ShiroKuro Oh that was lovely!!! Was that in 2022? That must have been when I was working on applying for the job I have now and not on the forums much, because I think I would have remember hearing you play that
Thank you! 🙂 I have not shared this publicly. I worked on it twice: once in early 2019 where I got to a certain level; then two years later went back to it in late 2021.
I'm hoping to bring some things across for the topic of "gaps" you raised. A day ago I shared two recordings. The first had two excerpts from two practice sessions of a segment of music, followed by an excerpt from the polished recording you just heard. That segment of music occurs twice in the piece, in two different moods.
The important thing is how I got to that final musical version. I did not simply work on it over a bunch of days, with it getting better and better, until finally it fit that musical vision. Years ago I would have worked that way. * In the first part, I'm playing only single LH notes with the metronome. Mentally I'm probably thinking of their musical role. * in the 2nd part, I have added the RH, metronome in my head, balancing the voices. These are layers I built, a scaffolding, or like the rigid bones of the gymnast supporting her fluid motions. ** The musical version is built over those built up layers.
TIMING: 1) over the course of weeks, sessions may aim to a section of music; and a layer in that section (the individual notes, the RH added, for the given section, are each layers); eventually toward musical interpretation. Maybe working on different sections of the music, each at its own stage.
2) timing within a practice session on a given day - might be "Mollyish" - 10 minutes on this aspect, 15 on that, 5 on that - but maybe 1 - 2 hours.
The working on the piece, if you listened in, does not resemble the final piece. It doesn't necessarily go along the order: m. 1 -3 ; then m. 4-6; then m. 7- 20. You have much more freedom and flexibility. You can plan a bunch of strategies based on where you find you are, skills, "building" the music.
That's what I tried to say when I wrote a day ago:
keystring People hear final results, but not the stages (as ways of practising).
What I learned to do, it may make the music seem to evolve "more slowly" in the short run; but as the scaffolding builds up, it is more solid and sustainable, and may let you reach a higher quality of playing.
A caveat for my earlier sample recording. In that passage I chose to play LH, then HT, then whatever came next. That's not a HS, HT rule. I needed to do that because of what I observed. In another section, I might take it apart some other way.
Does any of this make any sense?