Jeremy

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Google Drive

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

Long Term Goal

  • grade 7

15 Oct

List A review

  • evenness biggest issue
  • don’t add extra tempo changes
  • phrasing is good 🙂

List C

  • bar 4, offset poco stretto with slight slowdown
  • don’t rush tiny notes, let them speak
  • bar 9, keep pp, then cresc
  • bar 18, don’t rush crotchets
  • bar 38, no delay
  • dotted rhythms in pp sections, keep fingers active
  • bar 54 poco rit keep it counted

List D

  • keep constant speed as much as possible outside of rits
  • rits a bit too big, can’t stop flow completely
  • try to find the merit of following composer markings for rit

8 Oct

Etude

  • watch pedalling
    • original didn’t have much pedalling
    • look for opportunties for finger pedalling
    • clean lifts of pedal

Beethoven

  • semiquavers in LH can be slightly non-legato for speed and character
  • semiquaver staccato in RH can just be thought of as non-legato
  • priority on quality of semiquavers

Greig

  • dotted rhythm tight, early appogiatura
  • no gap, 37
  • 43, butterfly wing touch, with energy
  • push and pull should be balanced

Nocturne

  • make sure rubato is not too big and not too repetitive

Recording: Etude

23 Sep

Greig

  • metro at 120-125

Etude

  • keep LH as soft as possible
  • bar 5, bring out bottom note more
  • harminoso, max volume in both hands
  • getting a lot softer
  • watch pedal

10 Sep

Etude

  • bridge tempo
  • rhythm practice
  • notes at end of phrase ALWAYS soft
  • dolce molto p, RH as soft as possible

3 Sep

Debussy

  • Record this week
  • texture
    • white highlights
    • selectively doing top notes sparkly
  • bar 36, top notes can be extra sparkly
  • 39, a lot less rubato
  • 87, don’t slow down in this passage
    • dims, can be created by reducing phrasing as we go along
    • check balance of melody (sparkly)

Etude

  • needs a technical focus, even semiquavers
  • slow but expressive practice
  • recommended performance right now: 70-75

27 Aug

Beethoven

  • p to f doesn’t necessarily need a big accent
  • in ff bits, think about ff phrasing, but not always loud
  • watch rests here
  • pedal can be used here to supplement texture
  • check Ab here

Debussy

  • before any increase in speed, slow down a bit
  • tempo rubato page 3, don’t lose momentum
  • here may be too loud, rely on pedal for strength
  • return to normal speed at a tempo page 2

20 Aug

Debussy

  • slow practice without pedal for technical evenness
  • technical work should be separate from expressive work
  • bar 39, be careful that original rhythm is in tact
  • check coordination bar 44
  • 39 is not a pedal reliant section
    • try changing pedal each LH
  • check notes bar 41
  • thinner chord textures in forte

Etude

  • never force anything
    • use the natural sound of the piano

13 Aug

Beethoven

  • think dynamic directions when adding dynamics
  • awkward dynamics, must be adhered to
  • be ‘brash’ and ‘harsh’ with interpretation

Debussy

  • aim for andantino con moto, slightly slower than current speed
  • aim for perfectly even triplets at all times
  • can slow down before stringnedo to help get faster
  • slow practice needed in some dodgy sections
  • tempo rubato
    • make sure rubato is balanced, equal slow and speeding
    • chord changes pedalled
    • mosso start slow, then speed up
    • watch out for rit bar 50
  • BIG phrasing 95-96, then fade

6 Aug

Beethoven

  • ‘royal’ speed to help semiquavers
    • helps better with details
  • metronome at 85 recommended
    • good speed to fix mistakes and add expression

Etude

  • may need more accuracy
  • molto cantabile – more phrasing, more voicing
  • il basso ben ten – bring out LH bass note as an individual
    • LH male phrasing – lower is louder
  • poco – a bit
  • make sure pedalling is accurate

