By Cherith Alexander, SRMTA Member
Question: At what stages of musical development do you inspire or introduce students to rubato? What guidelines would you suggest for using rubato? Any helpful exercises to aid students?
Answer:
In the early years of learning to play the piano, or any instrument, the development of a dependable rhythmic sense is essential. All of us have counted aloud with our beginner piano students as they navigate the intricate world of quarter notes that receive one beat and half notes worth “1-2” in those early days. As my years of experience become a number that surprises even me, I am more convinced than ever that innate rhythm and an understanding of rhythmic pulse are the lifeblood of confident musical performance. However, we all know that when it comes to expressing emotion in music and creating melodies that imitate a singer as we pianists claim to do, rubato is also an invaluable element of music-making.
Generally, I think we wait too long to introduce many interesting topics to eager beginner students including voicing, balance within the musical texture, musical gesture, AND rubato to name a few. One of the simplest expressions of rubato that can be introduced to a young student without disrupting their rhythmic development is “agogic accent” in which there is a sudden breath or space in the music or prolongation of the length of a single note. One example of this would be when the music suddenly changes from ff to pp; if the performer continues as though a metronome is ticking away on one’s shoulder, the first notes of the pp will be lost. Similarly, if there is a sudden change of tonality or colourful harmonic shift in the music, the student can prolong the note before or after to “set” this harmony (ex. “Mist” by Clifford Poole M16).
As for the rubato that provides expressive nuance in the Romantic style, this can also be introduced at the elementary level. Let’s use the piece “Reflections” by Dennis Alexander as an example. This beloved work gives a student the opportunity to practice both the pushing forward AND pulling back that helps to create a natural elasticity in the melodic line. Rubato is most effective when it both moves the phrase forward in moments of melodic or harmonic development and relaxes at resolutions. In this piece, rather than playing with perfectly even eighth notes, the student may begin with slower eighth notes and then gently push forward in M9 for example. I like the phrase “hang time” and the image of waiting at the top of a roller coaster as it begins its descent, first slowly and then picking up speed. This effect could be rehearsed with a scale moving purposefully to the upper tonic and then sustaining that note and gradually picking up speed as it descends. Similarly, this piece allows for a sense of lingering at phrase ends that helps to convey musical understanding (ex. M8). There is also an opportunity for an agogic accent on the unexpectedly colourful C# of M26.
At a late intermediate level let’s consider the evocative work that is quickly becoming the greatest hit of the RCM Level 8 etudes: “Open” by our colleague Janet Gieck. Here she has given the “with much rubato” indication and there are countless opportunities for the student to demonstrate tempi variety as they aim to create a sense of spaciousness that reflects our open prairies and vast skies. A sense of lingering at phrase ends as well as pushing forward with momentum in the phrases works well, particularly in the opening section. In the decorative melodic line of M14 and similar the sixteenth notes will be more eloquent if not rhythmically even. When planning rubato with a student I would encourage them to think in four-measure phrases in this etude, so that the sense of freedom enhances the melodic shape, but in lengthy rather than small gestures.
When it comes to teaching students “how” to use rubato I would use these two principles: preparation and exaggeration. Preparation alludes to the fact that it is essential the student can play their music perfectly in time with a sense of rhythmic pulse before exploring the addition of rubato, even if this sounds rigid in some styles. Many students (and teachers who write advice columns) love to relax the tempo for expressive purposes, but also because of unconquered technical demands rather than musical intention. Because of this, knowledge of the “actual” rhythm with confident technical agility is needed before freedom is prescribed. The second principle is exaggeration which is often a useful pedagogical technic and rubato is no exception. For example, I would ask a student who is comfortable playing “Reflections” at a steady pace to now experiment with rubato in an exaggerated manner, moving forward and relaxing as seems natural to them. Invite them into this creative process as there is not one “correct” way to add rubato to expressive music. When they are comfortable doing “too much” it is often easier to restrain and refine their efforts with a result that feels organic rather than coaxing them to do “just a little”.
Rubato is one important element of musicianship that can also bring great enjoyment to our students, unlike some of the more tedious, though necessary elements of piano technique. Focus on developing rhythmic fluency first but remember that fluctuations and nuance in rhythm are what often bring the music “to life”!
