SculptingPosted: 15 September 2012
Yesterday I had an awesome lesson with my first harp teacher. It was great to see her and she had lots of useful feedback. She’s really able to discern what a particular piece needs and her suggestions just felt right.
In Nataliana, we worked on adding silences, letting the melody ‘breathe’ and generally taking a step back. It doesn’t need to be fast and loud all the time, there is lots of space for decelerations / accellerations and dynamics.
In the Minstrel’s Adieu, we also worked on the same, adding much more pauses and trying to incorporate the sense of loss that is present in the piece. A lot of parts started to make so much more sense! There’s an entire page of flageolets and I didn’t really know what to do with them, how they fit into the whole of the piece. Now I know :).
In Danse d’ automne #3 we worked on emphasizing specific notes and on letting the notes last their entire duration. Somehow, I sort of forgot that several notes are really meant as ‘pauses’ in this very fast piece.
All in all, it was about taking a step back, leaving silences and removing the unnecessary clutter. Actually, it felt a little bit like sculpting – removing outer layers so the inner music can be revealed.