Leah

Youtube Playlist

https://www.youtube.com/playlist?list=PLxU_OGndc5q_v2HAqWBqgrCFbb_eLMZPr

Google Drive

https://drive.google.com/drive/folders/18raFKn41_mOfbG9DNRRFGrSOeA16p3A6?usp=sharing

Certificate List

2022_piano_syllabus-draggedDownload

21 Sep

Beethoven 1st

  • Ending has many different moods summarsing the piece
  • attacca suddenly moving on to next sectio

14 Sep

Beethoven 3rd

  • start off soft, with basic phrasing
  • voice main theme bar 79

Beethoven 2nd

  • phrasing can be more in general
  • bar 37 a lot less pedal

7 Sep

Waltz

  • impulse accents at 112
  • similar impulse at 33
  • end of phrases soft thorughout piece
  • find one Chopin piece that you like!

Beethoven 1st

  • Beethoven 5th piano concerto
  • have beginning rhythm very strict
  • cresc bigger on 2nd page
  • bar 27 LH not too soft

31 Aug

Waltz

  • use pedal reliably
  • phrasing is key

Beethoven 2nd

  • more voicing of top
  • romantic style phrasing

10 Aug

Waltz

  • there are many different moods
  • have A sections less loud, more detail in middle sections
  • assess what mood each section has

Beethoven

  • same advice for Rondo form.

3 Aug

Beethoven

20 Jul

Beethoven

  • watch counting in first bar

8 Jun

Beethoven

  • counting in first few bars
  • don’t pedal over rest
  • harmonic relationships to tension are important
  • try to follow dynamics carefully according to Beethoven’s markings

4 May

Scarlatti

  • control dynamics, don’t overdo louds, focus on more softs
  • bar 19, softer
  • phrase mostly in RH

Beethoven

  • don’t go too slow
  • phrase in intro more
  • softs more reactive in general
  • ending gaps between sections

2nd mvt

  • overpedalled in some points today

3rd mvt

  • always keep the same speed
  • slow practice for technical ending

Fantasie

  • don’t overvoice 13, phrase here
  • watch LH accuracy in general
  • watch pedalling in middle section

Wedding Day

  • middle section quicker
  • softs softer in general
  • in peak section, make sure melody is in time

Debussy

  • pedal cleanly in between sections

27 Apr

Greig

  • make sure pedalling is clear in opening section
  • make sure the performance doesn’t lose momentum halfway, also mometum in B section
  • pp dolce needs be better done bar 24
  • rhythm bar 49 still not perfect, keep rhythmic integrity of the melody

Reverie

  • don’t rush opening bars
  • check pedalling, a bit blurred, change on bass note changes clearly
  • bar 18, RH coordination
  • 2nd page has a slight tendency to rush
  • bar 43, better voicing of melody
  • bar 45 LH has an error
  • cresc in bar 66 needs to be larger
  • consider p and piu p transitions, this usually means a difference to how you do the regular p
  • triplets get rushed in bar 75-76

20 Apr

Scarlatti

  • softers soft
  • phrasing more bar 24

Beethoven

  • need to push speed to a comfortable presto
  • extra notes happening in development
  • accuracy of dynamics
  • don’t lift up suddenly

2nd mvt

  • phrasing RH more, control LH

3rd mvt

  • LH quality in first 8 bars
  • bar 25 must be in time
  • general quality needs to improve here

Fantasie

  • A section needs to be kept a bit lighter
  • don’t change tempo on scales
  • B section, needs neutral rubato, not speeding up

23 Mar

Albeniz

  • keep solid beat, sounds better with flow
  • phrase LH brave in LH melodies
  • avoid accent on 3rd beat
  • semiquaver staccato, don’t bounce, aim for quality
  • page 3 quality no stops
  • page 4, larger difference between p and f

Chopin

  • general accuracy and flow
  • dynamic contrast in first page larger
  • pedalling in middle section needs clarity

16 Mar

Beethoven

  • needs to perhaps increase speed slightly, watch for rhythmic consistency
  • bar 32 watch ties
  • bar 60 count number of bars
  • dynamic changes need be more accurate noticable
    • especially in development

