Lost in the Fairy Cupboards
Here is the piano fantasy from ‘Valley of the Ice Flowers’ written and performed by Mel Stallwood after spending dreamy moments at the real ‘fairy cupboards’ in Teesdale
Here is the piano fantasy from ‘Valley of the Ice Flowers’ written and performed by Mel Stallwood after spending dreamy moments at the real ‘fairy cupboards’ in Teesdale
Beautiful and tender piano music by Mel Stallwood accompanies Jane Carol’s poem ‘Just Waiting’ – the moving tribute to the life of Sharon Reid who died age 20 on the 4th August 1992
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The sad and evocative piano music of Mel Stallwood brought to its tragic reality by the words of poet Jane Carol

Eric Satie
Here’s a little tune that I’m not totally satie’s fied with. It is a perfectly lamentable effort called ‘Paul’s Lament’. On Satie-day Paul through out the challenge to write a Gymnopedie on the spot (or even a Gnossienne), so here is the attempt. It took a few minutes to get the the tune and about four hours to muck around with the embellishments. It may be a while before it is Satie’s factory…
Spotted these two dodgy characters on my way into Middleton-in-Teesdale to get a bit of shopping this morning. The scarecrow season is in full swing and the standard of the competition is getting higher every year. We just returned from a couple of days in Northumberland and visited Belsay Hall (one of our favourite places) to view the latest art installations. Ron Mueck’s exhibition was amazing and well worth seeing.
Almost as good as the Middleton scarecrows!
While I’m on the royal bandwagon I wrote a piano piece for Charles & Camilla which was included among their wedding presents in 2005. Go on have a listen…

I started out harmlessly writing a simple novelty tune for students to improve their ability to play scales in 3rds. The title ‘The 3rd Way’ popped into my head and thought it was a suitable title.
Soon I was including all kinds of ‘new labour’ references in the thing, i.e. the fairy dust opening will feature Mrs Thatcher morphing into Tony Blair.
The twin sugary sweet (con saccharino) major/minor 3rd progressions at the start are now representing Tony & Gordon’s initial relationship (as the general spin was).
The augmented descending triads represent an added interval causing new labour to descend into chaos.
The D minor section in the middle has the following words…
To-ny wants’ to go to war
May-be he’ll get round the law
We can build a new Je-ru-sa-lem in Bab-y-lon
We’re O. K. be-cause there’s wea-pons of mass de-struc-tion.
Jack is not a man of straw
Claire is such a fright-ful bore
Spinner’s weav-ing all their oil-y rags, mem-oirs in the bag,
Plant the Red Flag in the Sand!
The fairy dust now shows Blair/Brown morphing into Cameron/Clegg and the ‘sweet’ music begins all over again…
I just need to start on the video for You-Tube…
All for a little piano etude.
When someone plays a piece from memory they are often said to be playing without music, meaning of course that they have memorized all of the material written on the sheet music they have previously practiced. As I am typing this, I am thinking about what would be the best way to compose the following few sentences in an interesting and logical manner. Grammar and spelling is not my greatest talent so I just barge on and get my wife to sort it out later. All this information (the subsequent paragraphs) is stored away in my brain like a familiar Beethoven Sonata might be. I tell everybody how wonderful it sounds but (if asked) I couldn’t play all the notes and chords in the right order and remember the exact keys, modulations, dynamics etc. without the music. The problem is I haven’t memorized it. What I might do is make a hopefully convincing improvised version based on my experience of hearing a pattern of (memorized) notes in my mind before I play them. That would work well in a jazz club but greater accuracy is usually required in classical concerts. Read the song lyric below and then look away and see how much you can remember. You may need to read it through several times before you can recite it back fluently. Everyone has a different capacity to do this but like everything else you can improve.
I believe for every drop of rain that falls, a flower grows.
I believe that somewhere in the darkest night, a candle glows.
I believe for everyone who goes astray, someone will come to show the way.
I believe, I believe.
