Margery Halford via Alfred publications has compiled a nice assortment of Domenico Scarlatti's Menuettos and Sonatas (essercizi) that's a satisfying "Introduction" to the Baroque era composer's music. (Scarlatti, An Introduction to his Keyboard Works) In fact, I snatched at least five of these binary form sonatas for my two-part disc in 2007, combined with the… Continue reading Domenico Scarlatti’s music that’s within reach of the Intermediate level student
A musician's understanding of a masterwork is a composite of ideas derived from many sources. In the course of piano study, perceptions change and grow, enlarged by a combined theoretical and musical examination of a composition that invites mentors into the mix. In this tutorial, I realized how I synthesized the contributions of harpsichordist, Elaine… Continue reading J.S. Bach Prelude No. 1 in C, Voicing and Harmonic Rhythm (my ideas and Seymour Bernstein’s)
Tonight's lesson with Judy had inspiring moments within a phrase sharing interplay. We started out singing the opening measures of the composer's charming masterpiece, emphasizing a singing line supported by harmonies cresting and dipping into resolutions. The vocal lead-in, threaded through the whole lesson, often rippling into supple wrists, relaxed arms --but it deepened in… Continue reading A Phrase loving exchange between Teacher and Student (Mozart Sonata in C, K. 545)
This has to be one of my favorite reciprocal teaching/learning videos because it fleshes out the importance of breathing through scales with mindful concentration. Framed by a singing pulse, the scale becomes a model for all playing. Here's B minor in Contrary Motion (legato) with my annotations that reference the BREATH and mindfulness. https://youtu.be/kVmCWbA32bg Important… Continue reading Piano Technique: Stabilizing tempo, presence of mind, and breathing through scales and arpeggios
One of my adult students has embarked upon studying Tchaikovsky's "German Song," Op. 39, and in her initial baby-step exposure to the composition, she has already explored multiple ways of "knowing" the work. http://youtu.be/ocd8Ci0Ny_E http://youtu.be/iEfP45vQIqs 1) Setting a fingering for each hand, and counting beats through each measure in a sub-divided way (within a slow… Continue reading Early stage learning, and ways of knowing a new piano piece
Randall and Nancy Faber came through with flying colors by including J.C. Bach's Prelude in A minor in their Developing Artist Series Album, Early Intermediate Level. It's definitely a winner with ear-catching appeal! *** In a heart-melting opener to a more cognitive analysis of the composition, I play a series of sonorities that provide a… Continue reading A favorite Piano Prelude to play and teach
I spent two full nights with J.S.B., recording at ungodly hours, deleting a lion's share of playings, worrying about my neighbors' patience threshold. With a "runner's high," equivalent of being in the zone, I just couldn't let go of the momentum, as tenants beside me were trying to get some sleep. The LAYOUT Four adjacent… Continue reading Me, My Neighbors and J.S. Bach
Not a bullet-proof analysis, but based on decades of teaching piano, I've come to a set of conclusions about why students give up on pieces too soon, or in reverse, prolong their agony, through time-warped months of static practicing. In truth, giving up too soon, or dragging a piece through months of inertia, both result… Continue reading The universe of piano study: Too Little or Too Long on a piece
I'm always warmed by lovely, contoured phrasing, especially when it's produced by an adult student who's reached a new level of aesthetic consciousness through especially attentive and consistent practicing. This particular player has increased her sensitivity in shaping the Chopin A minor Waltz melody with curves, dips, loops, and tapering, while her left hand that… Continue reading An adult piano student explores phrase shaping in Chopin’s A minor Waltz, Op. Posth.
One of the joys of teaching piano is to experience awakenings with our students as we experiment with phrasing, and refine original perceptions. And while a piano teacher is considered a mentor to a student, he/she clearly realizes that roles are easily reversed when a pupil inspires further experimentation and clarification. In exploring the Romantic… Continue reading Experimentation and refinement are the ingredients of music teaching and learning
Arioso7's Blog (Shirley Kirsten) 