2nd mvt

  • check rhythm of ending
  • needs more serious character, less staccato, slower speed
  • contrast with 1st and 3rd mvt

Beethoven 3rd

  • can go faster
  • fingering for articulation

9 Mar

Next week Beethoven

Scarlatti

  • gradual slowdown here
  • count bar 33-36 one bar at a time
  • most important thing is how the piece feels instead of needing to go faster or slower

Chopin

  • bar 22 LH
  • bigger difference in dynamics bar 17
  • bar 35 doesn’t need a staccato on first note
  • pedalling 37 catch first note
  • dotted rhythm bar 45
  • middle section can have more flexbility of time within phrases

Debussy

  • watch coordination bar 18
  • speed control much better this week but we can get a bit quicker a flowing, again feel the feeling
  • espessivo sections can have bit more phrasing
  • offset rubato good accentuation tool
  • but don’t feel limited by dynamics here
  • ending can have larger dynamic range

2 Mar

Debussy

  • tempo and volume control in bar 19
  • triplets in bar 5 are out of time
  • pp espressivo, more LH
  • tempo control key to keep everything connect

Albeniz

  • there should be large sections that keep a strict time

24 Feb

Greig

  • make sure in front section, counting in 4s
  • make sure all notes are present especially in soft sections
  • overall, needs to keep time for all of A section
  • middle section, need to keep quaver crotchet quaver rhythm tighter

Scarlatti

  • repeated notes can be done a bit softer, especially if we need to phrase up later
  • certain sequences still need to be practiced for security
    • these sections also tend to be sped up

Debussy

  • all about speed control

17 Feb

Chopin

  • phrasing in main sections needs to be clear
  • tone in middle sections occassionally too aggressive
  • bar 82 rit can be greater between sections
  • differentiate repeats

Orientale

  • any staccato with pedal needs to be much lighter
  • pedal must catch the notes that we’re looking to hold
  • any dim, make sure that you have half pedaling to ease off

3 Feb

Chopin

  • further technical work on polyrhythm, needs perfection
  • soft bar 5
  • phrasing bar 13
  • bar 17 dip down to soft
  • bar 30 LH no B flat
  • middle section aim for phrasing consistency
    • have difference between loud sections and soft sections
    • have carefully rubato
  • aim for a consistent speed in faster sections

Greig

  • bar 20, rest
  • bar 21 onwards more dynamics
  • generally in beginning section
  • 32 pp softer
  • 42 can have some pedal
  • don’t get faster 49
  • bar 67, more just melody, not overly thick
  • 172

27 Jan

Scarlatti

  • page turn
  • stability of rhythm most important
  • not too aggressive on first section
  • first 9 bars not too loud, then p bar 10 onwards softer
  • 20 keep soft
  • bar 40 start softer

Beethoven

  • generally don’t bounce of crotchets
  • be intentional with length of notes

20 Jan

Orientale

  • keep 3 quavers in a bar

16 Dec

Scarlatti

  • bar 34, no F# in trill
  • fingering needs to be followed carefully
  • avoid rubato for now

9 Dec

Fantasie

  • bar 2, start slower, then speed up
  • 24 slow down more
  • don’t rush chromatic at 35
  • bar 42, rubato, but maintain flow
  • keep LH soft here
  • bar 83, consider speed before moving on
  • make sure pedalling is clear
  • 129 LH bring out more

Reverie

  • don’t speed up
  • sensitivity in softs

2 Dec

Albeniz

Fantaisie

  • slow practice essential for quality

25 Nov

Fantasie Impromptu

  • Focus on on flow of semiquavers
  • 5 softer, watch dynamics on both loud and soft
  • 35 don’t get faster
  • also watch pedal here
  • middle section, watch flow, don’t suddenly change speed
  • appogiaturas play slower

18 Nov

Wedding Day

  • don’t jump on staccato jumps
  • 21 louder
  • keep a constant pace at 42
  • check coordination 50
  • watch rhythm 59
  • 67 texture not too thick
  • bar 72, watch coordination
  • bar 91 should sound like 4 even quavers

