Category Archives: piano tutorial

Piano Technique: Picking up Arpeggio Speed with blocked and unblocked note groupings

I uploaded two videos today that focus on practicing strategies for playing brisk paced arpeggio (G Major). The first is an after hours tutorial that I recorded by FACETIME SCREEN RECORD. The screen, framed by Millennium technology art nouveau, features … Continue reading

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A Supplement to a Skyped lesson (Chopin Waltz in B minor) Video

It’s invaluable to send videos to SKYPE students between lessons. 1) It fills in some of the gaps associated with long distance transmission where variations in volume and clarity might temporarily interrupt instruction. 2) It’s a summation of what transpired … Continue reading

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Using piano repertoire as a springboard for a theory lesson: Major, minor and Diminished Chords (Videos)

One of my adult students is working on the gorgeous J.C. Bach Prelude in A minor which has a second page full of “Major,” “Minor” and “Diminished” chords. The sonorities progress in sequences, but they also have a secondary dominant … Continue reading

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Part Six Piano Instruction, Beethoven’s “Tempest” Sonata No. 17, Op. 31 No. 2 and all FIVE teaching segments preceding

In order from Part One to Six: I. II. III. IV. V. VI. LINKS: Part ONE: Beethoven Tempest Sonata in D minor http://arioso7.wordpress.com/2012/04/01/practicing-tips-for-beethovens-tempest-sonata-op-31-no-2-part-one-video/ Part TWO Instruction http://arioso7.wordpress.com/2012/04/01/piano-instuction-part-two-beethovens-tempest-sonata-hand-cross-over-with-tremolo-in-the-middle-voice/ Part THREE Instruction https://arioso7.wordpress.com/2012/04/03/piano-instruction-part-three-beethoven-tempest-sonata-in-d-minor-op-31-no-2/ Part FOUR Instruction http://arioso7.wordpress.com/2012/04/04/piano-instruction-part-four-beethovens-tempest-sonata-in-d-minor-op-31-no-2-measures-55-93/ Part FIVE Instruction http://arioso7.wordpress.com/2012/04/05/piano-instruction-part-five-beethovens-tempest-sonata-op-31-no-2-measures-93-to-158-development-recitative-submerged-pedal/ PART … Continue reading

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Piano Lesson: Analyzing/playing Bach Invention in D minor, No. 4, BWV 775 in slow tempo (Videos)

In J.S. Bach’s Two-part Inventions both voices overlap and imitate each other creating counterpoint. The SUBJECT of no. 4 contains a d-minor Harmonic form scale whose 6th note, B flat does NOT continue in an upward motion to the leading … Continue reading

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Piano Technique: More wrist-forward rolling motion in Sonatina by Clementi Op. 36 no. 1 Vivace (Videos)

In two videos, I flesh out the need for a rolling forward wrist motion in playing the last movement of Clementi’s well-known Sonatina in C, vivace. In addition, a 3/8 meter designation in rapid tempo requires the “feeling” of ONE … Continue reading

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Abby Whiteside and playing beyond the fingers as a point of departure (Videos)

From WIKI: Abby Whiteside (1881–1956) was an influential American piano teacher. She challenged the finger-centric approach of much classical piano teaching and instead advocated a holistic attitude in which the arm and torso are the conductors of a musical image … Continue reading

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Piano Lesson: An adult student continues her Beethoven “Fur Elise” learning process (Video)

These are excerpts from today’s lesson where we covered: 1. Broken chord blocking; refreshing inversions of the Tonic as applied to practicing Fur Elise. 2. Voice balancing: fleshing out the treble (soprano) melody, on page 2 (F Major section) Using … Continue reading

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The complete WEIGHT VARIED, WEIGHT CONTROLLED Piano workout with Cardio benefit (Video)

Here it is! The latest approach to building a full-bodied piano technique without taking Protein supplements, or gagging on raw eggs. You might even shed a few pounds if you’re committed to the regimen. But don’t run scared when you … Continue reading

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When sight-reading is not enough: Learning a new piano piece from the ground up so we can teach it to our students (Videos)

I’m reminded of a quote attributed to Sviatoslav Richter when asked how he approached a challenging new composition of virtuoso proportion: His reply– “I read a new piece and then start practicing the place that irritates me the most. After … Continue reading

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