Category Archives: publishersmarketplace.com

Rina, 5, performs at our Spring Recital (after 8 months of piano lessons) Video

Rina is moving right along. She can spin a legato phrase with finesse after having practiced her detached-note playing for months. Now she’s working on using featherlight thumbs to craft smoother lines. Notice her supple wrist approach to the piano: … Continue reading

Posted in end of the year piano recitals, Journal of a Piano Teacher from New York to California, piano, piano instruction, piano playing, piano recital, piano recitals with themes, piano repertoire review, piano room, piano scales, piano society, piano teacher, piano teacher nearly falls asleep, piano teachers, piano teaching, piano teaching repertoire, piano technician, pianoworld.com, player piano, POWHOW instruction, POWHOW piano instruction, POWHOW webcam online piano class, private party marketplace of pianos, private party piano sale, producing a singing tone legato at the piano, publishersmarketplace.com, Ravel Piano Concerto for the left hand, Shirley Kirsten, Shirley Smith Kirsten, Uncategorized, Weber upright piano, word press, wordpress.com, Yeti microphone, Yevgeny Sudbin, you tube, You Tube Cantata no. 78 performed at the First Moravian Church in New York City, You Tube interview with Lugansky from Israel, you tube video, yout tube, youtube.com | Tagged , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

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 https://arioso7.wordpress.com/2012/04/01/practicing-tips-for-beethovens-tempest-sonata-op-31-no-2-part-one-video/ Part TWO Instruction https://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 https://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 https://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 Instruction, Part THREE Beethoven “Tempest” Sonata in D minor, Op. 31, No. 2

This instruction continues from measure 41 through 57, where agitated pairs of 8th notes return, picking up the opening motif. As expected, I use blocking or clustering to keep the redundant figures resilient and bundled with energy. (a forward moving … Continue reading

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Piano Technique: Reeling off parallel thirds in staccato (with a trampoline effect)

The playground as music teacher applies: My brood of students and I enjoy the romp through a set of parallel thirds within a five-finger position. In our escapade, we usually dance through the Major and parallel minor tonalities. Interplay, back … 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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More and more “piano” students are going Digital. Is it a good idea?

It’s sad but true that a glut of former piano buyers who would have considered piano lessons for their children at age 7 or so, have made the choice to invest in a DIGITAL. (known as a DP) Of further … 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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