Rosella

Theory

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10 Sep

Mozart

• aim for consistent tempo, quicker and comfortable

13 Aug

Scarlatti

• 17 LH rests
• slow down slightly at the end of sections
• non-legato crotchets can be shorter

Firement

• planned aggression, not necessarily loud, but with many troughs and peaks
• different emotions warrant different
• approach ff from distance, bar 8
• 15 phrase staccatos
• check RH rhythm
• 19, emotionally desperate
• 28 RH Ab
• do a lot of phrasing on 58-81, unstable section
• 67 island of happiness 🙂
• 94, sad emotion, slight phrasing, subdued LH
• 118, phrase
• 121, start get softer
• moderate speed practice

Bartok

• phrase everything

6 Aug

Nocturne

• phrase endings soft
• phrase middles soft
• can phrase based on phrase or height

Mozart

• theme: more phrasing
• var III: octaves as legato as possible, focus on sideways movement
• var IV: avoid extra rubato watch for texture
• var VI: semiquavers can be softer. phrase where you can

30 Jul

Nocturne

• not too much rubato in simple sections
  • know when to do a lot of rubato
• make phrasing a bit more planned out
  • first note louder than you think

• bar 13, calmer LH figuration
• phrase a bit more bar 23
• bar 37, extra bounce, first LH note. extra intensity

Bartok

• 13, dip lower
• 17, start softer, leave space for bar 25
• bar 31, voice just top note if possible
• 43 dip for cresc

2 Apr

Nocturne

• dolce, melody needs to come out a bit more
• make sure cresc. is linear
• hairpins have a rubato consequence
• tranquillo
  • less phrasing and rubato

• call and response, cresc. then soft

26 Mar

• 17, make sure there is a rest
• tempo, acknowledge individual quavers

19 Mar

Chopin

• in all sections, maintain permanence of main melody
• can put a lot more ‘waiting rubato’

12 Mar

Mozart

• 6 var
  • make sure articulation is right
  • technical sections, practice slow, rhythm practice

Scarlatti

• pay attention to note lengths
• acknowldge repeating motifs
  • changing dynamics

• 33, can alternate phrasing as well
• 42, RH longer
• needs more slow practice

5 Mar

Mozart

• theme must be voiced clearly
  • then you can do more phrasing

Var 1

• watch slurs
• can make melody super soft because LH is played at different times
• can pedal a bit in f bits

Var 2

• plan out trill, 6 notes

Var 3

• RH comes out
• pedal sparsely

Var 4

• don’t rush semiquavers
• keep light notes as much as possible
• disruptive here

Var 5

• time can be taken for ‘aria’ expressive effect

26 Feb

Scarlatti

• basic articulation
  • crotchets and minims non-legato

• expression
  • phrasing, especially scales
  • echo effect bar 6

• can also change length of note

Chopin

• think about less, how can we use less, but more smart

12 Feb

Scarlatti

• quavers detached, semiquavers attached

Mozart

5 Feb

Nocturne

• have RH a bit louder
  • keep smooth
  • phrasing can be a bit more obvious if RH is louder

4 Dec

Var 4

• watch pedalling, pedal every RH
• voice top note strongly

Var 3

• LH soft all the time
• less pedal
• more phrasing

Var 2

• LH soft

Nocturne

• lead into phrasing, no sudden phrasing
• plan out crescendo
• delicatiss – very delicate
• spread out fast rhythms

13 Nov

Mozart

• theme
  • less pedal
  • more RH slightly

• var 1
  • lift at the end of slurs
  • melodramatic difference between dynamics

• var 2
  • keep LH even
  • split crush notes LH
  • don’t forget G#

Nocturne

• RH drives forte, 2nd place bottom LH
• phrase strong
• add rubato

Mozart

• var 3
  • can use pedal in appropriate places
  • lots of phrasing
  • LH super soft

• var 2
  • LH super soft, RH balance brightly 🙂
  • put accent on LH chromatic note

Chopin

• phrasing
• rubato
• balance
• dolce: melody voiced, but not too voiced