What was included of the Lebert and Stark method described a technique that seems as though it would be very uncomfortable and, as confirmed by personal accounts, very tiring. While this school of playing may have been easier to teach, I wonder how successful it was. It must have resulted in a certain amount of success for it to have been popular, but the account from Amy Fay emphasizes its failings, much as a current audience would expect to read. A suggestion from the Lebert and Stark method that I think is useful, however, is the practice suggestion of playing slowly and loudly at first (p. 231). Similar to Liszt's approach to learning a piece, it reduces the number of elements requiring attention so that you can focus on the just the notes initially.
Deppe's (and Mason's) approach sounded much more natural. Although I am not the first to wonder why it was not more widespread, I am also not convinced by Fay's reasoning in regard to Liszt. It seems unlikely that he wouldn't have noticed the difference at some point in his teaching career. Either way, it provides support for the idea that technique and musicality are connected. Deppe even relates beauty of tone to beauty of movement (p. 263) I think that 'natural' can be a form of beauty because it is pleasing, physically or visually or aurally, and the records of his teaching confirm a natural use of the body -- use of the whole arm, maintaining a good hand position as often as possible, alternation of muscle contraction and relaxation/efficiency of movement.
I also admire Deppe's specificity in teaching, as claimed by Fay, and not only in explaining a particular passage but also in applying it to to other situations. Teaching principles in addition to details will better serve students as they become more independent.
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Whenever I learn something new, especially a work from the Baroque or Classical era, I most certainly start playing very slowly and loudly. I think this helps "get it into my fingers" and when the time comes, it's very easy to lighten up. I also advocate practicing in a very deliberate stacatto, I believe it helps to enliven muscle memory, perhaps more than just practicing at a faster tempo with a lighter touch.
ReplyDeleteI also really liked Deppe's approach to aesthetic elements both of playing and the body." When it looks pretty then it is right." I think they really do go hand in hand.
ReplyDeleteI would usually not advocate practicing louder than written for the purpose of focusing on the notes or increasing muscle memory. I think it seems musically unnatural... Slow practice seems better because you can listen carefully and sensitively, but when playing too loud either of those are more difficult.
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