Category: blogging about piano

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Piano Instruction: Part TWO, Beethoven’s “Tempest” Sonata, Op. 31, No. 2, Hand Cross-over, with tremolo in the middle voice

arioso7: Shirley Kirsten

A tricky chromatic scale with a turn-around at its end ushers in a stormy, impassioned section with cross-over hands. Some players observe the notation to a tee, and avoid these hand-over-hand maneuvers, but I, like many other pianists do the re-arranging in the interests of smoothly trailing a melodic line that starts in the bass… Continue reading Piano Instruction: Part TWO, Beethoven’s “Tempest” Sonata, Op. 31, No. 2, Hand Cross-over, with tremolo in the middle voice

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Practicing tips for Beethoven’s “Tempest” Sonata, Op. 31 No. 2, Part ONE: (Video)

arioso7: Shirley Kirsten

Because I found myself rambling on and on about the first page, I decided to compartmentalize the instruction to make it easier to absorb. And since I played the "Tempest" years ago, the surest route to my restoring the piece to a respectable performance level, was to practice it from the ground up in slow… Continue reading Practicing tips for Beethoven’s “Tempest” Sonata, Op. 31 No. 2, Part ONE: (Video)

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Piano Instruction: How to practice Variation 2, Mozart Sonata No. 11 in A, K. 331 (Videos)

arioso7: Shirley Kirsten

The biggest challenge in this particular variation is the fast-paced tempo and ornament execution--not to mention the fleeting 4 against 3 relationship of treble 32nds above 16ths in the bass. But the latter, should not be a big concern considering how quickly everything spins by. In the video instruction I suggest a step-wise practicing routine… Continue reading Piano Instruction: How to practice Variation 2, Mozart Sonata No. 11 in A, K. 331 (Videos)

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Irina Morozova’s inspiring words flow through a lesson with an adult student (Beethoven’s Fur Elise-in-progress) Video

arioso7: Shirley Kirsten

"From watching great pianists it is obvious that they incorporate quite different movements to achieve the same goals, because people do not play piano with fingers but rather with the mind and the ear. Again, it is the clear image of what kind of sound one wants to achieve, combined with the knowledge of how… Continue reading Irina Morozova’s inspiring words flow through a lesson with an adult student (Beethoven’s Fur Elise-in-progress) Video

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Piano Lesson: The challenge of playing a slow movement

arioso7: Shirley Kirsten

I chose Muzio Clementi's popular Sonatina in C, Op. 36, No. 1 to flesh out the contrasting middle movement designated ANDANTE by the composer. It's definitely a challenge to play just 6 lines of music with beauty and finesse. As a start, the player is exposed to realizing rolling triplet 8th-notes in the left hand… Continue reading Piano Lesson: The challenge of playing a slow movement

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Development of Piano Technique all bundled into one collection

arioso7: Shirley Kirsten

Instead of pumping out Hanon and Czerny exercises to build so-called finger dexterity, try Burgmuller's Op. 100, Twenty-five Progressive Pieces. Here's a sample of the challenges posed by the composer in each of these showcased Romantic era tableaux: Harmony of the Angels: 1) Arpeggios, or broken chord patterns: for smooth execution and curvaceous lines. If… Continue reading Development of Piano Technique all bundled into one collection

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Burgmuller’s “The Return”–like a light opera, with interspersed drama (videos)

arioso7: Shirley Kirsten

"The Return" from the composer's Twenty-Five Progressive Pieces, Op. 100, is ear-catching. Like an Offenbach opera replete with an Overture, it delights in a set of lighthearted staccato chords that spill into a passionate MINOR sequenced interlude, setting the heart afire. Extinguished by the revisit of Eb Major punctuations, the music drifts off by authentic… Continue reading Burgmuller’s “The Return”–like a light opera, with interspersed drama (videos)

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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)

arioso7: Shirley Kirsten

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 learning that one I move to the next irritation, etc." Well, most of us would… Continue reading When sight-reading is not enough: Learning a new piano piece from the ground up so we can teach it to our students (Videos)

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The very first lesson with a new Intermediate or advanced piano student: thinking creatively on your feet

arioso7: Shirley Kirsten

Two weeks ago I had the opportunity to meet a new adult piano student who had studied for a few years. Besides having this basic, preliminary information, I had no other tangible clues about her level of playing. The suspense of not knowing what music she would bring was lifted when two contrasting era works… Continue reading The very first lesson with a new Intermediate or advanced piano student: thinking creatively on your feet

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More Tips on practicing Beethoven’s Fur Elise using a rolling motion, weight transfer, undulating wrist, and relaxed arm swing (Video)

arioso7: Shirley Kirsten

Today's lesson with an adult student produced a helpful video that focused on the second section, page 1--but was devoted in large part, to examining measures 9-15 in the following ways: 1) for the execution of a rolling motion across four notes with a slight crescendo through B-C-D to E (B C and D form… Continue reading More Tips on practicing Beethoven’s Fur Elise using a rolling motion, weight transfer, undulating wrist, and relaxed arm swing (Video)