ANNE DIEVLER
4/16 Lesson notes ready
| PATHETIQUE SONATA -2- (easy) |
| PATHETIQUE with Gabriel's marks |
TECHNIQUE.
Scales and technical exercises
3/2
Next: D Major:
Scale separate hands or hands together of you feel comfortable.
Arpeggio in root position up and down.
Do not forget: D Major Chords with all inversions
Next: D Major:
Scale separate hands or hands together of you feel comfortable.
Arpeggio in root position up and down.
Do not forget: D Major Chords with all inversions
HARMONIZATION. (Applied to the songs "Autumn Leaves" and "Moon River")
TRADITIONAL / CLASSICAL
BEETHOVEN. Theme from Pathetique Sonata
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4/13
Remember too play the inner notes softer than the melody and bass notes. That applies to both the right and left hands. Especially in the LH, the repeating notes are played by the thumb, which tends to be louder than other fingers. m21-22 Proportion of 16th notes in reference with the 8th notes you are playing previously. Make sure the 16th notes do not slow down the general pulse. m42-44 Practice the LH as chords to hear all the notes at the same time, understand the harmony and also allow the fingers to prepare ahead of time. 3/2 m13 and 14 m19 RH B m35 LH bass A m37 LH triplets. Keep the same pulse you were carrying before, not slower. Your counting reference are the quarter notes, not 8th notes. 
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How to use the pedal:Skip the beginning and start watching from 1:26
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REVIEW: BACH. Jesu, Joy of Man's Desiring1/19
Addressed at the lesson: Pedal technique. 1/15 Comments on the recording. Thank you for sending this recording. Good job playing the notes, very good sense of pulse and natural flow. As the notes become more secured you will have even better flow. Two things we will address at the lesson: 1- By the sound I have the impression that your fingers are working on an articulated touch, which is not a bad think to start, but we need to combine it with an additional factor in which your hand will move to travel to the location where your playing finger is at that time bringing the center of gravity over the working finger. For that we will talk about a flexible wrist and very flexible and relaxed approach. 2- In the second section of the piece, where the melody moves to the lower register, your chords are not connected by the pedal in an efficient manner. I hear gaps of sound between the chords, so we will need to talk about applying the technique we talked about, to those chords. Remember. When you play the chord, at that precise moment, your foot goes UP and immediately down. Then stays down until the next chord change takes place and the same operation happens again. |
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NEW: BEETHOVEN. Theme from Moonlight2/16
You can see die a recording of it since we had no time to hear it during the lesson. 2/2 m-4 Attention to C# Good application of the rhythm in the melody in relation to the LH. Time to add dynamics. crescendo, decrescendo, etc. m-20 learn it by playing the LH as chords m-23 smooth the transition between LH-RH Balance your hands so the melody gets the attention and the broken chords are more discrete. |
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The Flintstones. Arranged by Gabriel
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NEW: Beauty and the Beast
3/23
Such a nice arrangement of the song. Your notes are fine, I didn't detect anything that needs fixing. The element that could benefit from improving is the general sense of flow, and that you can do by working on specific sections, not playing from beginning to end.
Gradually you are going to recognize patterns that form block chords in the LH, which will facilitate enormously your reading, and especially memorizing the music.
Working on patterns of 2, then 4 measures at a time will give you a very good boost in confidence. Usually I recommend not to move to the next group until the first group sounds confident.
3/2
m12 give a full beat to the LH quarter note
Continue the progress through the rest of the song
2/16
INTRO: Counting
MELODY: Continue the same pulse and tempo (speed) that you started with the intro.
Such a nice arrangement of the song. Your notes are fine, I didn't detect anything that needs fixing. The element that could benefit from improving is the general sense of flow, and that you can do by working on specific sections, not playing from beginning to end.
Gradually you are going to recognize patterns that form block chords in the LH, which will facilitate enormously your reading, and especially memorizing the music.
Working on patterns of 2, then 4 measures at a time will give you a very good boost in confidence. Usually I recommend not to move to the next group until the first group sounds confident.
3/2
m12 give a full beat to the LH quarter note
Continue the progress through the rest of the song
2/16
INTRO: Counting
MELODY: Continue the same pulse and tempo (speed) that you started with the intro.
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Pending: POPULAR / JAZZ. Chart reading
Autumn Leaves
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10/27
Enclosed is a chart from which we will learn how to apply chords to a melody, and how to arrange a piece for piano. Start by learning the melody. We will work on identifying the notes of the chords at the next lesson. |
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Moon River
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11/24
Very good use of the chords.
BLOCK CHORDS: All the notes at the same time
BROKEN CHORDS: Either one note at a time, or breaking the chords into bass+chord by assigning the lower note to the bass and the two upper notes to the chord.
See diagram above to understand how to fit, and listen to the example recordings to hear how the counting sounds.
Very good use of the chords.
BLOCK CHORDS: All the notes at the same time
BROKEN CHORDS: Either one note at a time, or breaking the chords into bass+chord by assigning the lower note to the bass and the two upper notes to the chord.
See diagram above to understand how to fit, and listen to the example recordings to hear how the counting sounds.
IT HAD TO BE YOUSCORE OF "IT HAD TO BE YOU" WITH SIMPLIFIED RHYTHM
3/23
Your chords are good. Next step is to transform the block chords into bass-chord, so they are gradually evolving into a style that resembles stride-piano. Take the chord and assign the lowest note to the bass, and then the middle and higher notes as chords. Left hand will be distributed this way: beat 1: bass beat 2: nothing beat 3: chord beat 4: nothing If you find two chords in one measure, you will not have room to fit bass-chord. Then play block chords for each of the symbols in the measure. |
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Past repertory |
Future ideas, piecesNew chord progression in C Major: Am - F - C - G
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