TECHNIQUE and scales.
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KEYBOARD SKILLS Level -to be decided- Parallel 2 octaves Contrary 2 octaves Chromatic starting on the given key Arpeggios in root position Chords and inversions Cadence | ||||
CZERNY-Germer6/29
14 attention to hand motion. Add LH 15 attention to phrasing and very connected finger-legato NEW: 16 LH quick scales |
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SCHAFER Sight-Reading. Volume 16/29
Continue from 33 on |
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IN PROGRESS. RACHMANINOFF. Prelude Op23 Nr56/29
Today's emphasis was the inner melody notes, more contrast between the light-weight accompaniment and those notes, and how you very well applied the Czerny technique and hand motion to create that contrast. Also make sure you correct the notes on the two measures below. On the next page, in detail extract the inner melodies that appear on the first, second and third lines. The next goal is to continue and finish learning the notes all the way to the end. 6/22
Today we worked on each section, in person at the Strathmore studio , in detail. PAGE 1 Lines 1-2 Clarity. Eliminate pedal for practice and be able to hear every attack clearly, be able to quickly spring from one bass to chord. Think of different tone for the octaves than for the chords. Practice them separately. All the octave melodies only, then all the chords only. Voice the top note of the octaves. Listen for a well-defined tone. Line 3 Voice top note of the chords for a well defined melody Practice without pedal Remember the "energetic" notes on the LH first measure. PAGE 2 line 1 Continue practicing separately the structural points, separated from the rhythmic chords, so you use two different attacks and two different sounds for each. Structural will be a deeper attack, Chords will get a lighter, faster and more agile attack. Line 3. Chords. Don't start too slow. No pedal for practice so you can hear the detail Octaves. Practice separately first and be sure both hands have a clean staccato. When practicing hands together be sure LH still has a clean staccato Fingering LH ending the octave passage. I prefer F#2, D3, G5 for confidence. PAGE 3 Lines 1-3 LH was fine RH practice voicing the chords. Top note: 1- play just the top melody. Alone and also accompanied by LH 2- play the top melody with the lower octave. Alone and with LH 3- then play the entire chords. Alone and with LH When playing the entire chords, NO individual attacks for each chord. Link one chord to the next. Practice that without pedal. If it sounds legato without pedal, you are doing it well. Line 4 Bring out the middle melody. Play it by itself first so your ear can recognize it among all the other notes. Then play it with the LH accompaniment, and help using the RH to complete the melody, but don't play the RH chords yet. Then play everything and be able to hear the inner melody clearly. When bringing the inner melody out, also play everything else much MUCH softer. Good job yesterday. Record yourself once you think you are able to achieve these goals and send me the recording. |
Below: Scanned pages with suggested fingering
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NEW. DEBUSSY. Reverie5/25
First page and a bit of the second page. Light touch for the LH and very delicate phrasing for the RH. Weight management technique explained at the lesson. |
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4/7
Still too focused on the individual notes. Let's try practicing phrase by phrase rather than the complete piece. One phrase: - Slowly, as slow as necessary - Bring out the leading notes (top and bass) - Think of the shape of the phrase (4 measures) - Record it as if it was going to be presented in public. Slow is ok but has to sound musical. - You are going to send me a recording of each phrase, but only send me your best. - For the purpose of learning the notes, practice from both ends. |
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JAZZ tips:4/7
In a 2 - 5 - 1: The 2 will be a minor7 chord. Extend the chord with the added 9, 11 and 13. I will still be somehow conservative because it is not the chord that produces the tension. The 5 will be the chord producing the real tension. For this one here is a great trick: Raise one whole step up the note of the V7 For example, if G7, take A Build a Major chord from this note Example: A Major (A - C# - E) Each of these resulting notes are the root of the chord we will be adding to the G7 Examples: LH plays G7 while RH plays A Major (9, #11, 13) LH plays G7 while RH plays C# Major (b9, #11) LH plays G7 while RH plays E Major (b9, 13) |
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1SUGGESTED PIECES:
BACH Prelude and fugue Nr. 2 WTC 1 C minor (in progress) MENDELSSOHN Songs without Words Op.30 Nr. 3 and Op.53 Nr.1 CHOPIN Prelude Op 28 in C minor CHOPIN Etude Op. 25 Nr. 1 "Aeolian Harp" CHOPIN Etude Op. 10 Nr. 12 "Revolutionary" RACHMANINOFF Prelude Op23 Nr5 G minor (new) DEBUSSY Rêverie (new) LISTZ Consolation Nr.3 (finished) If you already have your own scores, use your own instead of these ones. The scores I provide are just to save you time in case you don't have the scores yourself. |
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PASSED: CLEMENTI Sonatinas Op. 36
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Video with articulation example
Video practicing slow motion and regular motion
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PASSED. LISTZ. Consolation No. 35/5
Start section: Beautiful melody. Accompaniment could be a bit lighter 14 beautiful 15 attention to the notes 21 don't strike to hard 22 lighter 25 no bass Db 31 too hard a strike 33-34 excellent crescendo-deccrescendo 38 remember "pp" 40 and 41 more effect if you started pp earlier 43-44 LH needs to go into pp so melody on 45 can sing easily 47 Attention to accent 48-49 context is "p" 53 16th notes are an extension of the D half note, not a actual melody 56 very good 59-60 evaporate |
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