Notes 30 July

Debussy

  • in general, pay attention to markings. Debussy is a picky composer
    • where is rit? where is hairpin
  • polyrhythm, careful for accuracy
  • loud bits not too loud, keep controlled
  • tempo rubato, pedal more often

Etude

  • cantabile
    • phrasing
      • continuity
    • not too hard
    • balance

Grieg

Notes 23 July

Greig

  • need to be careful of notes
  • fluctuation of speed because of dance
    • stretto and rit
  • don’t rush quavers
    • even if it has small notes next to it
  • fp needs to be intentional

Debussy

  • pay attention position to position of expression
  • pedal with chord changes
  • in general focus on forward momentum
    • 2nd page needs to be quicker
    • less big rit
  • 3rd, page, base on correct rhythm
  • mosso, start slower then speed

Notes 16 July

Sonatina

  • consistency of crotchet speeds
    • subdivide into sem
  • 85 metronome speed recommended this week
  • treat two notes slurred
  • watch for articulation,
    • long short short short

Arabesque

  • be careful with pedalling!
  • notes as textures
    • listen to other debussy
      • images
      • submit the name of your favourite image

Notes 7 July

Arabesque

  • watch pedalling. harmonies (chords must be clear)
    • look for bass note
    • can hold down fingers more
  • rit. must be planned
    • changing texture
  • think about what elements you want to highlight (what part of the texture)
  • mosso, start slower then speed up

Notes 18 June

Nocturne

  • avoid rushing in difficult bits
    • use technical rubato
  • phrasing must be logical
  • bird trill, not heavy
  • piu mosso, keep light and even

Sonatina

  • p f slightly playful syncopation
  • make sure speed is matched
  • think about phrasing and cresc that are not written in the page
  • make sure any marking is adhered to

Notes 11 June

Nocturne

  • inner triplets should feel continuous
  • phrasing, start softer
    • should also be thought of as note by note
  • 15-16, start RH softer
  • 42, make sure double cresc is planned
  • ppp go slower for illusion of getting softer
  • piu mosso, can have ‘technical rubato ‘ to help with tchnique

Debussy

  • have even triplets
  • start loud on dim, start fast on rit
  • risoluto no rubato, one phrasing, block chords
  • softs can be ultra soft

Notes 4 June

Nocturne

  • watch speed in bar 31
  • piu mosso
    • start slower, speed up at molto cresc
    • hold pedal throughout ff sections
  • 42-47 another intense section, get quicker
  • practice accuracy and expression simultaneously
  • forward rubato can also happen in softer sections
  • ending, can be slower spread out

Debussy

  • make sure that all speed is matched
    • think of original triplet and crotchet speed

Notes 28 May

Debussy

  • watch pedalling, sometimes needs to account for bass note
  • accompaniment-meleody needs to be super soft, just a texture
    • sometimes it also turns into melody, then PHRASE
  • soft notes should sound dull

Notturno

  • watch for tenuto accents
    • indicator for rubato
  • watch out for smooth phrasing
  • bar 13 not too slow
  • not too loud in bar 15
  • piu mosso part, ultra soft, fingers very close to keys

Notes 14 May

Nocturne

  • ‘target’ aggression
    • all about balance
  • rubato can related to excitement
  • check number of notes bar 16
  • piu mosso – quicker, don’t need to phrase
  • 29, LH loud with accents

Debussy

  • watch for ties in general
  • first line, only need to phrase main melody
  • fingering
    • LH must always be the same
    • same up and down
    • bottom note must be pinky
  • high notes in bar 3-5, voice a lot

Notes 7 May

Arabesque

  • start this week
    • soft touch with pedal
    • everything is a melody/texture
      • so phrase everything

