“[Professor leaves green lawnchair empty.] Once again, you play it very well. Sometimes, maybe, again, the triplets? If you play them a little softer, you will feel lighter. Om, and somehow, it will help, ah, make your melody soar even higher. How birds fly: they flap their wings, but after awhile they stop, yah? So, what keeps them in the air? It’s the Force of the heir pushing up. I think we need these to lift up your melody. [Play.] Yah. Do you hear the difference? [Affirmative.] I think the texture seems, om, less busy. Right? Because there are so many notes in the Middle, but what we want to enjoy is the melody. Okay. [Flips page.] Can you play this? [Play.] Yah. This is one example, I think, of one of those places I was talking about earlier: that it’s tempting to take time in every Face. Now, you have to realize that you’re doing a duet with: [Points.] I think this is Oboe Solo, right? So, what’s happening is… [Play.] So. Even if it appears to you that the piano melody has stopped; the Oboe keeps going, so I think… [Plays mouthing notes.] I would keep this a little bit more simple and take your time. Of course, you have to enjoy the… [Plays mouthing notes; student trips on himself; Professor and student switch places.] Good.
And some passages like these: where we need, again, the pulsation. [Beatbox.] Ah… [Pulsation rapidimento.]
Sorry to jump around, since this is a kind of similar passage. Can you play? [Play.] Okay. Now, I noticed earlier, om, when you got here: you kind of lost the pulse a little bit. This [Points.] sounded slower. Om, and I know there’s a Diminuendo here ~ but somehow you have to keep sustaining the tension. Om… [Play. Flips page; student now has his hands clasped in front, instead of behind his back.] So. Again, I’m gonna say it’s very tempting to make each sound as special as possible, but, I think, the most special of all is this: [Points to Northeast corner of page.] Ah, it almost sounds as if, em, someone who’s soul is going up to heaven: This. [Play. Smiles in front of keys.] So, I think, to make it more satisfying, you have to keep it going. [Play… Switches… Sings… Professor flips page for student.]
Just a few things, here and there. [Flips pages backwards.] Now, om, from experience, I know that this [Points.] return, um, everyone gets so excited. Right? Because it’s such a wonderful, um, Return of the Theme, so [Play.]. But structurally, if you think of this as the return of this theme, it should really be kind of interconnected, in terms of tempo and pulse, so [Whispers.] I think [Inaudible. Speaks another language.] You try. [Professor motions to windows.] Yah, keep going. Good. Um, I know this says, ‘Meno Mosso’ right? [‘Yes.’] But somehow, I think you have to keep the momentum going a little bit. Otherwise, it sounds, after this big, uh, Climax. [Play.] Um, it is a more intimate moment, right? ‘Cause you’re kind of alone for several bars, but, I think, push the triplets a little. […Play…] And if you want to make that amount of time, which is Beautiful, yes I-I agree and this will make it more special. [Play. Professor looks up to student, quizzically, squinting.] Um, so, I think of a certain sweep, yes? If you take time, too many times, we lose that sweep. [Professor waves. Nods. Hands to hips. Leans on wood.] Om, I don’t know how you feel, but for me, that feels like a structure with a longer phrase, but with certain, um, special moments, so that when you have [Play. Rise.] and, of course, this chang of harmony, then E.T. really stands out. M. [Flips pages back and forth.] Ah! I think, here, you can be a little bit freer because orchestra or, om, I think it’s winds, I’m not sure. I don’t remember. [Squints upward.] You’re just holding long notes, right? Um. [Play.] And then, there, go back to tempo. [Play. Nods.] I think it can be even more, so we feel swooning, for instance. [Play. Hangover. Flips page. Smiles up.] K? One final comment. I notice sometimes your fingers go really flat like this. [One palm over the other.] Uh, it’s best if you can retain some kind of Ark. It doesn’t have to be really curved, but it needs some sort of support. All right? I think that’s all. [Witnesses clap. Student bows. Professor places water bottle and Notebook on green lawn chair and humors photographer.] End of lesson.” ~ Professor Albert Tiu
