Inspired by the 2014 documentary “Alive Inside,” Anne Ku tries to create a playlist for elderly residents by sight-reading popular music from different eras, TV themes, broadway, movies, and the charts.
The 78-minute documentary “Alive Inside” is a fascinating account of the effect of familiar music on eliciting memory in the elderly, awakening them from their otherwise passive state of being. Released in 2014, the film “follows social worker Dan Cohen, founder of the nonprofit organization Music & Memory, as he fights against a broken healthcare system to demonstrate music’s ability to combat memory loss and restore a deep sense of self to those suffering from it.”
What is the secret to finding free sheet music online?
My piano students are all excited that they get to play a piece of their choice for their final recital. I said, “I will show you how to find free sheet music. I believe that we can always tailor a piece to your level of playing. This means you can literally play anything you want!”
Just over 10 years ago, an editor of an online magazine that I wrote for asked me,”Is it true that you can find free sheet music online?”
Nowadays, that’s an understatement.
Not only can you find sheet music easily online, you can also download them for free.
What’s the secret?
There are pianists eager to figure out how to play music they want to play, and if they also want to share, that’s the bonus.
There are youtube tutorials of how to play a piece, step by step.
There are file share sites where you offer your version of a particular music score, in exchange for music you want.
I participated in such a site. It was literally seconds before I got the score I wanted.
The secret is how to formulate the keywords to find the sheet music you want.
There are also avid music lovers who scan music they bought or got from the library or elsewhere.
There’s also the famous IMSLP project. I tell my students: there’s a world-wide phenomenon of scanning and sharing sheet music of works of composers who have been dead for seventy years, for after that period, they and their relatives and heirs lose the copyright.
Sheet music will soon be ubiquitous.
…. but only for those that can read music notation.
Anne Ku’s new group piano class is more than piano playing.
I described what I’m doing in my evening piano class to the husband of a colleague, both music aficionados.
“I teach my students to play the chromatic scale one hand at a time. The right hand goes up using the thumb and third finger. The left hand goes down. At the next lecture, I demonstrate the application with Flight of the Bumble Bee.”
“I tell them about pentatonic scales and exotic scales. I give them the formula for major scales: whole step, whole step, half-step, whole, whole, whole, half-step. I also have them listen to major vs non-major scales as I play them on the piano. I play the last movement of Vivaldi’s Summer from the Four Seasons and I ask them to count the scales.”
“I plan to teach them the Circle of Fifths with respect to Pachelbel’s Canon in D. That’s also useful to demonstrate descending bass line. ”
My colleague’s husband responded with awe. “And you say this is a beginning piano class? Seems to me you are teaching them music!”
I replied, “Yes, I guess you are right. By the end of the semester, they will have not only learned how to play piano but how to look at music differently. I want them to overcome stage fright, build self-confidence, learn to conduct, learn to play and work with each other, appreciate different kinds of music, listen, analyse as in identifying patterns before they start to read the music to play, and so much more.”
Anne Ku catalogues new piano solo works by living composers on Concertblog
As a sightreader, I am always looking for new challenges, that is, to play new music I have not seen before. Before I entered the world of composers, I would search for published music of dead composers.
In my musical journey, I discover that the new music (of living composers) is just as interesting if not more. These days, if I come across music of a composer I like, whether it’s ensemble music or piano guitar duo, I’d ask if he or she had written anything for piano solo or piano duet. Similarly — vice versa.
Below is a catalogue of the piano solo works I have reviewed and introduced on Concertblog. I will continue to add to this list, arranged alphabetically by the composer’s last name.
Summary of the “Call for Scores: multi-hand piano duets” project from January to September 2011 with links to reviews of selected individual works by living composers.
Call for Scores of Multi-hand Piano Duets
This was an experimental project to get living composers to submit interesting duets for pianists to play and to get feedback from the pianists on readability, playability, and more.
The first round of sightreading took place in Maui: over 3 separate sessions, Karyn Sarring and Anne Ku sightread the 42 duets accepted. This set was short-listed and some sent to Chong Kee Tan, organiser of the mid-May event in San Francisco to get interest. As a result of feedback, it was decided not to have a sightreading competition but a sightreading workshop with piano soiree instead. The event was not publicised to composers because some pianists expressed reservation in sightreading new works in front of them. In spite of this, two Bay Area composers attended.
To get more pianists to play, Anne Ku took the printed PDF sheet music to the Netherlands to interest pianists to try the music with her. The following pianists (by first name only) in chronological order attempted the duets: Tom, Thera, Brendan, Ahti, Huub, Liesbeth, Carol, and Bart. Anne Ku recorded several extracts of sightreading with Texas-based Brendan Kinsella in early July and 3 studied pieces with Utrecht-based Carol Ruiz Gandia in early August 2011.
San Francisco-based composer Phil Freihofner’s arrangement of his wind quartet into a 3-hand piano work is delightful and fun. Anne Ku introduces this programmatic piece that has been tried by pianists in Maui, San Francisco, and Utrecht, Netherlands.
Subtitle: From quartet to trio to duet
This blog post concludes my review of all shortlisted works from the 42 multi-hand piano duets received from 30 composers in my Call for Scores project. After this, I will write and speak about the insights garnered from trying these duets with pianists from Maui to the Netherlands. “Trying” included first-level sightreading and making a decision about the difficulty, playability, readability, and potential for further study, performance, and recording. Some pieces received a proper performance-level debut. Others were attempted and discarded.
In the preface of this 5-movement piece sprawled over 30 pages, he described the work as a “three hands” arrangement of his “Quartet #1 for Oboe, Clarinet, Horn, and Bassoon.” I can already think of friends in the Netherlands who would readily request to play the original quartet. It’s a programmatic piece inspired by a Russian silent film Devushka s Korobkol which translates to “The Girl with the Hat Box.” The one page preface tells the story as plotted over the five movements.
