Music Lesson

Introduction

"Yeah. It is very, very simple. Yeah."

Harmony and Interpretation

• "If you wouldn't change the harmony, it probably would be wonderful to maybe."
• "If you would write something like this. Yeah. But that would be a different composer."
• "That wouldn't be Bach. Exactly. Yeah."
• That's why I think you have to change something. And that is your interpretation: how you play is your freedom.

Rubato and Rhythm

• "Rubato is already written. If you obey exactly to the rhythm, that will be rubato."
• "Welcome home. Yeah."
• "Dominant: different color. You follow the voice."
• Is this simplicity? That's what we need; but, you know, a little change here, little change there. Different talk.

Understanding Harmonies

• "When he puts the harmonies, it's like a column."
• "First of all, when you see the cathedral, you see an incredible gigantic building, architecture."
• "You don't see details; right? You see just the cathedral. You come close, you see the column."
• Then, you come closer, and you see different columns, which make the whole architecture.

Priorities in Music

• "All these columns, you know, little details. But there are priorities, and the priorities are the fundament."
• Harmony is vertical. In other words: play a G major chord or a G minor chord.

Development and Flow

• "You cannot play as equal as you have played the G minor chord. So I don't start."
• "You can make a little bit of rubato inside the frame."
• "This is just a frame for you, but be the creator."
• "I feel this is actually natural; that is written."

Creating Long Lines

• "Abrupt changes would sound a little bit not convincing."
• "That's why that makes one whole long line. Long line is very important."
• "From G minor to G minor, create this bridge for uninterrupted thought."

Playing Techniques

• "You know, you attract attention or distract attention from very important look."
• Vibrato: "There's a lot of dispute about how to vibrate or not to vibrate."
• "You have to choose a vibrato that corresponds with the room."

Considerations for Performance

• "If you would play in the church or cathedral, you wouldn't need much vibrato."
• "In our room, it's very secco. So I think we should use some vibrato here."

Bow Speed and Legato

• "The speed of the bow gives you vibrato."
• "This vibrato must correspond with vibrato in the left hand."
• "Feel the string; you can do anything with it. Basically, it's your sound."

Emphasizing Phrasing

• "The sound either goes up or goes down."
• "The phrase is round; that's why it must lead somewhere."

Freedom versus Rhythm

• "It's either rhythm or freedom."
• "You must always match these two."
• "Timing is very important."

Conclusion and Next Steps

• "Let's concentrate on something: vibrato and speed of the bow."

• Legato in your right hand, and staccato in your left hand.

• "Combine vertical and horizontal phrases."

• "Now, let's do a little bit of fugue. Yeah?"