Eunice

Youtube Playlist

Google Drive

https://drive.google.com/drive/folders/1gk9O9tBUT6-vrmekmv5Oyn1ROJOTcH6C?usp=sharing

Long Term Goal

  • Grade 8 2022

Aural Tips

  • major is 43
  • minor is 34
  • three inversion, root, 1st, 2nd

30 Jun

Exercises: ok, Isaac to check 8C

check all speeds

chord progressions need to be legato

List A

  • expression needs to be obvious and big
    • still trying to keep a pleasant sound
  • no ‘in the middle’ decisions
  • check held notes if possible

24 Jun

List A

  • might be a good time to increase tempo
    • for extra flow
  • keep accomanying parts soft
  • also some parts still need to be practiced slow

List B

  • metronome 76
  • should be fully expressive with the metronome
  • 61, check for LH rests
  • slow practice needed in some sections

List C

  • make melody permanent
  • melody has space to be expressive
  • 24, not too expressive yet
  • 33,

17 Jun

List B

  • bar 1, ornament a bit earlier and not rushed
  • bar 2, staccato phrase ending,
  • phrase endings with staccato, keep soft
  • bar 9, phrasing, check hairpin
  • check RH bar 18
  • bar 20, start softer to have space to phrase up
  • bar 30, lower notes softer
  • bar 40, soft softer
  • bar 50, check LH
  • 64 can be louder, harsh and scary
  • still do slow practice for consistency

List D

  • same type of notes should be same length
  • watch out for precise f and sf changes
  • finger clustering can help single loud notes

10 Jun

List C

  • prior to eisteddfod, preservation practice
    • consistency a slight issue
  • can i hear the melody, what can I change to support the melody?
  • often about making other parts

List B

  • bar 9, inverted turn, notes must be clear
  • bar 12, dynamics
  • bar 20, phrase upwards
  • bar 16, are notes correct? slow practice in general.
  • quasi cadenza, more rhythmically free, creative phrasing

3 Jun

List C

  • big phrasing everywhere, dramatic
  • bar 23, voice bottom voice, big
  • bar 30, big ugly loud
  • bar 33, melodic
  • keep ideas confident and big 🙂

List A

  • distant sound, soft but still with note clarity
  • loud and long crotchets, soft, short crotchets

27 May

List C

  • bar 6, hold down notes with finger
  • bar 9, apply rubato
  • 27, rest in RH
  • watch for overpedalling
  • leggiere, light and graceful
  • 53-54, watch pedalling
  • 76, start softer

List B

  • watch out for all articulation, how does it affect mood?
  • keep all dynamics precise
  • 29 coordination
  • don’t play too loud LH in left hand ever
  • quasi cadenza, more rubato and phrasing

Sight Reading

  • pick a moderate speed
  • look for difficult sections in warmup time
  • try not to go backwards

20 May

List C

  • 33 a bit more melody
    • LH quick
    • RH quicker, simple, and phrased
  • 43, hold pedal
    • don’t slow down
  • 53, watch technical notes of RH
  • 62, highlight
  • 66-68, louder, don’t spread out LH too far in 68
  • watch rhythm 76
  • 83, grace notes crotchets

List D

  • watch tenuto (flat) accents, loud and separated
  • 3rd line 3rd bar, keep loud dynamic
  • subito – suddenly
  • LH chord 2nd page, notes consistent

13 May

Scales

  • on the right track

List A

  • biggest issue fingering
    • RH should be legato where possible
    • bar 12 an example, but many examples
    • important to find by yourself
    • also important

List C

  • intentionality
    • knowing what idea is in each section and excecuting as large as possible ideas
  • less staccato LH

8 Apr

List B

  • smooth phrasing
    • notes are not suddenly louder or softer
  • recommend faster
  • gap in between bar 6
  • bar 9 onwards, can be a bit ‘crazy’, more rubato phrasing
    • get louder and faster
  • watch tempo in bar 30
  • watch for RH rests that mean there’s a pedal gap
  • watch for precision of dynamic in 24
  • 33 much more flowing and faster
  • 43, watching pedal gap, dynamics and tempo
  • 47 onwards light pedalling

  • bar 69, check RH
  • 75 no pedal
  • 77 onwards, melody legato but not overpedalled

List D

  • more agressive character for f sections
  • matches well with dissonance

25 Mar

8A

  • a bit slower
  • a bit louder
  • a bit more legato

8B

  • a bit more phrasing

8C

  • okay to be play slower 🙂

Scales

  • good speed
  • watch 3rd and 6th apart for starting and ending notes

List A

  • loud notes not too agressive, but good difference between soft and loud
    • loud and ‘pleasant’
    • chords
    • RH melody
  • hold notes bar 97
  • slow expressive practice
    • watching for note lengths
    • exploring phrasing ideas
  • watch for clarity

