Jeremy

Youtube Playlist

Google Drive

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

Long Term Goal

• grade 8

Aural Tips

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

30 Jun

Technical

• a lot more ‘substance’
• phrasing according to slurs

8B

• more phrasing
• a bit quicker

8C

• staccatos shorter
• more phrasing

Scales

• need to practice at 92/100

List C

• accents in bar 1-8 bigger, louder in general
• don’t end soft in bar 17
• keep accurate at louder speed, slow practice
• 42, onwards, more phrasing, can phrase texture of other voices
• mf needs to sound different bar 50
• 62, start cresc earlier
• 67, RH needs to be legato

Sight Reading

• avoid restarts

24 Jun

List C

• 1-8 can be louder and more square
• 9, soft, but confident
• 17, prioritise speed, not ff
• 42, prio melody
• 62, cresc not too much
• 67, only melody, everything else soft
• make sure to wait on crotchets
• 88, bring out middle voice more using poco piu f
• 120, voice something here

List A

• on the right track practice wise

List B

• loud treatment strong but not agreesive
• melodic treatment priority

List D

-=

17 Jun

List A

• a bit of pp appropriate phrasing
• bring out top notes for sparkle
• bar 23, energetic staccato
• 56, leggiermente, lightly, LH not too energetic
• LH too energetic 64 as well
• recommend get faster in small sections
• bar 19 Bb RH

List D

• 46, more ‘foreboding’ balance, more LH SLIGHTLY
• 57, phrase LH as much as you phrase RH
• bar 44, LH E?
• 37, check notes and slow
• 34, check rhythm, don’t change from quaver

10 Jun

List B

• maintennce practice
• moderate speed
• sectional maintenence practice

general list B notes:

• rhythmic drive, can be fixed by metronome

Technical

• focus on every combination of arpeggio

3 Jun

List B

• legato melody where needed
• 52, dim needs to be more
• 70, slow practice and rhythm practice
• 158, check rhythm
• 209 slurs
• energy conservation improtant for ending

List D

• can have more dynamic ‘space’. louders are slightly louder to allow for softer softs
  • particularly pinky
• 34, phrasing,

27 May

List B

• count carefully bar 16-17
• 32, rhythmic practice for stability
  • also bar 70
• don’t overpedal bar 47
• 58 legato fingering
• 74 dim gradual
• don’t speed up bar 102
• 118, pay attention to rests and note length

List C

• accent D# at start, watch rhythm
• ff bar 17, focus on tempo, don’t need to worry about loudness
• 42, more angelic, thin sound
• 62, getting louder, then softer
• 67, mainly melody with a bit of low notes
• in pp sections, no phrasing
• 91, like suddenly waking up

13 May

Scales

• focus on start of scales with thirds and sixths

List B

• soft sections, avoid over phrasing, more not always better
• soft sections, not overly soft, still needs to have drive
• metronome practice at 100-110ish for rhythmic consistency

List A

• slow ‘lite’ practice important

8 Apr

List B

• always emphasise melody
• precise dynamics
• ends of phrase very important, make sure soft, preceeding part not too soft
• 29, LH loud, 32 pp

• bar 38, watch sf placement for syncopation
• 44, don’t go too soft too early

• 81, prioritise melody. keep tempo up

• 100, cantabile RH. RH legato fingering
• 132 plan cresc. no dim

• precise dynamics 157 onwards

25 Mar

8A

• much slower
• can be more ‘substantial’ for balance

8C

• make staccatos a bit more active and shorter
• be precise with phrasing

Scales

• general increases in scale speed
• except chromatic double thirds, need to focus on eveness

List A

• softs can be softer overall
• louds don’t need to be too loud
• parabolic ‘shape’ of cresc.
• too many mistakes happening in sectional practice
  • also, just do sectional practice

List B

18 Mar

List D

• 46 let LH cover RH for pp
• when phrasing in this section, just phrase in and out top note of chords
• chords can be very soft

• 64, make sure top LH F# is on time

List C

• treatment of chords can be ‘blocky’ does not need to be voiced or ‘ugly’
• check rhythm in general
• loud bar 17 chord, start of loud singing session
• semlice – simple
• ma – but
• espressivo – expressive
• middle section – church music
• front section – circus

11 Mar

List B

• bar 8, RH rest

• 21, keep soft, with small phrasing
• obvious phrasing 32 onwards
• check small pedals 37 for legato
• 51, dim, to pp

• 81, voice in LH
• 102, keep legato RH octaves
• 116, no changed in speed

Humouresque

• humour!

