Gabriel Piano Studio
  • 2022-23 FALL-SPRING
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LESSON PAGE.  STUDENT NAME HERE

6/29
This is an example of a real lesson notes in which I removed the student's name.
​Classical lesson.  Level intermediate-advanced.

TECHNIQUE and scales.  
Scales starting on a white key

6/29
Next: F Major (one flat) with complete routine. Page 30

New:

COMPLETE BOOK OF 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-Germer

6/29
14 attention to hand motion.  Add LH
15 attention to phrasing and very connected finger-legato
NEW: 16 LH quick scales
czerny-germer_vol_1.pdf
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SCHAFER Sight-Reading. Volume 1

6/29
Continue from 33 on
SCHAFER sight-reading vol.1
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SCHAFER sight-reading vol.2
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IN PROGRESS. RACHMANINOFF.  Prelude Op23 Nr5

6/29
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.
RACHMANINOV Prelude Op23 Nr5 Gm
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Below:  Scanned pages with suggested fingering
poco_meno_mosso.pdf
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Picture

NEW. DEBUSSY.  Reverie

5/25
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.
DEBUSSY Rêverie
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BACH. Prelude and Fugue in C Minor WTC vol 1 (WTC 847)

Prelude

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.
BACH C minor prelude
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bach_487_gabriel_markings.pdf
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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)

Next repertory pieces

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.
BACH Prelude Fugue 2 WTC-1 C minor
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BACH Prelude Fugue 2 WTC-1 C minor
File Size: 1744 kb
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MENDELSSOHN S w/out W Op-30_nr.3
File Size: 963 kb
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MENDELSSOHN S w/out W Op-53_nr.1
File Size: 3069 kb
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CHOPIN Prelude C minor Op 28
File Size: 743 kb
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CHOPIN ETUDES op 25 Nr 1 Aeolian Harp
File Size: 1655 kb
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CHOPIN Etude Op. 10 Nr. 12 "Revolutionary"
File Size: 2045 kb
File Type: pdf
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RACHMANINOV Prelude Op23 Nr5 Gm
File Size: 1488 kb
File Type: pdf
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DEBUSSY Rêverie
File Size: 267 kb
File Type: pdf
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listz_consolations_-ricordi-.pdf
File Size: 7036 kb
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listz_grb_notes.pdf
File Size: 5974 kb
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Pieces already on repertory and ready for performance

CLEMENTI: Sonatina Op.36 G Major. 1st movement

PASSED: CLEMENTI Sonatinas Op. 36
​Sonatina Number 2 in G Major. 1st movement

​2/17
Complete piece with articulations.
If you send me a recording clean and accomplished, we may pass it early.


​2/10
Exaggerate articulation for the main theme, so your playing is involving and not passive.
Create excitement, not just playing the notes.  All articulations and dynamics can be much more present while you play.​


​2/2

Everything needs to be more noticeable.  Exaggerate more during practice and we will escalate down once speed is applied.
More articulations.
More hand rotation or side to side motions during LH accompaniment 
More phrasing, feel free to exaggerate, we can always bring it down.
Practice slowly as if you were watching a slo-mo movie of yourself when the piece is ready and played fast.  Slo-mo practice should reflect all the motions, dynamics, articulations, that would exist if you were playing fast.
CLEMENTI Op.36 complete sonatinas
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Video with articulation example
Video practicing slow motion and regular motion

PASSED. LISTZ.  Consolation No. 3

5/5
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
listz_consolations_-ricordi-.pdf
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listz_grb_notes.pdf
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  • 2022-23 FALL-SPRING
  • VIDEO TUTORIALS