Again I bring up the subject of a persistent wrong note, this one in the third movement of Beethoven's Opus 7 Piano Sonata in E-flat.  By consistently missing the A-flat in the first phrase my student caused me to acknowledge the extraordinary tension surrounding that tone and to wonder why I had not previously acknowledged it on my own.  Why did it take my student playing the note incorrectly to make Beethoven's intention clear?
The probable explanation is that, having been trained to believe that wrong notes were ipso facto undesirable, I had every reason to correct them as quickly as possible and hope they would go away forever.
Then came Zuckerkandl's insights into the potential meaning of such errors: that they might reflect the workings of truly musical brains acting on pure auditory logic.
Thus I began to pay attention on two levels:  First, to the many instances of such errors in my students' playing.  Second, and far more revealing, to my own impatience that such details should command attention when everyone knows that playing the right notes is all there is to it.


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