Download Banacos PDF

TitleBanacos
File Size4.3 MB
Total Pages102
Document Text Contents
Page 52

Kordis 48

to practice one segment repeatedly at the designated tempo. When I felt comfortable with

the first chunk, I would connect it to the next segment and practice repeatedly the first

two segments. Eventually, I would learn the entire piece in tempo by following an

additive process without practicing in slower than the indicated tempo, as I used to. He

mentioned that the human body uses different muscles to play in a slow tempo from those

used to play in a fast tempo. He also said that if I practiced a piece in tempo by using the

right movement (by also engaging the right muscles), I would learn the piece faster and

acquire a quick sense of how the piece actually feels and sounds in tempo.

Pianist, percussionist, and composer Matthew Gordy was assigned Brahms’s

Intermezzo in E flat major, Op.117, Ravel’s Pavane for Dead Princess, several of

Beethoven’s piano sonatas, and many of Prokofiev’s pieces, which Banacos assigned as

models for composition. Pianist/drummer Pedro Tsividis was given Faure’s Pieces

Breves, Mozart’s Sonata No. 5 in G major, Bartok’s Mikrokosmos 133 in book V,

Poulenc’s Solo Pieces in C major, and Brahms’s Intermezzi no. 117. Tsividis also said

that there was always a pedagogical reason for Banacos to assign specific classical works.

He picked pieces mainly to have me absorb certain elements of language, or certain
elements of orchestration for the piano. He would always remind me that the great jazz
players are very aware of such things and that there's a lot I can learn from non-jazz
music that would greatly enhance my jazz playing.51



Banacos asked pianist Gil Aharon to learn J.S. Bach’s Goldberg Variations and

practice them in all keys. Pianist Joseph Reid was given Rachmaninoff’s Prelude in G#

minor, several of Chopin’s etudes, and a few of Bach’s preludes.52




51 Pedro Tsividis, interview by author, email and audio, New York City, 17 June 2010.
52 Joseph Reid, interview by author, audio, Cambridge, MA, 17 March 2011.

Similer Documents