11 Nov

Chopin

  • assess methods of slow practice
  • phrasing a key element
  • middle section don’t overphrase
  • 119 louder
  • 129 RH softer

4 Nov

Chopin

  • technical sections, needs serious slow practice
  • soft when required
  • maintain flow in middle
  • don’t over phrase, keep it moderate

Wedding

  • add pedalling
  • 75 delicate as possible
  • 57, a bit quicker
  • fff, focus on LH speed

28 Oct

Scarlatti

  • starting, phtase repeated note based on pitch
  • keep tempo steady throughout
  • LH quality 86
  • when swapping hands, dynamic difference in LH, RH stays the same

Greig

  • bar 57, canon phrasing, pay attention to
  • bar 49, LH focus speed
  • 32, use pedal

2 Sep

Debussy

  • 60, watch for flow
  • watch for half pedalling here as well

26 Aug

Debussy

  • practice methods
  • needs much more disciplined slow practice
  • watch pedal

19 Aug

Debussy

  • 77 dolce melodic voicing
  • 85, wavy dynamics
  • 35, espressivo, appropriate voicing
  • 43, appropriate mf, phrase
  • bar 53, don’t pedal over different harmonies
  • bar 60, appropriate pp touch
  • 19 go softer

12 Aug

Greig

  • check 45 chord
  • check timing 49. coordination important
  • 57, always look for relaxed sound. bring out LH as well
  • 75 bring out top notes
  • 19 go softer

List D

  • watch triplet rhythm bar 5
  • still a ‘slower’ sound in 2nd page. hold pedal for bass note changes

5 Aug

Wedding Day

  • observe pp dynamics

Debussy

  • keep quavers even
  • bar 20, keep soft
  • bar 77, hold pedal whole bar to hold melody as legato

29 Jul

List B

  • tempo increase to help flow
  • sf not too loud
  • b

22 Jul

List A

  • think about anticipation when choosing dynamics
  • avoid change in tempo
  • when assessing interpretation, always think about context
  • connected in bar 12
  • bar 16 crotchet and similar crotchets held long
  • 24, context , just buildup, SF not too loud
  • 32 LH check accuracy
  • sudden f at 45
  • 60 keep interpretation consistent
  • transition bar 67, soft

List C

  • middle section
    • practice keeping LH always soft with quality
    • don’t need to

15 Jul

Chopin

  • 129 ,bring out LH melody
  • experiment with half pedal and full pedal for texture change and dynamic change
  • 13, bring out melody, keep legato
  • check notes from 119 onwards

Debussy

  • don’t play too slow at start
  • think of relative dynamics, soft not always as soft as possible

24 Jun

Scarlatti

  • speed match
  • don’t over romanticise expression
  • 145, watch for articulation and contrast

Beethoven

  • acknowledge balance
  • staccato not too short
  • look for quality
  • slow practice to eliminate gaps

2nd

  • start slower
  • simplify trill
  • lower pedal amounts

3rd

  • look for legato soft notes
  • keep speed the same

Chopin

  • can add pedal, but also allocate time to slow practice
  • watch for accidentals repeated

17 Jun

Scarlatti

  • 1, accent not too loud, repeated notes near key
  • 10, LH not too short
  • avoid rubato too much
  • 40 not too loud
  • build up 70
  • 86 LH don’t lift off

Debussy

  • still get slower, note by note in left hand

10 Jun

Chopin

  • watch coordination in middle section
  • most expression in middle section already forming well
  • watch accuracy most

Scarlatti

  • build tension slowly, keeping section soft
  • add own opinions in
  • start softer 113
  • start softer 126
  • hold note 129
  • aim for same speed
  • evenness, same speed
  • slow practice, and rhythm

3 June

Beethoven

  • soft first line, always legato, watch fingering
  • always watch articulation
  • fingering 23
  • every return same mood to main theme
  • fingering bar 61
  • triplets at 81 more spread out

Beethoven 2nd

  • can add touches of pedal

27 May

Chopin

  • watch accuracy 43 onwards
  • can add pedal
  • continue to watch for notes, sometimes slow practice can be helpful

Scarlatti

  • think about different moods in the music
  • how can we make these moods bigger in the music?

