Tag Archives: flexibility
Reflections on the 100 Piece Challenge, Part 2
In this post, I am continuing reflections on the 100 Piece Challenge that I started here.
I said in my previous post that pieces should be “ready to revive at any time” – this is what I mean by pieces becoming “a permanent part of my repertoire”. I would like to say some more about this:
- For some of the major pieces that I learned in the distant past, a revival would take a very long time because I didn’t properly preserve the musical thoughts that I had at the time.
- For each of the pieces that I learned during the 100 Piece Challenge, I know the exact fingering, shaping, balance, sound, etc. of each note – this is documented not only by the recording itself but by necessary markings in the score. I will show examples of some of my marked-up scores in the future to show what I mean. This leaves them ready to revive and re-memorize very quickly.
I still would like to have as many pieces as possible “at my fingertips” and “ready to play at any moment” – I want to see how far I can stretch those limits as well. However, it is not a requirement of any Challenge that I undertake. In fact, I should again note that it wasn’t a requirement in the first place, but is merely one interpretation of “permanent part of my repertoire”.
So, looking back at the requirements for the 100 Piece Challenge that I talked about in last year’s post, the three main rules were satisfied and I will continue to hold myself by these rules. Here they are:
- In the original 40 Piece Challenge, pieces are not required to be memorized. However, I must memorize all of my pieces.
- In the original challenge, one could move on from the pieces once they have been learned. However, I must keep all of the pieces in my memory. This means they become a permanent part of my repertoire.
- I saw that quite a few teachers chose to record themselves. I will give myself the same requirement and post all recordings on both YouTube and Facebook.
In that post, I mentioned some other points as well. For instance, I wrote, “Pieces can be very short as long as they are legitimate pieces of music. Many of the recordings I saw teachers posting were only one or two minutes long. There were also quite a few under one minute long.” I would like to elaborate on this comment.
Actually, there had never been any kind of rule set (either in the original 40 Piece Challenge or in my own 100 Piece Challenge) that there was a minimum length for the pieces.
- A piece’s value, after all, is not determined by how long it takes to play it. Several Chopin Preludes, for instance, certainly take under one minute to play.
- If a piece is short, a minimum time limit would probably encourage a slower tempo. And altering a piece’s tempo for the purposes of having it count towards a Challenge makes very little sense.
However, I found that there were at least two situations where the piece I wanted to learn – despite being “legitimate” (i.e. of real musical value, worth sharing with others, worth learning to improve one’s musicianship, etc.) – was both very short and relatively easy to learn, memorize, and record.
- The first was when playing shorter compositions by undisputed masters such as Beethoven, Schubert, or Mozart. Pieces such as German dances, ländler, and minuets are examples.
- The second was when playing pieces originally written by living composers for pedagogical / teaching purposes. For instance, I recorded many of the pieces from the Microjazz series by Christopher Norton. When I decided to increase the tempo of many of the pieces for my own musical and interpretational reasons, many of the pieces ended up even shorter than originally intended by the composer.
Since I found the effort and time to record most of these pieces to be much less than that which was required to record others, I (privately) created a new set of rules during last year’s 100 Piece Challege that explained how I would sometimes count two pieces as one piece. I still believe that counting each piece separately would have completely satisfied the rules of the Challenge, but I wanted to encourage myself to learn even more pieces. I also wanted to at least acknowledge to some extent that the difficulty of learning some of the pieces was less than originally anticipated.
- If the piece is less than one minute long, it will be counted as only half of a piece (for the purposes of the total piece count – this does not mean that it is any less legitimate). A piece less than one minute long will be counted as one piece only if is it of exceptional difficulty to me or was unusually difficult to record (but the extra time and effort would have to be substantial for this exception to be made).
- If the piece is one minute in length or longer, it will typically be counted as one piece, even if it is not particularly challenging to record. This is for two reasons.
- First, it often requires more concentration to create a longer recording (i.e. to play longer without messing up!), even if the piece itself is simpler.
- Second, the listeners will have more music to listen to when a longer piece is shared. In this simple way (even though it does not make the piece more “valid” in any way), a longer piece may be more substantial.
- If the piece is more than one minute long but is unusually easy to learn, it may also be counted as half of a piece.
- If the piece is unusually easy to learn even compared to other pieces counted as “half of a piece”, it may be counted as a third of a piece. Examples may include pieces originally intended for relatively younger children.
Since I still have many more things to say, I have decided to continue these reflections and new rules as another series of posts. Hopefully, these thoughts will be useful for understanding the mindset necessary for undertaking something like the 100 Piece Challenge and for constantly striving to find new ways to improve one’s musicianship, flexibility, and discipline in the process. I believe that the creation of, strict adherence to, and subsequent adjustment of self-imposed rules is crucial to success in endeavors such as this.