Category: Just Being at the Piano by Mildred Portney Chase

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Phrasing at the piano: Listening to the ends of notes as they flow into others

arioso7: Shirley Kirsten

I've chosen Burgmuller's "Tender Flower" as the springboard to explore attentive listening and its relationship to phrasing. At the outset, the right moment to begin a piece is a challenge. The player has to experience the whole dimension of silence before a first note is played. That silence is not dead, but alive with cues… Continue reading Phrasing at the piano: Listening to the ends of notes as they flow into others

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Piano Technique: Playing beyond the fingers to sculpt beautiful phrases (Debussy Arabesque no. 1)

arioso7: Shirley Kirsten

Many piano students who practice Debussy's Arabesque no. 1 tend to grab and articulate notes, rather than let them flow from energy streaming down relaxed arms into supple wrists. Reliance on fingers-down playing becomes the panacea for accuracy, while it sacrifices poetic musical expression. In the video below, I demonstrate how phrases can be sculpted… Continue reading Piano Technique: Playing beyond the fingers to sculpt beautiful phrases (Debussy Arabesque no. 1)

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The Chopin Bb minor Nocturne, Op. 9, No. 1, and arm/hand rotation/phrasing (Video)

arioso7: Shirley Kirsten

Chopin's Bb minor Nocturne (Night Piece) requires a player to use a full arm rotation to fluidly play the arpeggios in the left hand that span over an octave. These broken chords which fill a large space by their expansion, create a Romantic underpinning for the molto cantabile heart-rending melody in the treble. If the… Continue reading The Chopin Bb minor Nocturne, Op. 9, No. 1, and arm/hand rotation/phrasing (Video)