Poem by Charles T. Griffes is a piece that tugs on the heart strings. At first glance, the form seems to be a lovely, straight-forward A, long B, A form or even an A, B, C, D, E, A configuration (what????), but if you think about the work in relation to the written word (it is titled “Poem,” after all…), it makes more sense as a plot summary; Exposition, Development, Climax, Resolution. The connection to poetry and storytelling in this work is what makes the Griffes Poem unique and not just another pretty-sounding recital piece. In this practice blueprint, we will explore some of the best ways to approach the Griffes Poem. Find the story buried within the music and the piece will sing on its own.
Intonation. The opening and concluding key of C# minor is not our favorite. The problem with this pesky key is that it exposes some of our most difficult notes to tune with a piano (or most other instruments, for that matter); C#, F#, G#, and my personal favorite, E natural. Tuner time!! Practice the opening 48 measures in slow motion with your tuner, taking note of the tendencies of each pitch. Are your G#s naturally on the sharp side? Are your E naturals flat? If you are a visual learner, or just need some additional reminders here and there, draw arrows up or down above important sustained pitches in your score. For example, in my score I have up arrows above the middle register E’s in measures 13 and 31, and down arrows above the C#’s in measures 18 and 23. There are also one or two trick fingerings that you may use as tuning shortcuts in this opening passage. For any sustained high or middle C#’s or C’s, which tend to be sharp, place all three fingers down on your right hand to bring down the pitch. If you find that this flattens the pitch too far, you may experiment by instead only adding one or two fingers on the right hand. Finally, for E naturals in the middle register, lightly vent the 2nd trill key with the right-hand ring finger to bring up the pitch. Warning - do not press the trill key all the way down or the pitch may go too far in the other direction. Practice this fingering with a tuner to get it just right. Finally, make sure that you are practicing this section with vibrato. Adding vibrato to a pitch can raise it up more than you expected.
Breath kicks. There are many sections in this piece that can run off the rails. It is very tempting to rush the tempo (hello adrenaline!). A great way to prevent this is by placing breath kicks on notes falling on downbeats (breath kicks are simply accents, added vibrato, or elongations placed on notes falling on key downbeats or subdivisions). The best place to add a few breath kicks is in the short, explosive cadenza from measures 108-115. Okay, okay – I realize this is a cadenza and you do have a bit of freedom to play with the tempo, BUT if you lose all sense of beat in this passage, you will likely confuse your audience and yourself. This cadenza is virtuosic, yes, but not intended to simply sound like a tornado of notes. There is still rhythm, collections of pitches, and, if you listen closely, an underlying melody. If Griffes had intended this cadenza to be essentially virtuosic music vomit, he would not have written a tremolo in measure 110: He probably would have indicated a trill. Make sure your audience can hear the difference between a trill and a tremolo (it is subtle but significant). Another great place to add breath kicks at the Piu Mosso in measure 183 through the Vivace at Rehearsal M. The music is spinning, increasing in speed and intensity. You may want to rush because it is exciting! Breath kicks here will prevent the allure of rushing, and anchor repetitive patterns (particularly in measures 202 through 208). They will also add a sparkle of drama to the craziness. After all, the climax of a story usually involves both craziness and loads of drama, otherwise you have a very boring tale.
Conduct through the tempo changes. The tempo is constantly changing in this piece. Don’t get too comfortable at quarter note = 120. You will need to plan out several accelerandos and ritardandos with your accompanist, making sure you are both consistently in tempo agreement. A good way to keep your place as the beat changes is to practice conducting the beat pattern while audiating the piece, or hearing it in your head. Practice conducting and playing particularly at Rehearsal M where a Vivace tempo quickly morphs into an accelerando at Rehearsal N, continuing through some very clunky fingerings in the high register that begin as slurred triplet figures and move into articulated 16th notes at measure 242. To prevent this passage from becoming completely unhinged, practice conducting and playing slowly with your metronome. There are several technical and musical elements working together in this passage to create intensity. Do not let changes in tempo lead you into a panic.
That final C# tho…. When they go low, we go high. No, I am not just quoting Michelle Obama - I am referring to the final note of the piece – that sinister low C#. The work concludes on a terribly flat note in a terribly flat register with a terribly flat pianissimo. To counteract this natural flatness, push your headjoint all the way into the body of your instrument during the 3 measures of rest preceding the final entrance at measure 284. Make sure to also keep the dynamic soft yet centered and supported to prevent lowering the pitch as your air supply dwindles. Although it is one pitch out of many, it is possibly the most important of the piece. It is the conclusion of the poem. The final kiss at the end of the story while the sun sets over the ocean in the distance. The piece is called “Poem” but there are no words. Find your own! The thing that helps me best interpret this piece is to create my own story to the music. I hear a Romeo and Juliette type of tale where love is nearly ripped apart by war erupting through opposing families. My students, on the other hand, have created their own stories, ranging from fantastical Sweeney Todd interpretations to tales of dragons and magical kingdoms in the sky. Listen to this work a few times. What is the story you hear? Do you hear words in the melody?
What are your tricks for tackling the Griffes Poem? Do you use alternate fingerings for some of the more problematic notes? Do you conduct and play? How do you keep yourself from rushing the tempo during intense, climatic moments?
Happy fluting!
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About the Author, Rachel Taylor Geier:
Rachel Taylor Geier holds a DMA in Flute Performance from the University of Minnesota-Twin Cities, an MM in Flute Performance from San Francisco State University, and a BM in Music Performance from DePauw University. Former applied instructors include Immanuel Davis, Linda Lukas, Anne Reynolds, and Rhonda Bradetich. Dr. Geier currently teaches and freelances in Davis, California and hosts a popular Flute Friday Blog Series.
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Related blogs: Practice Blueprints - Sonata for Flute and Piano by Paul Hindemith ・ Practice Blueprints - Fauré Fantasie ・ Practice Blueprints - Chaminade Concertino, Op. 107 ・ Practice Blueprints - Concerto in G Major, K. 313, Mvt. I. Allegro maestoso
