Considering the structure

[Tash]

had my first uni piano exam the other day, 2 marks off a HD! but that's ok i was happy. But one comment the examiner wrote is that i should consider the structure of my longer pieces more. and i don't really know how to approach this. past examiners have commented that my approach to the structure was a bit of a shambles and i don't know how to fix it! any suggestions?

[nicco]

Sometimes i like to think of my longer pieces as novels or short stories, they have all these different aspects that leads up to a highlight of some sort.

[rc]

Any idea of what piece he might be talking about? I seem to remember you were asking about classical sonatas some time back, and that you hadn't done too much for the form. A recording would help...

I have a few thoughts... The different themes might be clunking into each other, not transitioning smoothly, tempo fluctuations. I know I tend to use more tempo fluctuation in shorter pieces, and keep it relatively stable through longer pieces.

How's your theory? in your piece would you be able to point out the different themes, transitions and modulations? What the development is based on... A useful idea I came across from Rosen's book was how tension and release works in the tonal level, with modulations in the sharp direction of the circle of 5ths equating to intensification and modulations in the flat direction equating with a softening. All in relation to the original key. In the large sense of structure, a sonata becomes a rise and climax of keys.

But I think Nicco put it best, as a climb up to the main climax (I'd read some pianists like to call it 'the point' of the piece, heh). There will be all kinds of smaller climaxes in each phrase and groups of phrases, but to try and save the energy for 'the point'. If you have too many high points throughout a piece they all begin to diminish the effect of each other, it loses it's special quality, the point gets lost.

hahah, now that I think of it, that is a bit of a cryptic comment to leave; "CONSIDER THE STRUCTURE..." . My last examiner left a comment saying I'm good with noodles.

[pianistimo]

rc's right.  the comment was too cryptic.  maybe u have to ask the prof. exactly what he meant.  what makes him hear the structure more? 

for me - it's hearing the silence as much as the notes.  for example, i used to be in such a hurry.  i wouldn't leisure over silence.  in fact, i didn't like silence.  now, as i've gotten older - i kind of enjoy it.  it makes people wait.  wait to hear what u are playing next.  perhaps it's a change from what came before.  perhaps it's an exclaimation.  in any case- it brings anticipation.

these silences can also be called 'points of articulation.'  (also, key changes, as mentioned). 

make sure and count and give full measure to all the rests and maybe that will help a little?

[Tash]

ok i think he was mainly talking about the debussy toccata- he wrote 'quite well played but you need to consider the overall shape of the work and structure your performance accodingly- work on understanding how different sections fit into the overall scheme.' then in the general comments he wrote 'give the longer works more consideration with regards to structure and form'. but i think the story thing is what i'm missing, i seem to be neglecting that side of my pieces, got too obsessed with the technical side...

theory's good, i am planning on making more of an effort to structurally analyse my pieces for next semester. might help me think about it more...

[kriskicksass]

Some of the structure traps people (read: I) fall into are sectionalizing the music, making repeats boring, and taking away from the final climax with lots of smaller ones. Hope that's helpful.