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-GermerSept-28
At the lesson: #16. Good job. Next: #17. Similar technique. quick, light, and agile |
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SCHAFER Sight-Reading. Volume 1Oct 19
Continue from 34 on |
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FROM LAST LESSON:
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Below: Scanned pages with suggested fingering
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FROM LAST LESSON:
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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 (finished) 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" (in progress) CHOPIN Etude Op. 10 Nr. 12 "Revolutionary" RACHMANINOFF Prelude Op23 Nr5 G minor (in progress) DEBUSSY Rêverie (on reserve) LISTZ Consolation Nr.3 (finished) 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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ON RESERVE: DEBUSSY. Reverie5/25
First page and a bit of the second page. Lots of light touch for the LH and very delicate phrasing for the RH. Here is some help for the 4 against 3: |
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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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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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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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