Emma O’Reilly asked me to play at a songwriter evening she curated the other night in The Mercantile bar. It’s a long while since I played my own stuff, so I jumped at the chance. I took out the guitar earlier that day at home to practice and ended up writing a new song — something I haven’t done in a long, long while!

I’ve been meeting up with a friend of mine, Peter Ryan, to hang out and talk about writing and give each other encouragement with stuff we’re working on. My lack of any new material prompted me to go back over the voice memo recordings of song ideas that I’ve made on my phone. It was two of these that I worked up into the song, which I’ve called ‘Panic’. I *do* have a demo recording of just me and the guitar, but I won’t post it up yet. I didn’t do a brilliant job of playing it the other night at the gig, so I feel like it needs to stay on the drawing board for a bit longer. I’m hoping to maybe work it up into a bigger arrangement, so you can hear it then…!

Buoyed by the experience of playing Emma’s gig, I got in touch with Lisa McLaughlin and got a slot on a forthcoming ‘Saucy Sundays’ gig (the regular showcase that she hosts in The Grand Social). Sunday 13 May — I’ll be on first 🙂

Another date of note (for my diary, anyway) is Friday the 18th of May. I just got word yesterday that that’s when my Grade 8 piano exam is scheduled for. Eek! The pieces are coming along nicely and I’m chipping away at the scales day by day — there are so many! I just read Charles Rosen’s book ‘Piano Notes’, which had some really interesting thoughts about playing Bach. One of the pieces I’m playing for the exam is Bach’s Fugue in B flat from the first book of ‘The Well-Tempered Keyboard’. He wrote a Prelude and a Fugue in each of the twelve major keys…and also each of the twelve minor keys…and then he did that all again. The interesting thing that Rosen points out is that these were never meant to be performed in public (and certainly not on a modern piano, more likely on a harpsichord or a clavichord). Bach would’ve used them as teaching material and so the modern practice of accentuating each appearance of the main theme of the fugue (the ‘subject’) is not how he would’ve expected the pieces to be played. For a start, the keyboard instruments of his day couldn’t do gradations of dynamics in the subtle way a piano can (a piano-forte, to give it its full name, is so called because of its ability to do both soft and loud). Secondly, since it wasn’t for an audience, the people hearing the fugue would’ve been the player or a pupil following the score — both of whom would have no need to have the appearances of the subject spelled out to them, since it was in front of them. Thirdly, the subject is the least interesting bit of the piece if you’re Bach. It’s just the bones to which the artistic flesh of the composer’s counterpoint is attached. All that having been said, if the pieces *are* to be performed for an audience who neither know the score nor have the aesthetic sensibilities of an eighteenth century harpsichord pupil, the pianist would do well to bring alive the music (to ‘publish’ it, as Rosen puts it), and some underlining of the structure of these remarkable pieces is the way to go.

All great food for thought. I’d recommend the book to anyone who plays piano or has an interest in classical piano music — it’s an easy read, with loads of anecdotes and insight into the repertoire and life of a pianist.