18 Mar

List C

  • 47 dynamics larger. don’t stop at 49
  • 53, dim later, not too early
  • 55, LH crush note can be louder. don’t slow down
  • 63, bring out melody. more rubato. bring out thumb
  • make sure all notes come out bar 69
  • poco marcato il basso – a bit mark the bass
  • 77 try to make chords legato. make sure non-dotted quavers are non-dotted

List B

  • make sure all ornaments are spread out and clear
  • various fixes to rhythm and coordination

11 Mar

List D

  • articulation important
  • exact dynamics important
  • molto leggiero – very light
  • una corda – one string – soft pedal
  • giocoso – playful and joking
  • subito – suddenly
  • stringnedo – getting faster

List C

  • watch recommended pedalling
  • bar 21, don’t pedal over rest

25 Feb

List C

  • what is the perfect balance, see dynamic, appropriate voicing?
  • check pedals carefully
  • check voicing of melody carefully
  • bar 33, count full bar of 3 beats
  • make sure melody is well voiced in 33
  • 43, bring top melody out
  • watch p dolce bar 54
  • in general, watch pedal and articualtion carefully

List B

  • dynamics need to be precise, do you know exactly what you’re doing?
  • candenza bar 50
    • greater phrasing, more freedom of time
  • LH not too short 55, dolce
  • 60, watch pedalling, big drama

18 Feb

8B

  • increase tempo

Scales

  • group chromatic into 6
  • don’t start too many times

List A

  • think about how the key/harmony affects the overall dynamic, what mood is it?

List B

  • playful mood
    • less raw loud dynamics
    • more sudden soft dynamics

11 Feb

List C

  • to help legato in 33, can use touches of pedal
    • recommended to lift pedal every RH note
  • see recommended rhythm bar 43
  • bar 45, watch pedalling for staccato RH note

4 Feb

List C

  • start with very soft, then bar 6 get louder. Don’t rush bar 6.
  • bar 9, good phrasing, add rubato
  • marcato – voice melody intensely

15 Jan

List C

  • exaggerated ‘salon’ expression
  • split chords and ornaments slowly

List A

  • continue to work on baroque balance, light touch, prioritise one melody at a time

17 Dec

List B

  • no notes due to hands on advice

10 Dec

List B

  • keep track of 4 beats
  • bar 8, see where 4 beats are
  • check notes
    • 4 RH
    • 10 RH
    • 11 LH
  • practice slow, but increase speed with evenness

List A

  • be conscious of held notes

3 Dec

List A

  • slow practice
  • watch fingering
  • check RH bar 3
  • check tension and resolution
  • hold long note bar 5

Haydn

  • bar 16, fit all notes in quickly
  • bar 17, non legato
  • check rhythm at the end of 2nd page

26 Nov

Haydn

  • watch articulation in LH and how it changes mood
    • no markings mean non-legato if it is slow enough
    • staccatos very short
  • build ups, always start soft. They often don’t go anywhere in Haydn

Bach

  • bar 25 LH strong
  • build ups, keep soft
  • but bar 38 can phrase a bit
  • keep

19 Nov

Scales

  • C# harmonic grand scale

Haydn

  • for comedy
    • dynamics
    • articulation
  • turn has principle, above, principle, below, principle (5 notes total)

Bach

  • start from 3rd page more
  • slow practice
    • mistake avoidance
    • increasing memory

12 Nov

8A

  • voice top line
  • listen for ideal balance, not too much of any one line

Start 8B

Scales

  • start E major

Bach

  • bar 25, sharp phrasing, LH very loud to voice
  • balance appropirate to whether in RH or LH
  • repeating motifs should receieve the same treatment in articulation and dynamics
  • bar 35, dominant 7th tension
  • bar 1 louder announcement
  • bar 4, tension

5 Nov

Bach

  • phrasing
  • articulation
  • voicing
  • beginning history of dynamics
  • LH crotchets detatched

Exercise 8A + a grand scale or two

29 Oct

Mozart

  • could have more contrast f and p

List A

  • don’t rush the small notes

Chopin

  • think about the phrasing logically

22 Oct

Tric

  • make sure that the ornaments are consistent and spaced out

Mozart

  • slow practice and separate practice might help

Nocturne

  • watch pedalling carefully
  • don’t rush polyrhythms
  • think about rubato for emphasis of notes

Merry Andrew

  • can slow down a bit more in 40

15 Oct

Mozart

  • metro at 120 to get flow
  • soft sections need to be softer

Etude

  • try adjusting pedal so texture is not too heavy
  • middle section less phrasing to keep it more calm

Nocturne

  • rubato doesn’t need to happen everywhere
  • slow down towards end, bar 36 rit to atempo
  • rit and dim and the end
  • discretion to do or not do expression important for next step

8 Oct

Le Tr

  • this could be a bit slower, rapid LH

Mozart

  • be careful of LH rests, adds to character of lightness
  • all phrase endings should be soft, unless the phrase ending is a peak
  • rhythmic accuracy 100% for playfulness
  • can be a bit faster
  • watch articulaton in 3rd page
  • keep this section soft for sneakiness