Now, three-hand, one piano pieces are not the norm in piano duet music. The most prevalent form is quatre-mains, i.e. 4-hands on one piano. Three hands? The International Petrucci Library lists just a few on its 1 piano, 3-hand page. I think this scarcity of repertoire stems from a desire for pianists to play with both hands. Furthermore, pianists want to play constantly. Pianists are not like orchestral players who are used to counting empty bars.
Freihofner specifies that the work is intended for 3 pianists, each using one hand, at the same piano. It’s also possible to play on more than one piano. But he did not state that 2 pianists could play. I decided to try it with 2 other pianists in San Francisco and later just one pianist in the Netherlands. The effect was very different. I agree with the composer: it should be played by 3 pianists and not 2. Thus this multi-hand duet could be categorized as a trio.
Sadly I did not find an opportunity to record this while in the Netherlands. Hopefully this blog will inspire my peers in Hawaii to make it happen. It can easily be a nice multi-media project to accompany the first 14 minutes of that film from 1926, directed by Boris Barnet or part of some Russian festival. I know of a house concert producer in Virginia who has a captive audience in the Russian community. Having grown up next to Russian neighbours in Okinawa, I can see how this piece would work well in such a thematic event.
I extract a system from each of the five movements in an attempt to give my readers a feel for the piece.
The second movement is a pleasant waltz with quarter note = 108. If only 2 pianists were to play, the second one should do the middle and bottom parts which form most of the accompaniment.
Like the Galop which starts slowly (in a very short intro), the third movement quickens in the main part of the March.
The fourth movement is a fugue, one of my favourites in piano duet playing. A fugue translates to a chase. Here the main character Natasha (the girl with the hat box) takes the train to Moscow where she meets a poor but handsome student.
This five movement trio ends slightly more upbeat (quarter note = 126).
When I tried this piece for the last time on this 3 month journey from Maui to the Netherlands, one pianist exclaimed, “May I please have this piece?” At first I was reluctant because the well-prepared, printed score was my only hardcopy, and one with my penciled markings. Then I remembered that this Dutch pianist had an established piano teaching practice for some 30 years and she usually never asked for music unless she liked it. This meant she would be enthusiastic in playing it and sharing with her students and other pianists. My reply? “Here, take it. This would give me an excuse to meet the composer again, on my way back through San Francisco to Hawaii.”
On my return journey, I met with Phil Freihofner for breakfast on my layover in San Francisco Airport. He gave me a new version of the score, this time “dedicated to Anne Ku.” What an honor! I have five copies now. Who will I meet in this part of the world wanting to try this work with me?
For more information about the composer and his various arrangements and compositions, visit Phil Freihofner’s website at http://www.adonax.com.
Piano duets often have origins elsewhere. Martin Blessinger’s Capriccio for piano, 4 hands came from the 3rd movement of a violin and viola piece. Listen to an extract recorded by Anne Ku (primo) and Carol Ruiz Gandia (secundo).
It has been nearly five months since the deadline of my Call for Scores has passed and 3.5 months since the Piano Soiree in San Francisco where several of the piano duets were played. And it has taken THAT long to find another pianist to study, play, and record a duet.
During my 2.5 months in Utrecht, Netherlands (end May – mid August 2011), I actively sought pianists to sightread the 42 duets from 30 composers. Aside from those too boring or too difficult, there were many candidates for a replay. After gauging the sightreading experience with different pianists, I decided which ones deserved another re-evaluation.
Martin Blessinger‘s Capriccio is a fun piece that challenged me enough to recruit someone else with whom to prepare and play together. Below is an extract of the recording on my Steinway Grand in Utrecht, Netherlands with me as primo and Carol Ruiz Gandia as secundo.
This piece is a transcription of a movement from Tapas, a suite of short pieces I wrote a few years ago for violin and viola duo. It struck me that one of the middle movements of the work, Capriccio Pizzicato, would work particularly well for four-hand piano. This is an ensemble that has always appealed to me for personal reasons. I was a piano major as an undergraduate, and some of my fondest memories are of reading through four-hand piano works with other members of the piano studio at SUNY Stony Brook.
In studying for this piece, I focussed only on getting the notes correct, labeling ledger lined notes and polite accidentals whenever possible and necessary for clarity. When we got together to play, we decided to make a small comma after the third quarter note in bar 6 because it felt like a breath was needed. These are decisions that can only be made after studying a piece (not sightreading).
I thought I had the difficult part until I saw what the secundo had to do in bar 33 and 34 while I played nothing. Spanish pianist Carol Ruiz Gandia decided to memorise those octaval 16-th notes while I stayed put. Moving the page distracted her. So I waited until bar 36 before I moved the page.
We decided to add some dynamics in bar 58 where it was already forte. We went back down to a mezzo forte and made another crescendo to a forte in bar 60. These dynamics added to the piece. In bar 61, we went back down to a piano and steadily climbed until a big fortissimo in bar 64. The secundo immediately dropped back to a mezzo piano (subito) and I joined her to crescendo to another fortissimo in bar 65. And again. These dynamics are essential to make this piece exciting to play and listen to.
On top of page 7, we retracted to piano and then pianissimo as we descended.
Listen to the 3rd movement Capriccio Pizzicato of Tapas from which this duet came. I rather think the entire 4 movement piece for violin and viola could be arranged for piano duet. I particularly enjoy playing fugues in duets.
In the meantime, having discovered its origins, I will share it with my violin and viola friends in Bristol, where just a year ago I was sightreading piano trios and quartets in their newly renovated Georgian home.