Nocturne

  • LH chords softer
  • more push and pull ‘rubato’
  • listen widely

Notes 30 Apr

6A

  • check notes

Scales

  • contrary next week

Nocturne

  • pedalling
  • don’t get too loud
  • LH chords softer
    • LH chords, keep a constant 3 quaver group beat
  • check notes bar 18, LH chord
  • bar 21 onwards, check notes in general, with correct fingering
  • phrasing can be mathematically planned
  • bar 15, bird bit can have a bit

Notes 23 Apr

6A + B

  • phrasing

6C

  • can be a bit louder

Fiesta

  • sfz can have ‘bite’
  • bar15-19, count carefully
  • bar 1, set anticipation by going soft

Nocturne

  • inner chords need to be soft
  • rubato
  • phrasing
  • watch out for tie in bar 7
  • 3 elements
    • rubato
    • phrasing
    • balance
  • crush notes, not fast

Notes 7 Apr

Confidence

  • dolce, softer accompaniment
  • fix pedal at end

Lose Blatter

  • rit, needs to slow down towards the end
  • can have more rubato
    • equal parts speeding up and slowing
    • can match with phrasing

Notes 26 Mar

Scales

  • focus on evenness
  • practice hands seperate
  • contrary motion: make sure you pay attention to first 3 notes
  • jumble scales up, do exam setting scales, not in order

List B

  • accent chromatic notes on second page to make it funny
  • be careful of danger zones
    • slow practice
    • seperate hand practice (especially left)
    • improves mental memory

List C

  • fz and p can be bigger contrast
  • watch pedal in 27, slightly more accent
  • 35, voice melody. go a bit louder in the major section. staccatos a bit longer
  • get LH involved with phrasing 46
  • 65, don’t pedal over pause
  • 73, cresc more aggressive

List D

  • rhythmic error in bar 20
  • aim for accuracy when practicing

Notes 19 Mar

List B

  • LH softer overall so that you don’t have to voice RH too much
  • bar 5, RH mp
  • when forte comes, your LH can be louder
  • sf not too loud in p sections
  • bar 41 LH slur
  • 42, make RH goofy by accenting the dissonant notes
  • ending ff, LH aggressive

List C

  • semiquavers here are falling behind, keep ahead
  • bar 9, make RH slightly louder to be clearer
  • bar 17, don’t hold LH
  • don’t slow down 27
  • 43 check RH note
  • 35 staccatos not too short
  • 46, more phrasing and LH
  • 65, pause should be silent
  • 72, no big crotchet rest

Notes 12 Mar

Wistful

  • pedal needs to be lifted fully
  • fix rhythm in bar 5
  • G# bar 7
  • softs, use arm weight so you don’t miss notes, louds use armweight so it is not aggressive. DO LOTS of phrasing
  • piu mosso – more movement, faster, also more rubato
  • p subito – suddenly soft
  • meno mosso – less movement
  • 29, check notes RH
  • bar 32, not too loud, mp
  • soft pedal from bar 42

Confidence

  • pedal is for linking RH legato
    • however, don’t be too reliant on pedal
    • phrase top line as well, but don’t affect volume of inner RH
    • after doing all these things, don’t be too restrictive
  • 2nd page try accompaniment even softer
  • towards ending, use soft pedal, play ULTRA light

List C

  • if melody is in a chord, make sure that you voice the melody. POWER TO THE PINKY

Scales

Notes 5 Ma

  • in good condition already, can have a focus more on pieces

Confidence

  • certainty of notes?
    • make sure you don’t skip and are sure
    • practice method: don’t make mistakes
  • also try to expression in 2nd page
  • hold pedal through last bar
  • pay attention to markings in last line

Confidence

  • 2nd page, difference between LH and RH must be much bigger and have an overall p feeling
  • first page, need to fix mistakes
  • 2nd page, phrasing RH needs to be more careful
  • ending phase out into nothing

