good communication is the foundation, as well as good trust and credibility. The rules exist and, while observing them within freedom, they guide us in our studies, especially at the beginning. Therefore, I advise you to "approach" people in whom you can glimpse your new Master. Happy studying
In effect..... I also miss the teacher a lot, but I promised myself to manage to graduate before forty-five, even if, given the new conservatory regulations, I will at least try to move forward so that I can tackle pieces that are denser and more meaningful to me. My method, as Simone actually said, was to associate the two things: (variants and harmonies, subjects, etc.), but I have always felt variants as mechanical. In fact, working on the voices, it feels like you aren't making progress, until one fine day the piece is done, and done well! The struggle is always that of managing to get over the hill to then have the piece in hand and rejoice in what has been learned. Hard work always pays off is ?
I am putting this discussion forward since, for some time now in the study of Bach, I haven't quite understood what makes him enter slowly into the hands. I study and have always studied using the method of variations with rhythmic variations, but are they really that useful? Does memorizing the entries and exits of the voices yield more? I would like advice on how it would be best to approach Bach's music... or rather... succeed in studying it by learning more quickly.
May I know which pieces of Bach we are referring to?
I believe that variations are an excellent teaching tool, but they cannot be applied everywhere and indiscriminately.
That is precisely why I was asking which piece it was, because based on the elements contained within it, one can decide where and which variations to apply... also because there are an infinite number of them.
That being said, in general terms, I agree with those who maintain that since Bach's music is polyphonic, the important thing is to work at the voice level, studying them separately and combining them, working to highlight one voice or another, etc.
However, in my opinion, the discussion should be applied to a single piece; suggest one that you are studying and let's see how each of us would approach it... also in relation to the topic question.
