We are taught as piano students to have respect and reverence for what the composer notates in his score as pertains to tempo, dynamics and other embedded forms of expression. (i.e. directives such as poco rit., calando, note slurred legato and non-legato, etc.) Yet, these are only framings that give life to expression only when… Continue reading Creative phrasing or reading between the lines
At first glance, most piano students will not realize the amount of detailed work and analysis that applies to learning one of Tchaikovsky's most endearing miniatures from his Op. 39 Children's Collection. However, after an initial reading and overview, it becomes crystal clear that each voice must be parceled out and then re-integrated in a… Continue reading Tchaikovsky’s “Sweet Dream” requires a balanced synthesis of voices
As my local and Online piano students gear up for their bi-annual music sharing this coming Saturday over Skype, a commonly expressed concern is how to harness the imagination to feed a musical journey right from the opening measure of a piece to its final cadence. The challenge for everyone embodies a centered period of… Continue reading Imagination fuels expressive piano playing
Sakura, 12, is preparing the Bach C Major Prelude from the Well-Tempered Clavier Book I, for the upcoming MTAC Celebration Festival (Music Teachers Association of California) And she's right on course heading for a satisfying performance in March. Being Left-Handed, she's given her Right extra compensatory practicing in an effort to acquire satisfying equality. But… Continue reading A third year piano student shines playing J.S. Bach’s C Major Prelude (Well-Tempered Clavier)