Notes 26 Feb

Confidence

  • relax arms and divert energy to pinky and 4th
  • hold top note longer
  • LH not too soft, it is a melody
  • fix mistake bar 6 and bar 5
  • 2nd page
    • not too loud on sf
    • espressivo, don’t let RH
    • make sure you follow the crotchets in the melody
  • follow pedalling in the last line
  • make sure p tranquillo is light
  • can use soft pedal at the end
  • don’t rush final chord

Wistful

  • elements of this piece
    • strong voicing – all notes are equal
    • phrasing
    • dynamics
    • rubato

Notes 19 Feb

Scales

  • remember 4th finger rule
  • arpeggios, focus on LH practice sometimes

Lose Blatter

  • bar 3 immediately softer following forte. keep RH legato, but soft
  • bar 9 staccato not short low energy
  • sempre p less accent
  • 35 longer staccato, more focus on hitting the keybed reliabily
  • 53 mezzo staccato
  • 74 get a lot louder get softer before cresc

Confidence

  • check 5-6 notes
  • dolce – melody voiced and phrased, but not over the dolce limit
  • make sure melody is always there, not missing
  • go 20% slower to make sure the balance is there

Notes 12 Feb

Scales

  • contrary motion, watch first 3 notes
  • 4th finger rule

5C

  • good

Bagatelle

  • adjust for smaller sound
  • sf not too loud
  • bar 5, use soft pedal, no sf
  • senza pedal, without pedal
  • make sure crescendo is controlled and planned

Lose Blatter

  • fz accent just a bit less
  • make sure all chord notes are present
  • bar 9, don’t lift RH, RH soft. sempre p, always soft
  • make sure semiquavers are accurate
  • can use soft pedal in pp
  • 27, keep everything small. staccatos not to short
  • 35, keep staccatos longer. don’t lift off the keys
  • get soft at the end of phrases from bar 47
  • these staccatos not short bar 53
  • try rhythm practice here

Notes 13 Jan

Keep up scales and be accurate

List B

  • careful with overpedalling
  • even in pp sections, make sure melody can be heard. use soft pedal (una corda)
  • sf is more expressive than large
  • to get more intense we can also change the note length
  • bar 42 staccatos must be soft

Lose Blatter

  • natural separation on these staccatos, relaxed
  • don’t jump on these staccatos. must be less energy
  • to make fz louder, make everything around it softer.

Notes 16 Dec

Start Ex 5C + continue with scales

Can start a List C

Beethoven

  • Don’t be careless with fingering
  • ending ff, not too polite.
  • this articulation contributes ‘funiness’. accent at start of slur
  • follow dynamics carefully, then they will make sense

Confidence

  • first 8 bars, would recommend going slower. Still need to focus on the super legato RH. Occassionally RH doesn’t come with LH
  • Make sure top note is louder

Notes 9 Dec

Technical

  • all scale + 5B left hand version

Bag

  • bar 20-32, gradual buildup. Loudness to related to how wide the music is
  • this piece is defined by different moods. Sometimes it is serious, but sometimes it is silly
  • silliness is caused by sf, and differences to the melody (variations)

Notes 2 Dec

Do Ex 5B

Watch fingering LH G# melodic minor. Make sure scales are legato. Make sure scales are together. Increase speed

Confidence

  • For first page, adopt relaxed posture. Will help balance accomapaniment.
  • Make sure there is clear difference between melody and accompaniment in RH even when getting louder
  • bar 11, RH not too soft
  • bar 14, voice LH over RH
  • Check RH bar 26

Notes 25 Nov

Ex 5A, and continue with scales

Confidence

  • dolce – sweetly, balance with RH and LH. Because RH needs to be heard even if it’s really soft.
  • markings such as dynamics are about phrasing. If you can do phrasing, you will be fine
  • 2nd page, LH soft, RH phrase, add pedal in this section for contrast.
  • bar 14, voice LH
  • bar 16, watch out for notes in RH. Also the biggest peak of the piece
  • bar 26, tranquil, keep pedal down, keep all notes soft.