LEADING NOTE MUSIC 

From Bach to the Wedding Bench: Why Performing Matters

At the end of August, I had the pleasure and privilege of performing at the wedding ceremony and reception of the daughter of a very close family friend. In total, I prepared approximately two hours of music for the occasion, which meant that my fingers were certainly kept busy at the piano throughout the summer!

Because this was a Christian wedding, my musical selections for the ceremony needed to reflect the significance of the occasion. Naturally, I chose several pieces by J. S. Bach. Bach famously viewed music as a means of glorifying God, and many of his compositions bear witness to the depth of his faith. He also happens to be one of the greatest composers who ever lived—which made choosing his music an easy decision for me!

The bride and groom were delighted with my selections. So was I, because, quite simply, I love Bach.

For the processional, I played Bach's Jesu, Joy of Man's Desiring, one of the most beloved pieces of music associated with wedding ceremonies. For the recessional, I chose Canon in D Major by Johann Pachelbel, another piece that has become almost synonymous with weddings.

A Few Words About the Canon

Most people immediately recognize Pachelbel's Canon in D Major, even if they don't know its name. There is a reason this piece has had such remarkable staying power. Its simple, repeating bass line and familiar harmonic progression create a sense of stability and satisfaction that seems to appeal to listeners across generations.

In fact, the harmonic pattern associated with the Canon has been reused countless times in popular music. The progression—D–A–Bm–F#m–G–D–G–A, or variations of it—has appeared in songs spanning rock, pop, reggae and hip-hop. Sometimes the progression is used almost exactly; sometimes it is transposed into another key, altered slightly, or incorporated into only part of a song.

Examples often cited as drawing on this harmonic pattern include Basket Case by Green Day, Don't Look Back in Anger by Oasis, Memories by Maroon 5, No Woman, No Cry by Bob Marley, Let It Be by Paul McCartney, Imagine by John Lennon, Sk8er Boi by Avril Lavigne, and With or Without You by U2.

So when you hear people refer to Pachelbel's Canon as one of the foundations of modern pop music, there is actually a fascinating musical story behind that claim. A musical idea written hundreds of years ago continues to find its way into the music we listen to today.

Preparing to Perform Again

There is another part of this experience that I would like to share.

Preparing for this wedding was quite an undertaking for me. I hadn't performed publicly in several years, and getting ready meant returning to a practice schedule of approximately three to four hours a day. At 62, and with some joint issues to contend with, that level of practice presented some challenges.

I had to become much more conscious of how I used my body at the piano. I made a point of getting up from the bench frequently and incorporated strengthening exercises for my shoulders, arms and back. I also spent considerable time improving my sleep habits. I discovered something that pianists probably don't need to be told: when you're tired, your playing sounds tired too!

But there was another aspect of preparation that turned out to be particularly important: I had to practise performing, not just practising the music.

When I ran out of people to ask to sit and listen while I played a piece or two, I turned to recording myself. This proved to be extraordinarily effective. Hearing myself play under something resembling performance conditions revealed things that I simply didn't notice when I was practising alone.

There were also two unexpected benefits.

First, I now have 22 recordings of the individual pieces I played, which I plan to give to the bride and groom as a keepsake from their wedding.

But even more importantly, the consistency of my playing improved enormously. Recording myself forced me to confront the little inconsistencies and lapses that can easily go unnoticed during ordinary practice. It made me a better and more reliable performer.

Why It's Time for Recitals at Leading Note Music

All of this has led me to an important conclusion:

It is time to resurrect in-person piano recitals at Leading Note Music.

I want our students to experience the benefits that I experienced while preparing for this performance.

As parents, you may discover an unexpected benefit as well. The frequent prompting to practise can become much less necessary when a student has a recital on the horizon. Students naturally want to do well when they know they will be performing for an audience, and that can provide a powerful source of motivation.

But there is a much more fundamental reason for having recitals.

Music is a performing art.

Unlike a painting or sculpture, a musical composition doesn't really exist in its complete form until someone performs it. And unless that performance is recorded, it exists only for those moments when the music is being played.

Learning how to perform is therefore an essential part of a student's musical education. It isn't something that can simply be added at the end of years of lessons. It is a skill that develops gradually through experience—and, like playing an instrument itself, it requires practice.

Learning to Perform

Ignorance can sometimes be bliss!

Very young piano students often have absolutely no idea that performing in a recital is supposed to be stressful. They can be chomping at the bit to get onto the stage and put on a show!

Pre-teens, teenagers and adults can have a very different experience. As students become more self-aware, they suddenly realize that an audience is actually listening to them. That realization can be both startling and intimidating.

For these students, learning how to deal with nervousness, butterflies and the inevitable adrenaline that comes with performing becomes just as important as being well prepared.

There is another unique challenge for pianists: we have to adapt to the instrument in front of us.

Unlike most other instrumentalists, piano students cannot simply bring their own instrument to a performance. We practise for countless hours on one piano and then, on recital day, sit down at another instrument that may feel and sound completely different.

Professional concert pianists understand how important this is. When they cannot perform on their own piano, they will often spend considerable time getting to know the instrument they will be playing—and sometimes even have a piano selected specifically for the performance. The ability to adapt quickly is an important part of becoming a confident pianist.

I know that some of our students—and perhaps some parents—will feel a little trepidation when they hear that in-person recitals are returning to Leading Note Music. If that is you, please don't hesitate to talk with your Leading Note Music teacher about your concerns. Nervousness is completely normal, and learning how to manage it is part of the process.

Our goal is not to create pressure. Our goal is to create a positive, supportive and enjoyable experience in which every student can experience the satisfaction of preparing something special and sharing it with an audience.

I learned a great deal from preparing for this wedding. I became a more disciplined practiser, a more consistent pianist and, I think, a better performer.

Now I'd like to give our students the opportunity to experience some of that for themselves.

And I suspect that, just as it was for me, the journey toward the performance may prove to be every bit as valuable as the performance itself.