23 Sep

Nocturne

  • don’t speed up towards end
  • last bar even
  • bar 33
    • exaggerated dynamics, but do
    • don’t speed up
  • bar 29, lots of polyrhythms!
  • bar 28, no delay into next beat

Etude

  • evenness
    • all notes are the same length
    • there aren’t any suddenly loud notes, the phrasing make sense
  • there needs to be space in between each note
  • middle section like ‘choir’
  • pedal is smooth, but fully refresh

10 Sep

Le Tric

  • fingers close to keys
  • long notes
  • to avoid missing notes
  • appogiaturas rushed to avoid change in time

Mozart

  • must flow more, increase tempo, remove rubato
  • ‘careless’ tempo, faster, no rubato, not affected by anything
  • still have phrasing
  • balance in LH always soft

3 Sep

Merry (record this week)

  • bar 9 start softer, constant staccatos using flicking action. don’t lift high from piano, don’t create accents
  • bar 13, check where the softs are at the start of hairpins
  • bar 42, check pause at end, it should be a long note
  • metronome practice recommended 80-90

Nocturne

  • check where crescendos are
  • 5 against two, the LH note comes between the 3rd and 4th note
  • mf play a bit softer in bar 29

27 Aug

Les Tricoteuses

  • think balance related to mood
  • accents for bird call
  • softs softer end of 2nd page
  • last page, softer softs, rit at the end

Mozart

  • ends of phrases soft
    • sneaky, no rubato
  • not loud here, focus on phrasing
  • are

20 Aug

Etude

  • adjust pedalling according to desired texture
    • frequently lifts?
    • half pedals?
  • middle sections, softer, lighter
    • adjust pedal
    • adjust dynamic
  • make sure that phrasing is accurate
  • evenness
    • most important think about evenness

Merry Andrew

  • slow practice for mental memory
  • should be done for all pieces anyway as well

Nocturne

  • balanced rubato WITHIN phrases, each phrase must have equal amounts slowing down and speed up (if you want momentum to go forward in that section)
  • polyrhythms, don’t rush RH, don’t need to worry about exact grouping

13 Aug

Tricoteuses

  • rubato, delay in entry,
    • can also be at the end of phrases
  • think of small notes attached to previous note
  • experiment with rubato as an expressive tool

Mozart

  • look out for parts that are uneven
    • slow practice
    • rhythm practice
    • staccato practice
  • keep soft bits soft
  • avoid rubato excessively
    • use metronome 105-110

6 August

  • fast sections
    • doesn’t need to be overcalculated
    • as long as notes at both ends are coordinated
  • LH involvement important for dynamics
  • make sure pedal is correct (every four notes)

Merry Andrew

  • don’t add extra rests
    • bar 12
  • check rest here

Etude

  • last page, phrasing on the page only

23 July

Etude

  • focus on light sound, texutre
  • p only in bar 7, creates beautiful sound
  • staccato, just means light
  • 33 can be intense
  • 37, as soft possible
    • can use soft pedal
  • overall, just contrast strong sections with beautiful soft sections

Nocturne

  • we want forward momentum, slow rubato must be balanced with speeding rubato
  • pedal needs to be constant, to capture bass note
  • animato, get quicker
  • polyrhythm can be guessed, sufficiently good
  • check coordination here

16 July

Merry Andrew

  • detail in dynamics
  • strict rhythm from 34, strict rit
  • subito p, loud until subito p
  • don’t accel early
  • last two notes should be nearly next to each other

Couperin

  • think of moods

Notes 13 Jan

Ex 5C

  • division of beats important

Scales

  • remember 4th finger rule
  • first page of scales up to Bb melodic minor

Alla polacca

  • keep quavers as quavers. When you see a quaver, make sure you don’t rush.

Wistful prelude

  • again, keep quavers quavers
  • strong touch and try a bit phrasing
  • full pedal down

Notes 16 Dec

Sonata

  • personal interpration is encouraged
  • watch rhythm at
  • for constant speed, recommended metronome at 100

Alla Pollacca

  • 2nd page, slurs are important. rhythm has two parts, maths and listening. Listen to music.
  • phrasing needs to be careful. Has many rules, including end of slur must be soft

Notes 9 Dec

Technical homework

5B LH, Db major

Alla p

  • most important thing now is the articulation. Gives the piece character
  • don’t accent staccatos
  • after that, do phrasing
  • make sure that you plan out your phrasing. If you know you are getting louder, then start soft

Sonata

  • starting from 2nd page until end, work on buildup

Notes 2 Dec

Ex 5A, even when rolling, make sure

Learn 5B this week

Scales: G# harmonic/melodic minor

Sonata

  • RH still doesn’t need to be rolled. Can be direct. This will help with balancing LH/RH balance
  • make sure you don’t slow down for ornaments and getting softer.

Notes 25 Nov

Scale: B major

Excercise 5A

Sonata

  • be careful of ornaments, see how they are divided into three notes. see sheet for guidelines
  • approach the touch with a dry and straight forward approach
  • balance should be