If we wanted to memorize this song lyric we might start with the 1st verse and note obvious things like every line begins with ‘I believe’ and this phrase is repeated at the end. Alternatively, we could imagine or create in our minds a little story of the sequence of events of events contained within the verse such as, line 1:- ‘rain and flower’ line 2:- ‘night and candle’ etc. line 3:- salvation. When reciting the lyric our memory might play tricks on us and we may get the first two lines the wrong way round, or we may even sing ‘candle grows’ (instead of ‘glows’) or ‘someone will come and ‘go astray’ (instead of ‘show the way’) or ‘someone in the darkest night’ (instead of ‘somewhere’) but we know this wouldn’t make sense, so by practicing we could soon iron out these problems. If we personally believed in the sentiments expressed by the words of this song then no doubt we would learn the song even quicker and perform it immediately with the required passion and integrity. Thankfully, most performers (like actors) can give a convincing performance of the speech or song or poem or a musical work even if it is not something that is their heartfelt belief or something they would personally choose to perform, because they know how to convince themselves that they inhabit that particular role or that the story they tell (literal or musical) actually happened (or is happening) to them.
But, surely music is different to words. How can we remember the correct order of fifty notes? Try moving any word in the previous (underlined) sentence to any other position and the sentence will probably become nonsense, so those fifty or so letters are comparatively easy to remember, because we are so familiar with the English language.
This example (below) looks complicacated but when anylized it is simply an ascending diminished 7th arpeggio followed by a descending scale of G major.
One of the reasons we enjoy listening to music is the journey music takes us on. Sometimes cadence points are satisfyingly predictable and other times we are transported into the unknown. The more familiar we get with the music the more we enjoy the predictability of it, rather like the child who enjoys the same bedtime story every night. So the first thing we need to do is to know the musical story we are to re-tell
for example if we were to try to memorize Beethoven’s ‘Moonlight’ sonata we might first note the key signature (C# minor) and then maybe the way the right hand plays the chord structure in triads in slow quaver triplets with the melody played by the upper (4th & 5th)fingers of the right hand. The left hand supports all this with lovely deep octaves. The music begins with the right hand playing the tonic triad (2nd Inv.) repeatedly supported by the tonic (key-note) note and octave sustained under the broken chords. The second bar is similar but the bass descends to B. Then after passing through a couple of major chords (A and D/F#) the chord structure passes through a decorative chord movement over the dominant to return to the tonic. Thinking about a piece of music in this way using your preferred form of analysis (Roman numeral, Figured bass, Greek, Jazz etc.) can be a powerful aid in your quest to memorize a piece for performance. Because I worked extensively in the commercial music world I became accustomed to using Jazz chords in analysis, although we usually use whatever conventional system is contextual to the particular form and genre in question.
After thinking about the music and making your analysis you can then play through the music SLOWLY as if it was a sight reading exercise. There will no doubt be areas that prove a problem technically and you can highlight these passages by making notes in pencil. You can then devise exercises to to help you (your student) to gradually overcome these problems. Unless these areas are dealt with in the early stages there is a danger that they will become a fixation on the part of the performer particularly during the concert or exam.
Remember, at the beginning of this page I used the expression ‘playing without music’, well, we need to ensure this applies to the absence of the sheet music only, rather than the fact that our performance sounds like a string of notes rattled out in the correct order but without any of the beauty and expression the composer intended. So never forget to research as much information as possible about the composer, the period he/she lived and the musical form of the particular piece.
Free advice from Mel Stallwood at www.classycoolmusic.com
You may obtain a copy of the book THE PIANO TEACHER a brief survival guide for the beginner from
Copyright ©Mel Stallwood 1998. published by Classycool Music Publications 2008 extract reprinted by permission
Mel Stallwood is a music educator, pianist and author of the One-2-Five music theory E-tutor. He has spent many years playing back-up for many well known T.V. and recording artists. http://www.classycoolmusic.com You can try out the E-tutor free by downloading from the link below http://www.one2five.classycoolmusic.com Mel has written a rock/comedy musical ‘The Mirror Beyond’ (performed in provincial theatres and the Edinburgh Festival) and ‘Alice in Peterboro’ a comedy pantomime for radio. His latest CD of original piano music has been described as ‘breathtakingly beautiful’ (by his wife) Valley of the Ice Flowers‘ can be downloaded from I-tunes or other locations around the web.