4 Mar

List D

• think of cresc. as thickening of chords
• keep repeated notes softer (keep active watch out)
• count in bar 21

• bar 37-40 needs to be better planned cresc

List A

• RH loose wrist for satisfying balance
• LH substantial for satisfying balance
• plan cresc out carefully
• bar 24, falling leaf effect, soft interpetation
• bar 40, loud RH, strong,

25 Feb

List B

• 81, where is melody?

• 85, first note long as possible

• 97, check articulation, maintain ff

• 102, heavenly balance
• 117, pedal for slur
• 143, defiance, return to main theme

List D

• keep minimum sounds, smaller landscape

18 Feb

8B

• start softer, angelic sound

Scales

• allocate time to difficult scales
• prioritse fingering

List A

11 Feb

List D

• inner voice, barely any change, upper melody, lots of change
• difference between agression in 35 and 40, 35, just RH, 40 is both loud
• 37, slow practice
  • focus on rhythmic consistency

• 46 pp, all soft, no/less phrasing

List B

• quicker reaction to p dynamic
• less pedal, more reliance on finger pedal
• ff LH, big chord
• f, still keep accompanying part soft (bar 43)
• dim in bar 46 with co melody, don’t need to voice melody
• bar 63, keep top as soft pedal
• 70 onwards, keep softer for sad feeling

4 Feb

List B

• first line
  • phrasing
    • where is the phrase?
    • what method of phrasing do you want to use

• ff can be more suprising
• pp is also a surprise
• don’t rush semiquavers
• chromaticism means playfulness
• make sf accurate, only sf notes

List A

• do phrasing everywhere, but make it appropriate

15 Jan

List A

• rhythm practice
  • keep rhythm the same
  • teaches grouping
  • different combinations of long and short

• can also try staccato

List D

• agitated

17 Dec

8B

• don’t phrase too early, leave peak of volume late
• watch pedalling

List A

• have default pp sound softer
  • light, fluffy RH

• can have more microphrasing in pp
  • make it bigger than you think
  • but always return to pp

• practice perfect sometimes

List D

• think in broad brush strokes
• be accurate in how you have a look at the original markings

10 Dec

List A

• dolce
  • subdued and calm
  • all the same

• leggiermente
  • light
  • RH non legato

• pedal alternates for playfulness
• think about how moods change, how do they affect the way you are playing

List D

• ideas need to be bigger
• think more of espressivo than pp
• top note voicing
  • loose hands, power to the pinky

3 Dec

8A

• perfect legato needed
• pleasant balance
  • voice top, but not too much, include bass

Scales

• self directed learning is fine

Molto

• phrasing
  • based on height
    • based sparkle

• based on where you are in the phrase (phrase endings softer)

Lake

• LH motif, echo
• follow markings closely on page
• large top RH pinky
• phrase according to top RH

26 Nov

Molto Velocita

• balance
  • bring out top with rotating wrist
  • first bass note louder because of harmony
  • aim for sparkly sound

Ex 8A this week

Scales

• 4th finger rule for grand scales
• try also polyrhythm and s

12 Nov

List A

• listen for legato sound, hold RH notes longer
• could slow down a bit more towards end

List B

• louder sections, not as loud.
  • pointy phrasing
  • or think of all ff as phrased

List C

• think about the ti ti ta ta rhythm bar 9 onwards

List D

• inverted phrasing moments, make sure they are soft instead of normal phrasing

List E

• cresc, driven by top note
• pp middle section can be a bit loud to hear the notes correctly.

5 Nov

Beethoven

• slower speed
  • enunciation
  • breaths

Debussy

• space triplets out even in fast section
• make sure rhythm in 3rd page is correct
• don’t slow down in 87 onwards

29 Oct

Sonatina

• stable speed
  • enunciate semiquavers
  • don’t speed up in quavers

• ff doesn’t need to be phrased

Etude

• don’t use soft pedal in molto cantaible

22 Oct

List A

• don’t slow before ff bit

List B

• dotted rhythm practice for semiquavers

List C

• make sure dotted rhythms are correct

List E

• lifts off gradual using pedal
• can ‘speed through’ some sections
• end slower

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.