music mapping

Warning: This post contains Cello Geekery. If that's not your thing, I won't be offended if you choose to look for something else to read.

I haven't written a cello post in awhile. No particular reason, other than I'm carrying on in the roll-up-your-sleeves-for-the-long-slog bit of transitioning from a beginner to an intermediate cello student. I'm starting to work on what my teacher calls "real music" (ie, not just little exercises and etudes that are meant for technique practice and don't necessarily sound nice or like real music...or something).

My current piece is La Cinquantaine. I've read Michael's blog posts on this piece, and he kindly put together a master list of stuff to wrassle with when learning it. I think #6 is my favorite. And also #4. I printed the list and taped it to the wall next to my music stand.

In addition to my cello lessons, Ben has been coaching me in music theory. I won't pretend that I thoroughly understand it all, but I get the gist (usually), and now we're starting to apply it to "real music," so the concepts are starting to make sense.

We're at that part of theory that gets into the nuances of structure and form, and I got a real-time demonstration when Ben mapped out Cinquantaine for me:

(I suggest clicking for big if you want to read it.)

Basically, the piece has two main sections (A and B) with sub-sections (a,a1, b, b1, c, etc.). The numbers represent measures, and there are key changes as well.

This map helps with practicing since I can practice in chunks and apply the practice techniques elsewhere in the piece where similar patterns show up. I can also add the bowing pattern as another layer on the map for hyper-analytical kicks.

I'm fascinated with this music mapping concept because it reminds me so much of novel outlining (at least the way I do it). If you wander through a novel without any sort of scrutiny, you miss so much. A novel is made up of chapters. Chapters are made up of scenes. Scenes are made up of layers of description, action, and dialogue. You can structure the pace of a novel by the patterns you put into each scene in a chapter - action that builds to a climax, dialogue that starts out innocently and rises to an argument or a revealing of secrets, narration/description/explanation that slows things down and orients you to the setting and the situation.

Musical structure can show you the same thing - how the composer is carrying the listener, as well as the musician, along to keep both interested, settle you into patterns, change the patterns for interest, and bring you home with a satisfying ending (Ben was explaining circle progressions to me - vi-ii-V-I).

I'm looking forward to more music mapping. The Breval Sonata is in my near future (hint hint, could do with another list for that one, Michael).