How to outline a piece?

[casparma]

I have read somewhere here about that you can outline a piece into its most simple form, and practice from their to get the 1st sight of the score...

however, how do you outline a piece?

[casparma]

no one???

well, a reference is here: https://www.pianoforum.net/smf/index.php/topic,9285.msg94312.html#msg94312


but, it only says the advantage of outlining... but no explanation how to outline a score...



please help

[bernhard]

Er…  The link you posted actually shows exactly how to outline Chopin’s Etude op. 25 no 1.

Outlining is simply a way to simplify a piece to make it more manageable. One outlines or not depending on how tractable the piece is (this coin has two sides: the piece itself and the player’s ability).

How exactly one outlines will ultimately depend on the piece. For some pieces the outlining procedure is obvious and straightforward (e.g. the first movement of the Moonlight: simply get rid of the triplets and there! You have your outline). Other pieces may require careful analysis and several layers of an outlining before you can tackle them (e.g. Bach fugues, where you start with a motif outline – that is, delete all notes that are not the motif – followed by a voice outline, followed by a hand separate outline before you can actually play the full piece).

Here are a few more examples:

https://www.pianoforum.net/smf/index.php/topic,7246.msg72307.html#msg72307
(how to outline invention 14)

https://www.pianostreet.com/smf/index.php/topic,10304.msg106137.html#msg106137
(Analysis of invention no. 10)

https://pianoforum.net/smf/index.php/topic,4689.msg44184.html#msg44184
(Bernhard answers questions and elucidates further about: 20 minutes – practice starts when you get it right – definition of mastery : learned – mastered – omniscience – Aim for easy – final speed in practice must be faster than performance speed – Example: Chopin Op. 10 no. 2 – outline – repeated note groups – HS x HT)

Like most things in life, your first attempts will be clumsy and you will feel full of doubts: why do it this way and not this way? However, the more you outline, the better you get at it. In fact there will come a point where you will do it automatically: you will look at a piece and immediately see all the layers and separate them in your mind.

If you are stuck, name the specific piece, and I will try to help.

Best wishes,
Bernhard.

[casparma]

thanks for ur reply, Bernhard...

but all the pieces you present on demonstrating outlining have mostly regular length of notes..ie, that the position of the longest note is regular...

I guess, there should exist a dominant sound as the 1st layer of any score, and usually that note lasts longer than other notes, right?

it seems to me, by outlining, one can see how the piece is composed...

but, unfortunately, I dont have too much of sufficient music theory.... how should I outline so the piece have the same intrinsic quality as the origninal one? ie, if I outline the piece incorrectly, it just sounds completely off track....


any way,




Of course I am not currently playing the above, how ever, do you know how to outline this seemingly irregular form to me??

thanks

[bernhard]

This early Beethoven sonata has very little iregularity in its form. It follows very closely the basic sonata form as developed and explored by Haydn and Mozart. (I suggest you do some research on sonata form)

How should you outline it? Simple. Follow the Emperor’s principle: “Too many notes, dear Mozart, too many notes!”.  ;)Simply get rid of all non-essential notes, the notes that are there as fillers and as decoration to make the piece not dull. This means taking out almost every note except for the top line and the bass line. Here is the barest outline of this piece:



It is important to remember that you must keep exactly the same fingering as the original. Once you can play this to your satisfaction (piece of cake – this outline is about grade 1!), then add another layer to it by putting back some of the notes:



Again make sure that you keep to the original fingering.

Once you master this second, more complex outline you should be ready to tackle the piece as originally written. Or you could add a few more notes here and there before moving on to the real thing.

Finally, there is no need to outline every single piece you come across. Some pieces my not benefit from it, and it may be better to approach them with other practice strategies.

I hope this helps.

Best wishes,
Bernhard.

[claudio]

i believe casparma refers to schenkerian analysis. have a look here:
https://www.schenkerguide.com/

[casparma]

thx claudio and Bernhard...

however, is that schenker's guide just another version of music theory??