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-Germer4/13
10 - Passed 11 - Passed. Be able to play it pianissimo and as fast as possible. Help with the motion of the hand to compensate 12 - Bring back. Avoid two down attacks and instead landing-takeoff. 13- New 14- New |
Czerny 1 RH
Czerny 2 LH
Czerny 3 RH
Czerny 4 LH
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SCHAFER Sight-Reading. Volume 14/14
Continue from 31 |
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LISTZ. Consolation No. 34/14
Building a practice technique 2-measures at a time. Goals: 1- Look at the music and prepare mentally what you are about to play 2- Prepare your hands 3- Start playing at such slow tempo that you can hear in your mind what you are going to play before you play it. 4- If you know mentally what you are about to play and you can mentally hear it correctly before you play it, it is very likely that you will not play mistakes. Then play from the beginning to the end of your practice session, and now focus on making music, don't worry if you play a wrong note, or if the tempo is too slow. Just make music. |
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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. 3/16 Slow playing is good for me, I prefer slow and aware of what you are doing rather than fast and unaware. If you notice that you gat lost, you may need to practice the notes as chords first, so you know harmonically where you are, and it will be less likely that you get lost frequently. Figure out which notes form the chords, eliminate the superfluous notes that are not part of the harmony and learn the chords one after another. Learn the chords and play it for me next lesson as chords first, then the way it is written. |
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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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SUGGESTED 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 DEBUSSY Rêverie LISTZ Consolation Nr.3 (in progress) Nikolai, 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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3/16
Analyze your chord progression just like we did today with Bach. Then decide how the different sections affect the way this piece will be played. Dynamics, introverted playing versus extroverted, structural section versus transition, how a transition will be played, as a tension that resolves or no tension, just taking you from one place to the next... etc. Write as much as you can and send it to me as a way to hold you to a deadline. Also, watch the enharmonies that call A# minor to whet really is Bb minor chord/section. You may need to re-name some notes around measure 9. 2/23 Feel free to send me pictures of the scores with your scribbles before committing to transferring the dynamics and phrasings to the editor. It will save you a lot of time. I will gladly look at them and give you suggestions. 2/17 Add all dynamics to your piece and send me a PDF with them before our next lesson so we can discuss them. The sooner before the next lesson the better so it gives me a chance to study the piece before we meet. 2/10 Score received and attached to the side for our reference. We will update this version as other modifications may take place. Next action: While I go through the piece to see how it sounds, you can start adding all the necessary details to make sure your intentions are clearly stated in the score. The first one is to figure out how to indicate which notes form the melody. |
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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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