Jeremy

Youtube Playlist

Long Term Goal

  • VCE

Theory

https://score.ameb.edu.au/login

21 Jun

Tchaikovsky

17 Apr

Bach

  • exaggerate expression
  • non-legato not too short

Beethoven

  • 45 RH minim
  • get LH involved in dynamics
  • phrasing bar 132
  • 181 characterisation melody
  • last page 196

2nd mvt

  • more phrasing bar 30-31

3rd mvt

  • loud not too agressive
  • tempo lively
  • 67 gap not too big

Chopin

  • keep phrasing at all times
  • calando at end plan it out

Debussy

  • 2nd page, voice top only in buildup
  • mf bar 49 keep longer loud

Toccata

  • voice melody in middle section

28 Mar

Beethoven 1st

  • watch dynamic changes
  • sometimes return to soft softer

2nd

  • watch pedalling

3rd

  • timing still main thing

Chopin

  • today, sometimes dynamics overdone

Schubert

  • don’t overdo first beat rubato
  • phrase even in soft sections

Khachaturian

  • middle sections (with repeated notes) don’t overdo forte, improvised but not heav

22 Mar

Beethoven 1st

  • quality a bit scrappy in some bits, esp arpeggios
  • dynamic contrast ocassionally not hitting the mark in exposition
  • bar 45 minim RH

Beethoven

  • bar 20 C# RH
  • no slowing down at 21

Beethoven 3rd

  • too much tempo yield today, metronome at 100
  • can you have the same expressive intent with solid rhythm

Bach

  • bar 24 avoid accents
  • bar 27 check rhythm

Chopin

  • evenness in some sections, esp accel, don’t overdo accel
  • play around with lightness a bit more soft. sound is sometimes forced a bit
  • think about tempo choice
  • 115 119 rhythm

15 Mar

Reverie

  • some rubato in 2nd page would be good around the fortes
  • offset rubato also possible
  • 43 more voicing
  • bar 47, quicker on time split of chord
  • patient from un peu retnenu

Khachaturian

  • more rubato in rhythmically free sections
  • rits can be done more
  • in ‘improv loud’ sections, can have more variety

Schubert

  • melody can be more brave in louder sections. can be more ‘cantando’ in general.

8 Mar

Chopin

  • bar 115 make sure gap is counted
  • some times in middle section the left hand is quite loud,

Beethoven

  • introduction can be a bit more lively, reactive phrasing
  • softs can be generally softer, ‘shock’ soft
  • don’t get too too loud, rely on softs
  • bring out sfs on last page

2nd mvt

  • you can go a bit slower, what vibe are we looking for
  • more phrasing first few bars

3rd mvt

  • bar 68 don’t speed up
  • bar 81, what are we voicing?

Bach

  • double time voice can be done more bar 14

1 Mar

Bach

  • prelude needs to be further expressed
  • stability of tempo something to consider, rhythm practice
  • fugue, highlight better on 2nd page
  • 2nd page generally more intense with dynamics as well

Khachaturian

  • continuous semiquavers first page, more consistent loud would be ideal
  • andante espressivo more slow would be ideal

Debussy

  • tempo can be slightly quicker at the start to match later sections
  • pp espressivo more LH
  • middle section don’t let soft dynamics limit expression
    • generally we can keep soft by keeping textures soft but just bringing out melody
  • rit e perdendosi a bit slower towards end

Beethoven 3rd

  • slight change in between triplets and quavers

23 Feb

Chopin

  • technical accuracy is key
  • generally in regards to phrasing, start softer, all about accuracy of phrasing
  • bar 31 has significant technical issues
  • 35 strong RH, in f minor
  • rit at 46 very important
  • 115, rhythm check, legato chords on slurs

Beethoven 1st

  • when transitioning into 12, no disruption to rhythm
  • 36 larger and precise dynamics
  • in middle section, strictly no change in speed, inappropriate for style
    • dynamic changes should also be sudden and accurate

Beethoven 3rd

  • in p dolce, not too light, have some melodic voicing
  • vivace could be slightly faster
  • if phrasing at 52, don’t start too soft, start loud and then dip

16 Feb

Debussy

  • rit e perdendosi bar 99, needs counting, larger rit
  • bar 93, use pedal
  • bar 85, cresc to p not too sudden
  • bar 77 pedal every bar
  • generally expression is a bit flat, express further

Toccata

  • important to prioritise stability, just getting a bit ahead of ourselves here
  • middle section, take opportunity to go slow, focus on phrasing, melodic voicing
  • last bit, loud
  • play accents as loud as possible