20 May

Scarlatti

  • articulation critical from early stage
  • check held notes
  • check coordination 43
  • assess expression independently

Beethoven

  • can push tempo slightly, just continue to be careful
  • p dolce, softer, check pedalling
  • 84 count bars
  • watch for stops around 90
  • watch for legato fingering bar 135
  • check LH soft notes keep legato

29 Apr

Beethoven

  • can go a bit slower to look at detail in technique and expression
    • quality
    • expression

2nd mvt

  • more slow, sadder feeling
  • don’t jump off repeat

1 Apr

Bach

  • rhythm practice, different combinations of long and short
  • staccato or legato\

18 Mar

Chopin

  • polyrhythm improving

Bach

  • great start, watch for missing accidentals

Beethoven

  • bar 12, keep touch legato
  • 24, don’t speed up
  • check LH note values, they change texture
  • 53, keep correct dynamic

18 Mar

Chopin

  • prioritise RH evenness
  • check notes in general
  • start listening for general knowledge

Beethoven 3rd

  • check legato first line, soft
  • main character of playfulness caused by contrast between loud and soft, smooth and bouncy

4 Mar

Beethoven

  • main focus is rhythmic consistency, should be consistent quavers
  • slow practice key for accuracy and mental memory
  • bar 60 check repeats of bars
  • bar 100, check legato of bars
  • soft staccatos, don’t jump off too much
  • \

Beethoven 3rd mvt

  • take your time with polyrhythm
  • don’t play too loud
  • keep 2 crotchets per bar
  • count bar 26

25 Feb

Fantaisie

  • middle section, phrasing, rubato balance
  • across the board, might need to be a bit more accurate
  • when adding pedal, play soft
  • loud intitial

Beethoven

  • be careful of touch in soft sections
  • 67, remove LH accent
  • watch dynamic in 79, not too soft
  • 100, check RH fingering
  • 135, a bit of phrasing is okay, but not too much

18 Feb

Fantaisie

  • see circled/corrected notes on page
  • polyrhythm exercise: LH speed, RH 25% faster. combine at same speeds
  • middle section has three elements
    • phrasing
    • rubato
    • balance

Beethoven 2nd

  • 19 watch fingering
  • 20 watch
  • do RH sep for legato exercise
  • phrasing 3x bigger, softer starts

11 Feb

Reverie

  • focus on continuity of quavers
  • bar 11, can have rubato on first beat, then speed catches up after
  • bar 19, possibly practice hands seperate, LH constant beat
  • 35, don’t speed up, bring out LH
  • 43, check held notes
  • bar 47, do broken chord earlier, to keep intergity of melody
  • 51, watch tempo here. piu p, take off top note volume
  • 77, pedal bar by bar
  • 85, pay attention to written dynamic

2 Feb

List B

  • slow, calm practice to get in right mindset
  • think of characters for quick dynamic interpretation

List D

  • focus on continuity, do sectional practice if required

26 Nov

Reverie

  • can start quicker, with momentum (sans lenteur = without slowness)
  • keep ideas bigger, a lot of ideas can be done in the RH
  • 2nd line 2nd page, some missing notes in RH chord
  • rubato, keep it short, and towards the ends of phrases
  • watch coordination, last line 2nd page
  • pp espressivo, much more voicing, pedal lifts to control RH texture
  • 3rd page 2nd last line, watch tempo. voice melody

Beethoven 2nd

  • bar 9 Ab in chord
  • good technical preparation today
  • for practicing magnitude of phrasing
  • bar 10, can use finger pedal for texture
  • ba

19 Nov

Beethoven

  • bar 8 RH fingering
  • bar 24, planning out cresc layer by layer
  • bar 32-35, check LH notes, watch for tie, keep soft
  • 45, make sure this is in time
  • check LH 57, make sure each chord is seperate
  • 106 fingering LH
  • 181 RH

