Why not pair Mendelssohn and Chopin in a harmonious duo.
Two piano lessons transmitted over the Internet were framed by the same period expression: mellifluous melodic threads against relentless rocking motions in the bass. A Boat song and Nocturne respectively swayed in TWO, requiring an examination of recurring bass line arpeggios that frequently spanned beyond the octave. These enlisted a ROTATIONAL approach for a smooth, seamless rendering while preliminary BLOCKING techniques acquired a sense of distance and transit.
Rotations, in particular, discouraged twisting associated with thumb shifts. And traveling through various harmonies in arpeggiated form, developed a pupil’s awareness of bigger GROUPINGS of notes as they moved through a horizontal landscape. Finally, infusions of dips and swells through various DESTINATIONS nourished well-shaped lines along with an awareness of harmonic rhythm and cadential sequences.
It was uncanny, though quite predictable that both lessons, one to London, the other to Australia, would form a happy alliance providing a dual opportunity for two students to grow their artistry by watching the other practice in similar framing modalities with a resonating SINGING Tone. (Don’t forget supple wrists and relaxed arms)
Here’s how each lesson unfolded:
To Sydney, Australia
Mendelssohn Venetian Boat Song in F-sharp minor, Op. 30, No. 6
You Tube Video Description
Published on Jan 18, 2017
“We worked on phrasing in slow practice tempo; smooth transit of broken chords in Bass (using rotation)- Feeling a sense of TWO beats per measure. (Duple Compound meter) Shaping and SINGING lines; understanding HARMONIC relationships that influence phrasing; voicing and balance; relaxed, measured trill practice.”
Chopin Nocturne in E minor, Op. 72, No. 1
To London, England
“Romantic era phrasing; Think in TWO impulses per measure; Use Rotations for relentless Left Hand broken chords; Enlist blocking techniques in this regard; Play with a SINGING tone legato; Be aware of harmonic rhythm or harmonic progressions/cadences as they influence phrasing. Work on shaping lines and balancing voices. Observe dynamics and use various weight transfers to realize them.”