Rewriting Music as a Learning Tool

[qpalqpal]

How valuable is it to rewrite difficult music in a notation software and how would that work? I know that for counterpunctal works you write out different voices and subjects only and all sorts of stuff like switching voices, and switching hands. But for other music; give me an example of rewriting as an aid.

I am asking because I want to really learn well how to write music in Lilypond but I doubt I am gonna ever compose in my life, nor do I have the interest.

Thanks

[cliffy]

Hello Qpal^2,

I've seen from a previous post of yoursthat you're talking about the outlining method. My own experiences with the method have been very good. You mentioned Chopin's Eighth Prelude, which was one of the pieces I worked on in this manner; it made all the difference in the world in terms of bringing out the melody over the accompaniment. I like it best for large-scale works, though. It makes it easier to memorize, and does away with everything not integral to he overall harmonic architecture of the piece.

If you're still wondering about the Scriabin op.11-4, I'd personally remove the central voices in an outline of it. I'm not familiar with this particular piece, but here's what I'd do from quickly reading through the score: For the Right Hand, listen to a recording, and whatever you think is the main melodic line (I'd imagine the top voice), keep those notes and eliminate the rest. The left hand looks like it should probably stay as it is.

Since my computer is dead and I'm forces to write from a phone for a while, I'll have to drop a link as an example rather than make an example myself. This from that teacher a thousand years ago:

https://www.pianoforum.net/smf/index.php/topic,9285.msg94312.html#msg94312
(outlining: example - with score - Chopin etude op. 25 no. 1)

Hopefully I get back on a real platform soon and can make example myself instead of stealing Bernhard's...

All the best,
Cliffy

[qpalqpal]

Thanks for the post! I am still learning Scriabin but I am almost done. I thought of doing what you said. I didn't do it because I thought the piece was too easy. But I guess making out one voice over another is more difficult. This is a great idea for this piece.

But isn't learning a separate version of a piece counterintuitive since it takes more time overall to complete? I thought Bernhard's method was supposed to be super-efficient? 

[cliffy]

Oh, before I begin, One essential aspect of outlining is that you keep the fingering from the original piece intact for what you choose to copy.

Outlining isn't meant for easy pieces. It can be done but it wastes time when you can learn the entire piece in an afternoon without doing it. However, say you want to learn Godowsky's Passacaglia, or the Hammerklavier, or even one of those Radnich transcriptions everyone likes. Suddenly, you're left with a huge amount of work to do.

Let me put it this way: go to the piano and play from memory some easy piece from when you were an absolute beginner, one with a RH that's a single melodic line. Now, when you've finished, play the RH in octaves. It was easy, correct? Now play the Left Hand in an embellished way, and the RH in octaves once more. You've gone from a very simple passage to a significantly more complicated one. The reason why outlining is so efficient is because it lets you first learn the musical basics of the piece, and develop a clear mental picture of what's going on in the piece. Remember, as you play the outline, the full piece should be playing in your mind. After that, you add back in the difficulties one at a time. The thing that makes a piece difficult is that multiple things are going on at once. Outlining lets you take them on one at a time instead of all together. What is the most efficient way to break a rope with your bare hands? You fray the end (the initial technical work you did in when you were a beginner), then you unbraid the separate strands that make up the rope. Outlining may seem like it would be inefficient, but when you get the right kind of piece, it becomes the most efficient way I've yet tried. Why not try it with, say, a Grieg Lyric piece, something that would give you a challenge but not an insurmountable one, and then tell us all what happened?

Cliffy

[qpalqpal]

That sounds like a good idea! I'll take something like Grieg. Do you have any other suggestions where I can outline? Also, It won't be till august when I start since I am going on a trip.

[cliffy]

I'm afraid your signature seems cut off to me, so I don't know what pieces you've played before besides some Bach Inventions. Outlining can really be used on just about any piece. It seems to me that Grieg's lyric pieces (such as "Sylph" or "Erotic Poem") and Chopin's dances would both appeal to you and offer pieces at an approachable level. I'd have to know what you've played to offer more specific suggestions.

Also, you could learn these:
https://conquest.imslp.info/files/imglnks/usimg/8/82/IMSLP12729-Fragoso__Ant__nio_-_Prel__dios__pf_.pdf

Truly beautiful miniature masterpieces well suited to outlining by the obscure Portuguese conposer Fragoso. You'll never find anyone else playing these; they can be your signature pieces!   Don't worry, the first is much harder than the other ones.

Cliffy

[qpalqpal]

Editted my signature, btw. Also, I am capable  of playing more difficult pieces (as anyone is), I just don't want to 'ruin' a piece by learning it when its beyond my reach. That is why I don't play Chopin's Ballades . I would completely destroy them.

Also, I am very interested in unpopular music like this! I'll take a look. Thanks.