Beethoven Mvt 2

  • fingering for legato most critical

Beethoven 3rd mvt

  • articulation most important

5 Nov

Reverie

  • pedalling, on LH changes, but can be complex as well
  • LH as soft as possible for first few bars
  • tres doux et tres expressif, very soft and expressive
  • RH slightly above LH in intro
  • meno p introduce LH first, mf RH louder
  • pp 2nd page, LH dominant so it sounds like the RH is covered
  • poco cresc and piu cresc on 2nd page, opportunity to have multi-layered cresc.

29 Oct

List B

  • phrase first 12 bars but then next part soft
  • sudden dynamic changes after cresc at 24
  • false ending bar 45
  • going through many different moods from bar 60 onwards

Focus on Beethoven 1st movement and Reverie

Theory, revise chapter 1 for scales

14 Oct

List A

  • make sure you’re not missing notes, especially in LH
  • bar 10, catch LH notes with pedal
  • don’t speed up at 29

List B

  • 26-27, LH execution
  • watch rests 43 onwards
  • don’t speed up at 83

List C

  • focus on technical accuracy
  • don’t speed up 117
  • don’t speed up 233
  • advise slow practice

List D

  • make phrasing a main priority
  • 37, just try to make it through section

7 Oct

8A

  • do with metronome, 150 per note

Scales

  • take extra time
  • soft arpeggios, try if possible to make sure all notes go down

List A

  • good quick speed helps the phrasing
  • LH in general can be just a bit softer if possible, helping the RH be voiced
  • don’t rush in 29

List B

  • still focus on phrase endings
  • bring tempo to around 90% instead of 100%, use extra tempo energy to focus on dynamics and phrase endings

List C

  • bring tempo to around 90% instead of 100%, use extra tempo energy to focus on dynamics and phrase endings

List D

  • make sure all notes are coming out
  • try to restrict loud volume for the f sections, otherwise, try to control volume

Aural

  • inversions correct
  • cadences (1/2)
  • memory very accurate
  • singing bottom part, first correct, second half correct

Sight reading

  • good effort

1 Oct

List C

  • think about tempo before starting
  • sectional practice continue, but be disciplined in what speed and concertration you go
    • not too fast, not too slow
  • use sectional practice to carefully observe dynamics

List B

  • try to identify all phrase endings and make them soft
  • semiquavers have improved
  • quavers, when phrasing don’t get faster
  • 98, watch for rests
  • 99 not speeding up
  • 125, E natural in RH

19 Sep

List A

  • start with a quicker tempo, think of flowing speed
  • can phrase more on last two lines
  • mental memory in key sections can be improved, ultra slow practice

List B

  • variable tempo (ex, 99 too fast compared to previous page)
  • try metronome at 105

List C

  • sectional practice and aiming for perfection within those sections
  • stability practice can be done while playing full tempo, but also do slow practice seperately
  • aim for quality (does every note come out clearly)

List D

  • 37 start a bit softer
  • have phrasing mathematically planned

11 Sep

List D

  • try tempo crotchet = 60
  • more confident features

List B

  • most important thing is to have even semiquavers, it makes the piece balanced and in control
  • rest bar 49
  • rest bar 57
  • rest bar 98
  • tempo at 99 changed?

3 Sep

Technical

  • 8B still need work, focus finger positions and full chord practice
  • watch chord progression in Eb major
  • watch accuracy of arpeggios
  • arppegios are at 84 bpm

List C

  • 85, not too soft, all RH notes coming
  • all about getting it cohesive as a full perforamnce
    • avoid stops
    • don’t change tempo from the start
    • assess mistakes and tempo changes carefully
  • don’t wait too long at 113
  • poco rall 116
  • 117, don’t make other notes too loud other than the melody
  • 161, too fast, keep same tempo
  • don’t jump too high on staccatos, make sure all notes are plied

List B

  • follow dynamics and sudden changes
  • check coordination in 41
  • watch for key signature generally