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Bruce Brubaker on all things piano

Day trading

November 15, 2010 by Bruce Brubaker

After a chamber music master class, someone mentioned that if the students didn’t sound better at the end of the session — it must not have been a very good master class.

daytrade.jpgWe want musicians to improve. But, how quickly? Can we assess progress after half an hour, at the end of a concert season, or a 4-year degree?

In the master class, one student pianist was asked to play a difficult passage faster — not to take extra time to negotiate its considerable technical difficulties. He couldn’t do it, on the spot. (Slowing down had allowed all the notes to be played, while perhaps changing the character of the music.)

Diving into a home repair project, a relative of mine needed a particular type of wood screw. With no hope of obtaining the screw before bedtime, he used a nail. The job was finished. All done!

At an early stage of learning a new piece, some pianists write in fingerings. Later, written-in fingerings might help them remember what was done. And written fingering may expedite initial learning by making physical finger patterns consistent. Perhaps counterintuitively, I was taught to make no marks in my scores. Not even fingerings! As a result, when I return to music I’ve played it takes me a while to remember. And sometimes my hand (or some “inner hand”) has discovered a more coherent and less obvious solution than what I would have written earlier.

Isn’t it a sign of emotional maturity to be able to hold conflicts without needing to resolve them right away?

Different from normal medical care, emergency room medicine may save your life, in a few minutes. That doesn’t make it the best way to provide regular health care.

As musicians, our pragmatic desire for quick improvement can be balanced by focussing on the highest level of aspiration — goals that may take a very long time, or even be impossible to reach. Some quick fixes foreclose the possibility of meeting especially difficult or nuanced challenges.

Stock market “day traders” liquidate whatever positions they’ve taken, each day before the closing bell. They are fully “in cash” every night. There are many unforeseeable risks that effect the value of an investment during the market’s off-hours. Perhaps it’s too dangerous to be holding anything when the market’s not available to cash out? For these guys, every plan must be finished right away — every question answered. For day traders, holding an open position is just too risky.

For artists it may be the opposite. For most artists, great risk comes from finishing tasks too quickly (with shortcuts?), or from insisting on finding solutions to every challenge by the end of the day’s work.

Filed Under: Uncategorized Tagged With: day trading, master class, musical learning, quick fix

Comments

  1. Ron Davis says

    November 16, 2010 at 7:41 am

    “As musicians, our pragmatic desire for quick improvement can be balanced by focussing on the highest level of aspiration…”
    Bull’s-eye. Art is long, life short.
    Wonderful piece.

  2. midwest says

    November 29, 2010 at 7:15 pm

    midwest

Bruce Brubaker

Recordings like the new American piano music albums I make for ECM, InFiné, Bedroom Community, and Arabesque reach millions of listeners, and break through some old divisions of high culture/pop, or art/entertainment. My fans are listening to Billie Eilish, The Weeknd — even the occasional Mozart track! Spotify, Apple Music, YouTube are allowing music lovers to discover music they could not have found so easily before. Live performances begin to reflect what’s happening online. My performances occur in classical venues like the Philharmonie in Paris, the Barbican in London, at La Roque d’Anthéron, at festivals such as Barcelona’s Sónar and Nuits Sonores in Brussels, and such nightclubs as New York’s (le) Poisson Rouge. Read More…

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PianoMorphosis

Music is changing. Society's changing. Pianists, and piano music, and piano playing are changing too. That's PianoMorphosis. But we're not only reacting... From the piano -- at the piano, around the piano -- we are agents of change. We affect … [Read More...]

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“Feeding Those Young and Curious Listeners” — Anthony Tommasini in The New York Times on the first anniversary of the Poisson Rouge

“The Jewel in the Fish” — Harry Rolnick on Bruce Brubaker at the Poisson Rouge

“The Post-Postmodern Pianist” — Damian Da Costa profiles Bruce Brubaker in The New York Observer

Bruce Brubaker questioned at NewYorkPianist.net

“Finding the keys to the heart of Jordan Hall” — Joan Anderman in the Boston Globe on the search for a new concert grand piano

“Hearing and Seeing” — Philip Glass speaks with Bruce Brubaker and Jon Magnussen, Princeton, Institute for Advanced Study

Bruce Brubaker about Messiaen’s bird music, NPR, “Here and Now”

“I Hear America: Gunther Schuller at 80” — notes and programs for concert series, New England Conservatory, Harvard University, Boston Symphony Orchestra

“A Conversation That Never Occurred About the Irene Diamond Concert,” Juilliard Journal

Bruce Brubaker plays music by Alvin Curran at (le) Poisson Rouge

Bruce Brubaker

Recordings such the new American piano music albums I make for ECM, InFiné, and Arabesque reach many listeners, and seem to break through some old divisions of high culture/pop, or art/entertainment. My fans are listening to Cardi B, Childish Gambino, Ariana Grande — even the occasional Mozart track! Spotify, Apple Music, and YouTube are allowing music lovers to discover music they could not have encountered so easily in the past. Live performances begin to reflect what’s happening online: this year I play at the International Piano Festival at La Roque d’Anthéron, traditional concert venues in Los Angeles, and Boston — as well as nightclubs in Berlin, Hamburg, Paris, Lyon, Geneva, and New York’s (le) Poisson Rouge.

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