Article Source: http://EzineArticles.com/?expert=Mel_Stallwood
A commonly held view is that if enough time is spent working away at a piece it will come right in the end. This will not necessarily happen. Because we are so keen to progress as quickly as possible then we tend to rush ahead and overlook many important technical problems. Our impatience often leads us to practice mistakes over and over assuming they will eventually go away. Even when we overcome these errors they often creep back into our performance when we least appreciate it – usually during a concert or exam when the pressure is on.
If we follow certain principles we can build sound technique and therefore be more confident in our public performance. If you are learning the piano, always begin hands separately and overcome problems one at a time. Many problems are created by faulty fingering, don’t avoid using weaker fingers ( this is why they are weaker) Often, we can create an exercise to get over a problem and scales and arpeggios are vital practice (sorry but it’s true).
Ask yourself whether the problem is the notes, fingering or the timing or any other element. A good teacher will devise a strategy to help you improve various areas of technique. Try to work on problem areas rather than enjoying playing the nice easy bits all the time and you will soon start to enjoy a real sense of achievement. Different elements should be focused on individually. For instance try singing the melody lines and clapping the rhythm patterns.
When I started learning the piano I had to practice on a table with the keys marked out. Eventually we had a ‘real’ piano, but the experience helped me appreciate the sensual feeling of the touch and movement of individual fingers and of course ‘hearing’ the music inside my head. Try practicing your tricky phrase on a ‘non-active’ surface yourself occasionally. Also, listen to a tape-recording of yourself and you will certainly find yourself focusing on mistakes. Piano music is often quite complex and being more aware of the different layers and shapes can help us bring out the depth and beauty. Don’t think that the untrained ear of an average audience can’t tell the difference. This is often not true. Just listen to the applause for the one who gets it right!
CHECK-LIST
The difference between ‘playing’ and ‘practicing’ is like the difference between ‘playback’ and ‘recording’ on a tape recorder. When we are playing, we are simply playing back information that has been ‘recorded’ (learned) into our brain during our practice sessions. For this reason, we need to ‘press the right buttons’ when we are practicing so that our brain is in the correct mode to process the information we want it to. Likewise, when we are performing we wouldn’t want to start experimenting with tempos or untried techniques.
As I probably mentioned earlier it would be wise to set realistic targets and deadlines. Every student should try to stick to their own personal practice schedule divided into short units of specific practice devoted to pieces, studies, sight-reading, scales etc.
It is common knowledge that a little ‘quality’ time spent in study, where one is focused and interested will be far more beneficial and effective than far longer periods of irregular and spasmodic practice, especially when tiredness and lack of concentration becomes a factor.
LEARNING A NEW PIECE.
This sound advice comes free from www.classycoolmusic.com
I hope you find this free advice helpful. Look out for more articles soon…
If you find this brief article interesting or beneficial then you may be interested in obtaining Mel Stallwood’s book ‘The Piano Teacher’ (a brief survival guide for a beginner) www.classycoolmusic.com
You may obtain a copy of the book THE PIANO TEACHER a brief survival guide for the beginner from
Copyright ©Mel Stallwood 1998. published by Classycool Music Publications 2008 extract reprinted by permission
Mel Stallwood is a music educator, pianist and author of the One-2-Five music theory E-tutor. He has spent many years playing back-up for many well known T.V. and recording artists. http://www.classycoolmusic.com You can try out the E-tutor free by downloading from the link below http://www.one2five.classycoolmusic.com Mel has written a rock/comedy musical ‘The Mirror Beyond’ (performed in provincial theatres and the Edinburgh Festival) and ‘Alice in Peterboro’ a comedy pantomime for radio. His latest CD of original piano music has been described as ‘breathtakingly beautiful’ (by his wife) Valley of the Ice Flowers‘ can be downloaded from I-tunes or other locations around the web.
Article Source: http://EzineArticles.com/?expert=Mel_Stallwood
These are the bricks and mortar of music, so any neglect in this area will be reflected in faulty technique. (Not to mention sight-reading and analytical skills). They must be memorized (I rarely encourage the use of scale books) and performed to some extent at the start of practice and lesson periods. Fingering must be secure. This is also a good area to teach articulation skills. I was personally not too keen on practicing scales, but nor was I too bothered about scrubbing my neck, teeth and shoes etc.. I now realize the benefits accrued by proficiency in these areas and therefore agree with Master teachers like Czerny who said, “In every piece written today or one hundred years ago, they (scales and arpeggios) are the principle means by which each passage and every melody is formed.” This certainly applies to much of the repertory of Haydn, Mozart, Beethoven, Clementi, to name a few, also much of the music from the ‘Romantic’ era. Jazz improvisation is heavily dependent on chord knowledge and a complete mastery of Tonal and Modal scales and their relation to chord progression. One interesting method devised to help students produce good even scales and develop legato technique, is as follows.
Hold down a white key (say middle ‘C’) and while the note keeps sounding, pile up a stack of £1 coins – enough to weight it down enough to keep the note sustaining. Now weigh the pile of coins using old type kitchen scales (probably approx.£5-£9) After removing the coins press gently on the tray of the scales with finger tip until the pressure equals the weight of the coins (displacement weight) Carefully move from finger to finger as if playing a scale (no pun intended) while watching the indicator needle to ensure that it stays steady. Reproducing this sensation experienced on the scales should produce legato and better quality tone on the piano.
Scales and Arpeggios are beneficial in the following areas
1) Knowledge of KEYS and their signatures.
2) Understanding CHORDS – Formation of Triads and Inversions.
3) Technical ability, – evenness, control, finger equality, (strengthening weaker fingers) passage of thumb etc.
4) Legato: Staccato: Dynamics: Rhythm: Flexible wrist and hand/arm positions.
As to when to introduce pupils to scales depends on:
a) The teachers own personal pedagogical point of view.
b) The teaching method:
c) The pupils own physical and mental degree of readiness.
I personally like to introduce and encourage scale study as soon as possible i.e. when five finger playing is reasonably secure I may introduce C major (one octave) either hand and soon after in contrary motion. I would also explain the tone/semitone pattern of the major scale and perhaps a simple explanation of the major triad (1st. 3rd. 5th, degrees of scale etc.)
Thereafter I usually follow the syllabus of grade examinations, allowing a fair degree of flexibility for different pupils needs. Most pupils though, (apart from very young starters) will manage fine without the use of preliminary scale exercises.
TIP!!! The old piano teacher’s trick of placing a penny on the back of the student’s hand and asking them to perform the scale up and down without the coin falling off is still a useful way to impress the importance of the level and controlled wrist.
I hope you find this free advice helpful. Look out for more articles soon…
If you find this brief article interesting or beneficial then you may be interested in obtaining Mel Stallwood’s book ‘The Piano Teacher’ (a brief survival guide for a beginner) www.classycoolmusic.com
Copyright ©Mel Stallwood 1998. published by Classycool Music Publications 2008
Mel Stallwood is a music educator, pianist and author of the One-2-Five music theory E-tutor. He has spent many years playing back-up for many well known T.V. and recording artists. http://www.classycoolmusic.com You can try out my E-tutor free by downloading from the link below http://www.one2five.classycoolmusic.com
Article Source: http://EzineArticles.com/?expert=Mel_Stallwood
Free and sound advice from www.classycoolmusic.com
Copyright ©Mel Stallwood 1998. published by Classycool Music Publications 2008
Mel Stallwood is a music educator, pianist and author of the One-2-Five music theory E-tutor. He has spent many years playing back-up for many well known T.V. and recording artists. http://www.classycoolmusic.com You can try out my E-tutor free by downloading from the link below http://www.one2five.classycoolmusic.com
Article Source: http://EzineArticles.com/?expert=Mel_Stallwood
You may obtain a copy of the book THE PIANO TEACHER a brief survival guide for the beginner from
Copyright ©Mel Stallwood 1998. published by Classycool Music Publications 2008 extract reprinted by permission
Mel Stallwood is a music educator, pianist and author of the One-2-Five music theory E-tutor. He has spent many years playing back-up for many well known T.V. and recording artists. http://www.classycoolmusic.com You can try out the E-tutor free by downloading from the link below http://www.one2five.classycoolmusic.com Mel has written a rock/comedy musical ‘The Mirror Beyond’ (performed in provincial theatres and the Edinburgh Festival) and ‘Alice in Peterboro’ a comedy pantomime for radio. His latest CD of original piano music has been described as ‘breathtakingly beautiful’ (by his wife) Valley of the Ice Flowers‘ can be downloaded from I-tunes or other locations around the web.
Article Source: http://EzineArticles.com/?expert=Mel_Stallwood